Facade Detail. Image © Ezra Stoller/Esto

正面细节。图像(Ezra Stoller/Esto)

它始于1956年，当时乔治·亨廷顿·哈特福德二世(GeorgeHuntingtonHartford II)购买了这片被四面八方街道包围的小地皮，目的是建立现代艺术画廊将主要容纳他个人收藏的19世纪和20世纪反对抽象表现主义的艺术，他认为抽象表现主义是共产主义的。经过仔细考虑不同的建筑师委托这个项目，哈特福德最终选择了斯通，他与他分享了许多类似的哲学，将指导设计过程。和哈特福德一样，他希望挑战现代主义的理想，斯通开始不喜欢主流的玻璃和金属建筑。两人都高度重视民主价值观，并希望使现代设计更受公众欢迎，以弥合中产阶级和文化精英之间日益扩大的差距。

It began in 1956 when George Huntington Hartford II purchased the small lot, surrounded by streets on all sides, with the intention of establishing the Gallery of Modern Art. The gallery would primarily house his own personal collection of 19th and 20th Century art that opposed abstract expressionism, which he considered to be Communist. After mulling over various architects to commission the project to, Hartford eventually chose Stone, with whom he shared many similar philosophies that would guide the design process. Like Hartford, who wished to challenge Modernist ideals, Stone was beginning to dislike the stark glass and metal buildings that were mainstream. Both men heavily valued democratic values, and wanted to make modern design more palatable to the public, to bridge the widening gap between the middle-class and the cultural elite.

 Building Section

许多挫折，包括现代艺术博物馆的一宗诉讼，混凝土工人的罢工，博物馆馆长的换人，以及突如其来的对坚硬岩石的需求，都把完工推迟到1964年。有一个项目类似的现代艺术博物馆，这也是石头设计的，前四层地面上的人为照明，永久和临时藏品。除了级别以下154个座位的礼堂外，画廊上方还有宽敞的存储和行政空间，上层还有一个休息室和餐厅，利用一个门廊俯瞰中央公园。有了类似弗兰克·劳埃德·赖特(Frank Lloyd Wright)的古根海姆博物馆(Guggenheim Museum)那样的流通计划，顾客们就会乘电梯到五楼，一次逐渐下降半层，因为最初打算用来吸烟和坐的大型楼梯也有艺术品。该画廊华丽的室内装饰风格更像高档住宅，而非文化设施，其目的是激励游客为自己的家购买艺术品。

Numerous setbacks, including a lawsuit from the Museum of Modern Art, a strike by concrete workers, a change in museum directors, and the unexpected need to blast through solid rock, delayed the completion until 1964. Featuring a program similar to the Museum of Modern Art, which Stone also designed, the first four levels above ground housed artificially lit, permanent and temporary collections. In addition to the 154-seat auditorium below grade, there is generous storage and administration space above the gallery as well as a lounge and restaurant on the upper floors, which utilize a loggia for views of Central Park. With a circulation scheme similar to Frank Lloyd Wright’s Guggenheim Museum, patrons would take the elevator to the fifth floor and gradually descend a half level at a time, as the large landings, which were initially intended for smoking and sitting, also contained art pieces. The gallery’s glamorous interior decor, which bore a stronger resemblance to an upscale residence than to a cultural facility, was intended to inspire visitors to purchase art for their own homes.

 4th Floor Gallery. Image © Ezra Stoller/Esto

4楼画廊。图像(Ezra Stoller/Esto)

醒目的外观，其特点是一个凹的北面，以回应哥伦布圈的曲线，护套了一个2“的灰色脉，白色佛蒙特州帝国丹迪大理石贴面。方形大理石面板被穿孔在每个正面的边缘，以及上面的日志，以创造1472个小的圆形镀铜窗户。考虑到不一致的场地和外观尺寸，斯通认为使用底层拱廊是必不可少的项目。风格化的威尼斯哥特式柱，嵌入瑞典红玫瑰花岗岩椭圆形，建立了一个清晰的周边建筑在街道的水平，帮助隐藏不同宽度的建筑物。

The striking exterior, which features a concave north facade to respond to the curve of Columbus Circle, is sheathed with a 2” veneer of gray-veined, white Vermont Imperial Dandy marble. The square marble panels were perforated at the edges of each facade, as well as above the loggia, to create 1472 small and circular bronze-plated windows. Considering the inconsistent site and facade dimensions, Stone considered the use of a ground-floor arcade to be essential to the project. The stylized Venetian Gothic columns inset with Swedish red rose granite ovals, established an articulate perimeter at the building at street level, helping to conceal the varying widths of the building.

 North/East Facade. Image © Ezra Stoller/Esto

北面/东面。图像(Ezra Stoller/Esto)

就像大多数跨越边界的项目一样，它的关键反响参差不齐，尽管像赫克斯泰伯这样的大多数批评人士并不喜欢这一设计，经常提到在另一座现代建筑上使用装饰时的媚俗。斯通与威尼斯的Ca‘D’Oro或Doges宫有着很大的相似之处，他本人无法否认拜占庭建筑的影响，拜占庭建筑是威尼斯哥特式风格的根源。其他人，如阿波罗的艺术评论家斯图尔特·普雷斯顿，认为“对建筑物本身几乎没有什么批评”，他认识到斯通克服了许多障碍，使建筑得以运作。

Like most projects that push boundaries, its critical reception was mixed, though most critics, like Huxtable, were not fond of the design, often referencing kitsch regarding the use of ornament on an otherwise modern building. Bearing a strong resemblance to Ca’ D’Oro or the Doges Palace in Venice, Stone himself could not deny the influence of Byzantine architecture, the root of the Venetian Gothic style. Others, such as Stuart Preston, art critic for Apollo, felt that “there can be little criticism of the building itself”, recognized the many obstacles that Stone overcame to make the building work.

尽管受到了热烈的欢迎，画廊一开业就成了当地人和游客的热门去处。然而，像哈特福德的许多其他投资一样，它的成功是短暂的，仅在运营了5年后就结束了，主要是因为他无法吸引足够的资金来支付运营成本。哈特福德在1969年把这栋建筑卖给了费尔利·迪肯森大学，创建了纽约文化中心。1976年，海湾工业公司和西部工业公司收购了这座城市，并将其分给了该市。

Regardless of its critical reception, the gallery instantly became a popular destination for locals and tourists upon opening. However, like many of Hartford’s other investments, its success was short-lived, closing after only 5 years of operation, primarily because he could not attract the contributions needed to cover operating costs. Hartford sold the building in 1969 to Fairleigh Dickenson University, creating the New York Cultural Center. The property was then purchased by Gulf and Western Industries in 1976, and given to the city.

重新设计这座建筑的建议是由联合工程建筑公司进行的，并在建筑界引起了极大的努力，以保护斯通的结构，希望给予它里程碑式的地位。然而，经过长期和有争议的战斗，艺术和设计博物馆获准在2005年更换外观。完成于2008年，该结构现在展示了一个当代的外观，很少透露原始设计。

The proposal for a redesign of the building was carried out by Allied Works Architecture, and set off a strong effort in the architecture community to preserve Stone’s structure, hoping to give it landmark status. However, after a long and controversial battle, the Museum of Arts and Design was given permission to replace the facade in 2005. Completed in 2008, the structure now showcases a contemporary facade, revealing little of the original design.

 The Museum of Arts and Design. Photograph by user Beyond My Ken. Image via Wikipedia Commons

艺术与设计博物馆。用户拍摄的照片超出了我的理解范围。维基百科共用图片

在20世纪建筑学演进的关键时期，现代艺术馆展示了高度的艺术自由，进一步揭示了献身现代主义者与质疑运动理想的人之间已经存在的张力。爱德华·杜瑞尔·斯通的设计是一个挑战现代主义既定理想和规则的项目的早期例子。尽管如此，通过有争议的设计，所有权的多重转移，保护战争，以及持续的公共评论，哥伦布圈仍然是一个多事之秋，有着悠久而复杂的历史。

During a pivotal time in the evolution of 20th Century architecture, the Gallery of Modern Art demonstrated a high degree of artistic freedom, further illuminating an already existing tension between devoted Modernists and those who questioned the ideals of the movement. Edward Durell Stone’s design acts as a very early example of a project that challenged the established ideals and rules of Modernism. Nevertheless, through controversial designs, multiple shifts in ownership, preservation battles, and continuous public commentary, 2 Columbus Circle remains an eventful site with a long and complex history.

建筑师爱德华·杜雷尔·斯通

Architects Edward Durell Stone & Associates Location 2 Columbus Circle, New York, NY 10019, United States Category Gallery Area 54000.0 ft2 Project Year 1964 Photographs Ezra Stoller/Esto, via Wikipedia Commons

资料来源：狩猎，玛丽·安妮。爱德华·杜瑞尔·斯通：现代主义民粹主义建筑师(纽约：W.诺顿，2013年)。斯通爱德华·杜雷尔。“最近和未来的建筑”(纽约：地平线出版社，1967年)。斯通爱德华·杜雷尔。“建筑师的进化”(纽约：地平线出版社，1962年)。

Sources: Hunting, Mary Anne. Edward Durell Stone: Modernism's Populist Architect (New York: W. W. Norton, 2013). Stone, Edward Durell. Recent and Future Architecture (New York: Horizon Press, 1967). Stone, Edward Durell. The Evolution of an Architect (New York: Horizon Press, 1962).