Sequence of facades on 53rd Street. Image © Timothy Hursley

第53街的立面顺序。图片C.蒂莫西·赫斯利

通过统一博物馆的建筑形式，谷口精选了建筑历史的边缘，同时也消解了其他建筑。最初的1939年国际风格建筑被修复，包括它的白色大理石正面和钢琴天篷。菲利普·约翰逊1953年的雕塑园也得到了翻新和扩建。谷口将花园设想为博物馆的核心，提供周围每一座建筑的景观。两卷等高的框架分别位于花园的东端和西端，分别是教育研究大楼和主廊建筑群。在南部，一个类似的薄柱和不透明的白色玻璃的调色板取代了佩利住宅的前七层。从雕塑园内部，这种一致的语言让游客了解整个复杂的环境。沿着54街，对称的体积是由黑色花岗岩，深灰色玻璃和铝，连接整个网站的全长。

In unifying the Museum’s built form, Taniguchi refined select edges of the building’s history while dissolving others. The original 1939 International Style building was restored, including its white marble facade and piano canopy. Philip Johnson's 1953 Sculpture Garden was also renovated and enlarged. Taniguchi envisioned the garden as the museum's core, providing views from each of the surrounding buildings. Two volumes of equal height frame the east and west ends of the garden, housing the Education and Research Building and main gallery complex, respectively. To the south, a similar palette of thin columns and opaque white glass replaced the first seven stories of Pelli's residential tower. From within the Sculpture Garden, this consistent language allows visitors to understand the complex as a whole. Along 54th Street, the symmetrical volumes are clad in black granite, dark gray glass, and aluminum, linking the site across its full length. 

 Cesar Pelli's west wing expansion, 1984. Image via MoMA

Cesar Pelli的西翼扩张，1984年。MoMA图像

谷口通过对每一个细节的精确要求，获得了精致的、最小的审美。外立面的面板安装在最小的公差，减少接缝，以创造一个明显的连续表面。巨大的玻璃窗悬挂在环绕雕塑花园的深门廊下。为了确保玻璃不会因为博物馆里挤满了游客而偏转，幕墙被从地面结构中解放出来。选择钢比标准铝，以允许一个较薄的轮廓足够的强度。

Taniguchi achieved the refined, minimal aesthetic by exacting precision in each detail. The panels on the exterior facades were installed with the least possible tolerance, diminishing the seams to create an apparently continuous surface. Vast panes of glass hang beneath the deep porticoes bounding the Sculpture Garden. To ensure the glass would not deflect as the museum filled with visitors, the curtain walls were freed from the floor structure. Steel mullions were chosen over the standard aluminum to allow a thinner profile of sufficient strength.

 View of the gallery complex from 54th Street. Image © Timothy Hursley

从54街俯瞰画廊建筑群。图片C.蒂莫西·赫斯利

谷口的解决方案介于城市的混乱和观看艺术的环境之间。博物馆是曼哈顿的缩影，中央花园周围有各种各样的建筑。主大厅从第53街的入口延伸到雕塑花园，沿着54，创造了一个内部和城市环境之间的多孔过渡。在参观画廊时，游客们会看到纽约街道和天际线的意想不到的景色。虽然经典的白色盒子画廊是许多当代博物馆的典型，但谷口结合了这种景观系统来揭示现代艺术博物馆的独特背景。

Taniguchi’s solution mediates between the chaos of the city and an environment for viewing art. The Museum represents a microcosm of Manhattan, with buildings of various character surrounding a central garden. The main lobby extends from the 53rd Street entrance to the Sculpture Garden along 54th, creating a porous transition between the interior and its urban context. While moving through the galleries, visitors encounter unexpected views of New York’s streets and skyline. Though the classic, white box galleries are typical of many contemporary museums, Taniguchi incorporated this system of vistas to reveal the MoMA's unique context.

 © Joseph Holmes

约瑟夫·霍姆斯

最初的博物馆规定了对现代艺术史的线性阅读，每个画廊只限于一个入口。MoMA的管理人员和建筑师一致认为，扩建应该鼓励同时和相互关联的发现，反对单一观看路线的想法。新画廊可以通过自动扶梯和辅助楼梯的脊柱在任何水平进入，与当代艺术最近的地面水平和逐步更高层的老作品。顶层提供大面积的天空照明空间，供临时展览之用。画廊没有明确的边界，每个画廊提供多个入口点的相邻画廊。21英尺。高的当代画廊跨越200英尺。以适应当代意料之外的艺术形式。这个空间没有柱子，是通过在第八层以上建造一个支撑较低层的电枢来完成的。

The original museum prescribed a linear reading of the history of modern art, with each gallery limited to a single entrance. The MoMA’s administrators and architects agreed the expansion should encourage simultaneous and interrelated discoveries, rejecting the idea of a single viewing itinerary. The new galleries can be accessed at any level via a spine of escalators and ancillary stairs, with contemporary art nearest ground level and progressively older works on higher stories. Large, sky-lit space for temporary exhibitions is provided on the top floor. The galleries lack distinct borders, each offering multiple entrance points to neighboring galleries. The 21 ft. high contemporary galleries span 200 ft. to accommodate contemporary art of unanticipated format. The space is free of columns, accomplished by constructing an armature above the eighth story which supports the lower levels.

 View of the lobby overlooking the Sculpture Garden. Image © Timothy Hursley

大厅可俯瞰雕塑花园。图片C.蒂莫西·赫斯利

当游客穿过大厅走向雕塑花园时，他们从110英尺的地下经过。高中庭。画廊和楼梯上的洞口让游客可以窥视它那高耸的空间，在那里，它们出现在白色的长方形孔洞里。这些战略性放置的窗户让中庭有一种微妙的地心引力，因为里面的人会穿过周围的画廊。每一层的空间都由通向自动扶梯脊柱的桥梁穿过，并让画廊建筑群内的游客定向。

As visitors move through the lobby toward the Sculpture Garden, they pass beneath the 110 ft. high atrium. Perforations in the galleries and stairways allow visitors to peer into its soaring space, where they appear framed in the white, rectangular apertures. These strategically placed windows lend the atrium a subtle gravity as occupants move through the galleries around it. The space is crossed at each level by bridges leading to the escalator spine and orients visitors within the gallery complex.

 The Atrium. Image © Timothy Hursley

中庭。图片C.蒂莫西·赫斯利

现代艺术博物馆(MoMA)最近宣布了另一项计划，在目前的建筑西面扩建，与美国民间艺术博物馆(AmericanFolkArt Museum)毗邻。它将包括一个1050英尺。塔楼设计由阿泰利埃让努维尔，这将容纳更多的画廊空间的博物馆。现代艺术博物馆受到建筑界和设计界的强烈反对，因为它声称将用一个连接的机翼来取代美国民俗艺术博物馆，以连接计划中的扩建地点。自那以后，现代艺术博物馆雇佣了迪勒·斯科菲迪奥·伦佛罗来设计连接器，并给予建筑师时间来考虑整合现有的美国民间艺术博物馆的可能性。想了解更多关于博物馆的信息，请看我们对MoMA当代建筑馆长PedroGadanho的采访。

The MoMA recently announced plans for another expansion to the west of the current building, directly adjacent to the American Folk Art Museum. It is set to include a 1050 ft. tower designed by Ateliers Jean Nouvel, which will house additional gallery space for the Museum. The MoMA received strong opposition from the architecture and design world after stating it would replace the American Folk Art Museum with a connecting wing to the planned expansion site. The MoMA has since hired Diller Scofidio + Renfro to design the connector and granted the architects time to consider the possibility of integrating the existing American Folk Art Museum. For more on the Museum, check out our interview with Pedro Gadanho, the Curator for Contemporary Architecture at the MoMA.

 Axonometric © Taniguchi & Associates

[医]谷口轴测定仪

建筑师Taniguchi，Cesar Pelli and Associates，Philip Johnson，Philip Goodwin，Edward Durell Stone Location 11，New York，NY 10019，美国类别博物馆

Architects Yoshio Taniguchi, Cesar Pelli and Associates, Philip Johnson, Philip Goodwin, Edward Durell Stone Location 11 West 53rd Street, New York, NY 10019, USA Category Museums & Exhibit Architect in Charge Yoshio Taniguchi Executive Architects Kohn Pedersen Fox Architects, 1984 Expansion Cesar Pelli and Associates Architect, 1964 Addition Philip Johnson Architect, 1953 Sculpture Garden Philip Johnson Architects, 1939 Building Philip Goodwin, Edward Durell Stone Area 630000.0 ft2 Project Year 2004 Photographs Timothy Hursley , Joseph Holmes, Jock Pottle, Yoshio Taniguchi Manufacturers Loading...