1930年，当时的现代艺术博物馆主任阿尔弗雷德·巴尔(AlfredBarr)发起了博物馆的第一次建筑展览，声称“现代艺术博物馆密切关注这一国际建筑活动。虽然博物馆至今只展出了绘画和雕塑作品，但它从一开始就感到有必要举办一次全面的现代建筑展览。“[1]为了主持这次展览，巴尔问历史学家亨利·拉塞尔·希区柯克(Henry-Russell Hitchcock)和建筑师菲利普·约翰逊(Philip Johnson)，他们都花了两年时间在欧洲研究和收集材料。展览于1932年2月10日在MoMA的Heckscher大楼开幕，在为期6周的时间里有33，000人参加。

In 1930 Alfred Barr, the then director of the MoMA, initiated the museum’s first architectural exhibition, claiming that "The Museum of Modern Art has closely followed this international activity in architecture. Although the Museum has until now exhibited only works of painting and sculpture, it has felt the need since its inception for a comprehensive exhibition of modern architecture.”[1] To curate the exhibition, Barr asked the historian Henry-Russell Hitchcock and architect Philip Johnson, who both spent the following two years researching and collecting materials in Europe. The exhibition opened on February 10th 1932 in the MoMA’s Heckscher building, and was attended by 33 thousand people during its six-week duration.

通过照片、绘画和精心制作的模型，精心策划的展览展示了自1922年以来在欧洲出现的新风格的特点。展览的主要部分名为“现代建筑师”，介绍了“现代建筑四位领导人”的项目：勒·柯布西耶、沃尔特·格罗皮乌斯、米斯·范德罗赫和J.P.欧德。展览还包括另外两个部分：“住宅”展示了对新的国内环境的需求；“现代建筑的程度”展示了来自十五个不同国家的三十七位建筑师的作品。

Through photographs, drawings and specially crafted models, the carefully curated exhibition illustrated the characteristics of the new style which had emerged in Europe since 1922. The main section of the exhibition, titled “Modern Architects,” presented projects by the “four leaders of modern architecture”: Le Corbusier, Walter Gropius, Mies van der Rohe and J.J.P. Oud. The exhibition also included two other sections: “Housing” presented the need for a new domestic environment and “The Extent of Modern Architecture” displayed works by thirty seven architects from fifteen different countries.

 Villa Savoye by Le Corbusier © Flavio Bragaia

萨瓦耶别墅由勒·柯布西耶(Flavio Bragaia)执笔

展览提出了三大原则，奠定了新的“风格”的基础：体积重于质量，元素的规律性和标准化，以及避免装饰。这些原则被应用于建筑元素，如色带窗、平屋顶、屏风墙、非结构隔墙，以及简单的色彩和几何使用。通过强调和分类这些重复的设计方面，展览建立了一个新的“风格”的建筑。

The exhibition presented three major principles that laid the foundation of the new “style”: the emphasis of volume over mass, the regularity and standardisation of elements, and the avoidance of ornament. These principles were applied through architectural elements such as ribbon windows, flat roofs, screen walls, non-structural partitions, as well as a simple use of color and geometry. By emphasizing and categorizing these repeated aspects of the designs, the exhibition established a new “style” in architecture.

 Barcelona Pavilion by Mies van der Rohe © Flickr User: gondolas. Used under Creative Commons

巴塞罗那馆米斯范德洛c Flickr用户：贡多拉斯。在知识共享项下使用

像许多想要创造一个连贯的展览的策展人一样，约翰逊和希区柯克排除了目前建筑中不属于他们严格的审美标准的主要方面。例如，为了统一和分类，约翰逊和希区柯克忽视了二十世纪二三十年代表现主义和有机建筑的重要作品，它们的生物形态对现代建筑产生了根本性的影响。

Like many curators who aspire to create a coherent exhibition, Johnson and Hitchcock excluded major aspects of current architecture that did not fall under their strict aesthetic criteria. For example, for the sake of uniformity and categorization, Johnson and Hitchcock ignored significant works of 1920‘s and 1930‘s Expressionist and Organic Architecture, whose biomorphic forms had a fundamental influence on modern architecture. 

 The Bauhaus Building by Walter Gropius in Dessaue. Photo by Lehmann Thomas

沃特·格罗皮乌斯在德索的包豪斯大楼。图片来源：莱曼·托马斯

展览还附有一份广泛的目录，作为一种教育工具。这本书最初以“国际风格：1922年以来的建筑”为标题出版，在赋予展览永久效力方面发挥了至关重要的作用，它补充了展览的内容，而不是记录下来。这本书对这种新风格的形态和构成要素进行了分类，不仅是一部重要的历史文献，而且也是现代建筑的一本指南。

The exhibition was accompanied by an extensive catalogue, which was to serve as an educational tool. Originally published under the title “The International Style: Architecture Since 1922,” the book played a crucial role in giving a permanent validity to the exhibition, complementing its content rather than documenting it. The book catalogued the morphological and compositional elements of the new style, thus serving not only as an important historical document, but also as a guide book for Modern architecture.

 Kiefhook Housing estate by J.J.P Oud. via lanternslide.wikispaces.com

书名/责任者/作者：by J.P.通过lanternslde.wiKispaces.com

虽然这次活动为参与的建筑师赢得了全世界的认可，但它也为后人统一了他们，这一想法并不是所有的人都喜欢的。弗兰克·劳埃德·赖特在展览开幕前一个月就退出了展览。1932年1月，他在给菲利普·约翰逊的电报中解释了他的决定：

Although the event awarded the participating architects with worldwide recognition, it also unified them for posterity, an idea which was not favored by all. Insulted by the prospect of being placed alongside "inferior" peers, Frank Lloyd Wright withdrew from the exhibition only one month prior to its opening. He explains his decision in a Telegram to Philip Johnson in January 1932:

“作为一名现代建筑师，我的道路太漫长，太孤独，以至于无法与业余广告爱好者[雷蒙德·胡德(RaymondHood)]和强大的推销员(理查德·中性)一起向我的人民鞠躬。”没有怨恨和遗憾，但友善，终于把我从你的升职中除名了。

“My way has been too long and too lonely to make a belated bow to my people as a modern architect in company with a self advertising amateur [Raymond Hood] and a high powered salesman [Richard Neutra]. no bitterness and sorry but kindly and finally drop me out of your promotion.”[2] 

 Henry-Russell Hitchcock, Jr. and Philip Johnson: THE INTERNATIONAL STYLE: ARCHITECTURE SINCE 1922. via www.modernism101.com

小亨利-罗素·希区柯克。菲利普·约翰逊：国际风格：1922年以来的建筑。网址：www.methylism101.com

“现代建筑：国际展览”是权威建筑运动的结晶。就像1988年由菲利普·约翰逊(PhilipJohnson)主持的现代艺术展“解构主义建筑”一样，此次展览标志着“国际风格”第一次制度化并得到官方认可。

The “Modern Architecture: International exhibition” represents the crystallization of a definitive architectural movement. Much like 1988’s “Deconstructivist architecture” exhibition at the MoMA, also curated by Philip Johnson, the exhibition marked the first time the “International Style” became institutionalized and officially recognized.

1931年正式的现代艺术展-弗兰克·劳埃德·赖特和现代艺术博物馆，1940年“，约翰·埃尔德菲尔

The official MoMA announcement from 1931 The Show To End All Shows - Frank Lloyd Wright and the Museum of Modern Art, 1940", John Elderfiel

建筑师菲利普？约翰逊和亨利？拉塞尔？希区柯克现代艺术博物馆，纽约其他项目，1932年。

Architects Philip Johnson and Henry-Russell Hitchcock Location museum of modern art new york Category Other Project Year 1932