The Norton Museum of Art’s new Heyman Plaza, designed by Foster   Partners. Featuring Typewriter Eraser, Scale X (1999) by Claes Oldenburg and Coosje Van Bruggen. Photography: © Nigel Young / Foster   Partners

The mood is light and optimistic in West Palm Beach despite Trump’s arrival to Mar-a-Lago; the Norton Museum has reopened to the public with a new design by Foster   Partners. Respectful of site and context, Norman Foster has artfully reworked the original 1940s buildings by local architects Wyeth and King and submerged the museum into a tropical garden creating a private paradise for art. Instead of a Bilbao-style arrival, Foster’s plan celebrates history and builds on it with elegant additions, careful edits and coherent updates.

西棕榈滩的气氛轻松乐观，尽管特朗普来到了玛-拉戈；诺顿博物馆(Norton Museum)已经重新向公众开放，福斯特合作伙伴(Foster Partners)推出了新的设计。尊重场地和环境，诺曼·福斯特巧妙地改造了当地建筑师惠氏和金的20世纪40年代的建筑，并将博物馆淹没在一个热带花园中，创造了一个私人艺术天堂。福斯特的计划不是毕尔巴鄂式的到来，而是庆祝历史，并在此基础上加上优雅的补充、仔细的编辑和连贯的更新。

Equipped with a new architecture, the private collection now seeks to expand its role as a public institution. Once a casual collection begun by industrialist Ralph Norton and his wife Elizabeth, art collecting soon grew into a more serious occupation and the couple founded the Norton Museum in 1941. Now with over 7,600 works crossing multiple eras and styles, it required an institution. Norton Museum trustee Gil Maurer, long-time director at Hearst and business occupant in Foster’s Hearst Tower in New York City provided the connection, and the commission began.

私人藏品配备了新的架构，现在寻求扩大其作为公共机构的作用。曾经是由实业家拉尔夫·诺顿和他的妻子伊丽莎白(Elizabeth)发起的一次偶然收藏，艺术收藏很快发展成一种更为严肃的职业，1941年这对夫妇创办了诺顿博物馆。现在有超过7600件作品跨越了不同的时代和风格，它需要一个机构。诺顿博物馆的托管人吉尔毛雷尔，长期董事赫斯特在赫斯特和商业居住在福斯特的赫斯特大厦在纽约市提供了联系，委员会开始。

Across the whole plan, only eight per cent is new building. So what has Foster and his hard-working team, headed up Michael Wurzel, partner in charge, with Spencer de Grey, head of design, been up to for the past eight years? ‘Every space has been touched in some way modified, referred or reconnected and when you move around you do have the feeling you’re in a new museum,’ says Norman Foster, reassuringly. Eight percent is 59,000 sq ft after all.

在整个计划中，只有8%是新建的。那么，在过去八年里，福斯特和他的团队领导了迈克尔·沃泽尔(MichaelWurzel)和设计主管斯宾塞·德格雷(Spencerdegrey)，他们在做些什么呢？诺曼·福斯特(NormanFoster)安慰地说，“每一个空间都被以某种方式被修改、引用或重新连接，当你四处走动时，你确实有一种感觉，你在一个新的博物馆里。”8%毕竟是59，000平方英尺。

Northeast view of the Norton Museum of Art’s new Kenneth C. Griffin Building, designed by Foster   Partners, as seen from South Dixie Highway. Photography: © Nigel Young / Foster   Partners

由福斯特合伙人设计的诺顿艺术博物馆新的肯尼斯·C·格里芬大楼的东北视野，从南迪克西高速公路上可以看到。摄影：(C)奈杰尔·杨/福斯特合作伙伴

So instead of a reinvention, the design enabled the museum to become a much better version of its original self. An integral change was moving the entrance of the museum from the west, to the north on S. Dixie Highway, reinstating yet reversing the original axis of the 1940s design where entry lay at the south. At the original south entrance you’ll see the decorative, quasi-postmodern, art deco style of architect Marion Sims Wyeth’s build. Interestingly, Wyeth and King were also behind the elaborate Spanish revival architecture of Trump’s ‘winter White House’, Mar-a-Lago, built in the 1920s.

因此，代替了本发明，该设计使博物馆能够成为其原始的自我的更好的版本。一个整体的变化是将博物馆的入口从西方移动到S.Dixie公路的北部，恢复了20世纪40年代设计的原始轴线，那里的入口位于南方。在最初的南入口，您将看到建筑师MarionSIMS惠氏建筑的装饰、准后现代、艺术装饰风格。有趣的是，惠氏和国王也是在20世纪20年代建造的特朗普“冬季白宫”(Mar-A-Lago)的西班牙复兴建筑的背后。

Foster’s new entrance makes more sense to drivers approaching the museum, and has a typographic neon sign neatly stacked atop its facade and a new mascot, the wacky-looking 19ft high ‘Typewriter Eraser, Scale X’ sculpture by Claes Oldenburg and Coosje Van Bruggen floating on a square reflecting pool. As a rule of thumb across the museum, anything new added by Foster somehow seems already ‘inevitable’ – a word he uses himself when describing his approach.

福斯特的新入口处对接近博物馆的司机来说更有意义，它的正面有一个排印霓虹灯标志，还有一个新吉祥物-看起来古怪的19英尺高的打字机橡皮擦，克拉斯·奥尔登堡(Claes Oldenburg)和库斯杰·范布鲁根(Coosje Van Bruggen)的X‘刻度雕塑，漂浮在一个方形倒影水池上。作为整个博物馆的经验法则，福斯特添加的任何新东西似乎已经“不可避免”-他在描述自己的方法时使用了这个词。

‘Which other museum celebrates an 80-year-old tree, or a relic from an analogue typewriter past?’

另一个博物馆庆祝一个80岁的树，还是一个来自模拟打字机的遗物？”

It’s hard to miss the huge 65 ft banyan tree at the front of the museum, with colossal dripping roots, which is quite clearly not new. It’s been there since 1935. Foster’s vast new canopy curves in deference to the tree at 43 ft. It half-cocoons it in shiny metal, blurrily reflecting the dense form of its rain shower soaked bark. In an age of an architecture and public that demand new thrills and the next big thing, this deference is perhaps the most daring statement of all.

这是很难错过巨大的65英尺的榕树在博物馆的前面，巨大的滴根，这显然不是新的。它从1935年起就一直在那里。福斯特的巨大的新树冠曲线，以尊重树在43英尺。它半茧在闪亮的金属，模糊地反映了浓密的形式雨淋浸透的树皮。在一个建筑和公众需要新的刺激和下一个大事件的时代，这种尊重也许是最大胆的声明。

Major new elements such as the 210-seat auditorium, great hall, restaurant and sculpture gallery fall seamlessly into step with the existing core plan – only quietly reinstating their modernity with a muted grey micro-terrazzo flooring. On a rational path through the ground floor galleries – where one can find the best of the collection’s European, American and Chinese art – the flooring is the only indicator of new and old.

主要的新元素，如210号座位的礼堂、大厅、餐厅和雕塑画廊，都与现有的核心计划无缝地结合起来-只是悄悄地用灰色的微水磨石地板恢复了它们的现代性。在一层画廊的合理之路上-在那里，人们可以找到收藏的欧洲、美国和中国艺术品的精华-地板是新的和旧的唯一标志。

The Norton Museum of Art gardens, looking east. Photography: © Nigel Young / Foster   Partners

诺顿艺术博物馆，向东看。摄影：(C)奈杰尔·杨/福斯特合作伙伴

The new garden was another simple act of reconnection, this time with the local climate. Now the museum lives in an oasis of mahogany trees, hanging lobster claws (a species of shrub), Bahamian trumpets (a type of flowering tree) and other strange and beautiful sounding native and non-native species. Formations of square grassy plots divided up by long straight paved pathways, softly echoing the ground floor gallery plan, hold colourful sculptures by Leger, Lalanne and Rondinone.

新的花园是另一个简单的重新连接，这一次与当地的气候。现在博物馆生活在桃花心木的绿洲里，悬着龙虾爪(一种灌木)，巴哈马小号(一种开花的树)和其他听起来奇怪而美丽的本地和非本地物种。广场长满草的地块由长而直的铺路分割而成，柔和地呼应着底层画廊的布局，举行着莱格、拉兰娜和罗迪农的五颜六色的雕塑。

Running the length of the new light-filled 150ft-long indoor sculpture gallery, a new colonnade layers the transition between inside and out. It’s a lighter, more modern version of Wyeth and King’s central courtyard colonnade, shaded by the generous overhang of the canopy that shields the hurricane-proof glazing of the gallery from direct sunlight. White chairs and tables by Richard Shultz, designed with the Palm Beach lifestyle in mind, gather on the restaurant terrace.

全长150英尺的新型室内雕塑长廊，新的柱廊层层过渡，由内到外的过渡。这是一个更轻，更现代版本的惠氏和国王的中心庭院柱廊，遮住了巨大的悬垂的天篷，以遮挡飓风的玻璃画廊免受阳光直射。理查德·舒尔茨(RichardShultz)设计的白色椅子和桌子，考虑到棕榈滩的生活方式，聚集在餐厅的露台上。

‘I was thrilled to be able to work with Foster because he is a modernist. I knew they weren’t going to give me a piece of sculpture, they were going to give me a building that worked,’ says Hope Alswang, outgoing director of the Norton, who sees the museum as public institution in the making. Her wish was for the museum was to be ‘profoundly practical’ and reflect an American classical modern, in reference to the ‘golden age of American museums’ – she cites the Breuer Building and the MET.

我很高兴能和福斯特合作，因为他是一位现代主义者。“我知道他们不会给我一件雕塑，他们会给我一座有用的建筑，”诺顿博物馆即将离任的馆长霍普·阿尔斯旺(HopeAlswang)说。他把博物馆视为正在酝酿中的公共机构。她的愿望是，博物馆要“非常实用”，反映出美国古典现代文化，指的是“美国博物馆的黄金时代”-她引用了布鲁尔大厦(Breuer Building)和大都会博物馆(The Meet)的例子。

The Norton Museum of Art’s new Ruth and Carl Shapiro Great Hall, designed by Foster   Partners, featuring Pae White’s Eikón, a 40-foot-long, 15-foot-tall tapestry. Photography: © Nigel Young / Foster   Partners

诺顿美术馆(NortonMuseumofArt)的新鲁思(Ruth)和卡尔·夏皮罗(CarlShapiroGreatHall)是由福斯特(FosterPartners)设计的，它的特点是帕西·怀特(PAEWhite)的Eikinn(EIkern)，一个40英尺长的15英尺高的挂毯。摄影：(c)NigelYoung/Foster合作伙伴

While from the outside the museum appears as a series of white cuboids, it is far from a ‘white cube’ gallery inside. Toeing a conservative line between classical and modern, the design positions the Norton as a museum with great aspirations – as seen in the Great Hall, which Alswang describes as the Norton’s living room.

虽然从外面看，博物馆是一系列白色长方体，但里面远非“白色立方体”画廊。在古典和现代之间的保守路线，设计定位诺顿作为一个伟大的愿望博物馆-如在大厅，阿尔斯旺形容为诺顿的客厅。

This is Palm Beach, so it’s of a substantially higher pedigree than your average living room – but comfortable and welcoming nonetheless. The room has wide oak flooring, soft fabric and timber wall panelling and a specially commissioned tapestry by Pae White. Chairs by Eames and Saarinen cluster about, their formations adjusting frequently as people arrive and depart. High above the classical proportions, midcentury design and polite conversations, is a scooped oculus casting down the warm Florida light.

这是棕榈滩，所以它的谱系比你的平均客厅高得多，但是很舒适，也很热情。房间有很宽的橡木地板、柔软的织物和木墙镶板，还有一个由PAE白色特别委托的挂毯。Eames和Saarinen聚类的椅子，它们的结构随着人们到达和离开而频繁地调整。高于经典的比例，中世纪的设计和礼貌的对话，是在温暖的佛罗里达的灯光下铸造的八角球。

The oculus was a late addition to the design – ‘it completely changed the room’ says Alswang. Likewise was the neon sign – which Alswang fought for planning for from the City: ‘We had to prove that the sign wasn’t advertising, but that it was part of the architecture,’ she says.

Alswang说，Oculus是这个设计的晚期-“它彻底改变了房间。”同样的，霓虹灯标志-阿尔瓦昂从伦敦金融城争取规划的标志-也是这样的：“我们必须证明这个标志不是广告，而是建筑的一部分，”她说。

‘Some way into the design, I found myself sketching and drawing [the neon sign],’ explains Foster. ‘We approached the museum and they got excited about it. In the studio in London, where we have a big double-height space, I had the team experiment with really large letters, profiling and incorporating light and colour. That’s one of those design exercises that emerged quite late in the day, but I would like to think when you see it now, it looks as inevitable as the Typewriter Eraser does coming out of that reflecting pool.’

福斯特解释说：“在设计中，我发现自己在画(霓虹灯标志)。”我们走近博物馆，他们对此很兴奋。在伦敦的工作室里，我们有一个很大的双高度空间，我用非常大的字母进行了团队实验，分析和融合了光和颜色。这是其中一个设计练习，在一天中出现得很晚，但我想当你现在看到它的时候，它看起来就像打字机橡皮擦从反射池中出来一样不可避免。“

It’s interesting to learn how these identity-defining moments, modern linchpins across the conservative design, emerged almost by chance. Maybe it’s linked to really understanding a place and a context, and once grasping that, being able to contribute to the specific nature of that site. ‘In a world which is becoming increasingly homogeneous and anonymous, anything that makes one place different from the other [is important]. Which other museum celebrates an 80-year-old tree, or a relic from an analogue typewriter past?’ asks Foster.

很有趣的是，通过保守的设计，了解这些身份定义的时刻，现代的琳琅满目，几乎是偶然出现的。也许它与真正理解一个地方和一个背景联系在一起，一旦掌握了这一点，就能够为该网站的特定性质做出贡献。在一个日益变得更加均匀和匿名的世界里，任何与对方不同的地方都是重要的。另一个博物馆庆祝一个80岁的树，还是一个来自模拟打字机的遗物？”福斯特问道。

Despite being known for designing for a future on Mars, Foster is more than comfortable in the realm of the past, seeking a contextual solution for each project, wary of the layers of history. Similarly to the Norton, restoring the original 20th-century Beaux Arts plan was integral to the solution for the Museum of Fine Arts Boston expansion completed in 2010. While Foster’s first museum project in the US in 1994, a new wing for the Joslyn museum in Omaha, Nebraska, gracefully extended the original art deco building from 1931 with matching pink Etowah Fleuri marble sourced from the same Georgian quarry as the original material.

尽管福斯特以为火星上的未来设计而闻名，但他在过去的领域里非常自在，为每一个项目寻找一个上下文的解决方案，对历史的层次性保持警惕。类似于诺顿，恢复最初的20世纪的Beaux艺术计划是解决方案的艺术博物馆波士顿完成于2010年。1994年，福斯特在美国的第一个博物馆项目，内布拉斯加州奥马哈的乔斯林博物馆的一个新的侧翼，优雅地扩展了从1931年开始的最初的装饰艺术建筑，设计了与原作相同的格鲁吉亚采石场中的粉红色埃托拉芙蓉大理石。

In Europe, his notable intervention at the Great Court at the British Museum restored accessibility and extended function to the central courtyard with a glass roof, while preserving all original functions of the museum. Now Foster - Partners is working on an renovation of the Prado in Madrid where a similarly radical yet respectful intervention is being made: ‘We are bringing to life and conserving the oldest most venerated internal space the Hall of Realms then creating the biggest most flexible space with 17m spans on top of it for contemporary art,’ says Foster.

在欧洲，他在大英博物馆(BritishMuseum)的大法院(GreatCourt)进行了引人注目的干预，恢复了带有玻璃屋顶的中央庭院的无障碍环境和扩展功能，同时保留了博物馆的所有现在福斯特

Throughout the Norton project, Alswang recognised Foster and his team’s love of art. Walking through the galleries, Foster exclaims at the brilliance of a Donald Judd stacked on the wall, and pauses by a Danh Vo explaining how the work is a piece of a scale version of the statue of Liberty. Foster’s own sketches of the Typewriter Eraser sculpture outside the museum are on display in an exhibition – he presented them to collector Ronnie Heyman, who gifted the museum its forecourt mascot, to show her how it would appear in situ.

在诺顿的整个项目中，阿尔瓦昂认出了福斯特和他的团队对艺术的热爱。福斯特在画廊里走来走去，惊叹于墙上堆满了唐纳德·贾德(Donald Judd)的光辉。丹赫·沃(Danh Vo)停了下来，解释这幅作品是自由女神像的一个刻度版。在博物馆外，福斯特自己的打字机橡皮擦雕塑素描正在展览中展出-他把这些草图展示给收藏家罗尼·海曼(Ronnie Heyman)，他送给博物馆的前厅吉祥物-向她展示它的原貌。

Over the next 12 years, the Norton Museum campus will continue its organised sprawl further still with a second phase of expansion towards the water, which Foster will oversee. Phase one has already attracted new donations, as well as the atmosphere of optimism in West Palm Beach, and the next few years will show how the architecture might also contribute to the community through its extended programming, evening events and its free admission days on Fridays and Saturdays. §

在未来的12年里，诺顿博物馆的校园将继续其组织的无序扩张，但仍有第二阶段的扩张阶段，福斯特将对此进行监督。第一阶段已经吸引了新的捐赠，以及在西棕榈滩的乐观气氛，接下来的几年将显示建筑如何也可以通过其扩展的节目安排、晚间活动以及周五和周六的免费准入日向社区提供帮助。?

帕梅拉和罗伯特B.戈根花园在诺顿艺术博物馆。摄影：奈杰尔·杨/福斯特合作伙伴帕梅拉和罗伯特·B·戈根花园在诺顿艺术博物馆。摄影：(C)奈杰尔·杨/福斯特合作伙伴

打字机橡皮擦，刻度X(1999年)由克拉斯奥尔登堡和库斯杰范布鲁根在诺顿艺术博物馆前。摄影：C奈杰尔杨/福斯特合作伙伴打字机橡皮擦，刻度X(1999年)由克劳斯奥尔登堡和库斯杰范布鲁根在诺顿艺术博物馆前。摄影：(C)奈杰尔·杨/福斯特合作伙伴

诺顿艺术博物馆的新肯尼斯格里芬大厦，由福斯特合作伙伴设计，从S.迪克西高速公路上看到。摄影：奈杰尔杨/福斯特合作伙伴诺顿艺术博物馆的新肯尼斯格里芬大楼，由福斯特合作伙伴设计，从S.迪克西高速公路上看到。摄影：(C)奈杰尔·杨/福斯特合作伙伴

诺顿艺术博物馆的收藏亮点安装视图。摄影(奈杰尔杨/福斯特合作伙伴在诺顿艺术博物馆的收藏亮点安装视图。摄影(奈杰尔·杨/福斯特合作伙伴)

Dale Chihuly的波斯海洋生物天花板(2003年)在诺顿艺术博物馆的安装视图。摄影：在诺顿艺术博物馆(Norton Museum Of Art)拍摄的戴尔·奇胡利(Dale Chihuly)的波斯海洋生物天花板(2003)的安装视图。摄影：(C)奈杰尔·杨/福斯特合作伙伴