波士頓藝術博物館

業主單位：波士頓藝術博物館

項目地點：美國波士頓

建筑設計：福斯特建筑事務所

記錄建筑師：CBT/Childs Bertman Tseckares Inc.

結構/機電設計：Buro Happold

記錄結構設計：Weidlinger Associates

記錄機電設計：WSP Flack + Kurtz

景觀設計：Gustafson Guthrie Nichol Ltd.

設計/建造：1999 / 2010 年

攝影：Nigel Young / 福斯特建筑事務所

Client: Museum of Fine Arts, Boston

Location: Boston, USA

Architectural Design: Foster + Partners

Architect of Record: CBT/Childs Bertman Tseckares Inc.

Design Structural / MPE Engineers: Buro Happold

Structural Engineers of Record: Weidlinger Associates

MEP Engineers of Record: WSP Flack + Kurtz

Landscape Architect: Gustafson Guthrie Nichol Ltd.

Design / Completion: 1999 / 2010

Photography: Nigel Young / Foster + Partners

? Chuck Choi

波士頓藝術博物館成立于1870 年，其基礎是建筑師蓋伊洛厄爾（Guy Lowell）的一個美術學校的規劃。現方案恢復原方案的邏輯，建筑物的中軸線一直強調主要入口，朝向亨廷頓藝術大道，并重新開放北部，朝向State Street Corporation Fenway 入口。軸線的心臟地點是一個新的信息中心，在那里訪客開始他們在建筑中的參觀。

新的波士頓藝術博物館美國藝術展區，由福斯特建筑事務所與波士頓的CBT/Childs Bertman Tseckares 合作設計。精心設計的翼結構增強了游客體驗，并強調了其與流線型巴克貝沼澤公園的聯系。巴克貝沼澤公園由弗雷德里克·勞·奧姆斯特德（Frederick Law Olmsted）在1877年設計。新的翼結構將包含53 個畫廊，涵蓋美國藝術收藏，它的存在將鞏固美國最大的五個收藏，使其成為一個有凝聚力和可理解的整體。除了獨立的飾面結構，已建設的兩大展館之間插入了新翼（Americas Wing），分布在四個樓層。新翼顯著提升了博物館的展覽空間，使5 000 作品被顯示。該項目是福斯特事務所第一次全面設計了一套完整的畫廊翼，包括安裝及裝修 - 該計劃是53 畫廊與博物館的策展人密切合作的結果。翼的中央大樓與主樓的軸匯合，運用玻璃圍合現有的庭院。這是訪客服務空間、咖啡廳和特別活動、特別展的新畫廊。

該設計高效節能，庭院自然采光，畫廊有國家的最先進的氣候控制設備。畫廊空間使得藝術品被清晰感知。周圍的博物館，新的景觀設計，加強與后灣公園的連接，由奧姆斯特德（紐約中央公園的設計師）設計。景觀設計遵循步移景異和非正式的原則，沼澤區的綠化延伸到建筑，這是奧姆斯特德的浪漫主義傳統。特別地，沼澤景觀被引入博物館的心臟的新庭院內。該設計重新解決了博物館的平衡。在其心臟的老院子是玻璃封閉的，以創造新的連接。

Founded in 1870, the Museum of Fine Arts, Boston is one of the largest art museums in the United States and among the world’s finest, visited by more than one million people every year. However,in common with many such institutions, over time the scale of this audience placed a great strain on its facilities. Architecturally, the project echoes themes explored in the Reichstag and the Great Court at the British Museum, combining elements of old and new and strengthening links with the community by making the museum building more open and accessible.

At the core of the masterplan for the museum is the restoration of the logic of the building’s Beaux-Arts plan, devised by the architect Guy Lowell in 1907. The central axis has been reasserted with the reintroduction of the principal entrance to the south on Huntington Avenue and the reopening of that to the north. At the heart of this axis is a new information centre,from where visitors begin their tour of the galleries. A freestanding glazed structure - ‘a crystal spine’ - has been inserted between the building’s two main volumes to create the Art of the Americas Wing. Arranged over four floors, and providing fifty-three galleries this new wing has increased the museum’s exhibition space significantly, enabling some 5,000 works from the collection to be placed on permanent display. Where the crystal spine meets the central axis,it partly encloses an existing courtyard in a glass ‘jewel box’. This creates spaces for visitor orientation and a café, with a new gallery for special exhibitions beneath.

Designed to be highly energy efficient, the courtyard is naturally lit and all the new galleries have state-of-the-art climate control systems. The gallery spaces are configured to allow art to be displayed with a more obvious sense of clarity and light. Surrounding the museum, new landscaping is designed to strengthen links with the Back Bay Fens, originally laid out by Frederick Law Olmsted, architect of New York’s Central Park. The landscape design follows Olmsted’s Romantic tradition of winding paths and informal planting to draw the greenery of the Fens into the building.

? Chuck Choi

剖面 Section

立面 Elevation

平面 Plan