BUILDINGS FOR BUSINESS AND GOVERNMENT ON VIEW AT MUSEUM

BUILDINGS FOR BUSINESS AND GOVERNMENT ON VIEW AT MUSEUM

Six buildings commissioned by business and government will be shown at the Museum of Modern Art, 11 West 53 Street, from February 26 through May 5 in an exhibition demonstrating the important role a new kind of patronage is playing in the current building program that is changing the face of our country and the face it presents abroad. Actual sections of walls of glazed brick, pierced tile, glass and aluminum, a suspended ceiling of aluminum discs and granite paving have been built in the Museum's galleries to show visitors the fine materials used in these buildings. Large models are accompanied by photographic murals to show the individual character of each building as fully as possible.

Selected by Arthur Drexler, Director of the Museum's Department of Architecture and Design, Buildings for Business and Government illustrates a range of contemporary architectural problems and possibilities. The General Motors Technical Center in Detroit, designed by Eero Saarinen and Associates, and the US Air Force Academy in Colorado Springs by Skidmore, Owings and Merrill are large, complex projects composed of several buildings on three and four hundred acre sites. The Seagram Building at 375 Park Avenue by Mies van der Rone and Philip C. Johnson, and the Chase Manhattan Bank building in the Wall Street area by Skidmore, Owings & Merrill are being built in two of the most famous and crowded areas in the world, where space is the most valuable commodity. The St. Louis Air Terminal by Holimuth, Yamasaki and Leinweber must fit today's needs and yet be easily expanded for tomorrow's traffic and population. The US Embassy in New Delhi by Edward Stone is an example of the excellent work being done abroad by the government where architecture is an important representative of America. Mr. Drexler says:

Business and government alike are rediscovering the rewards of fine building, and the results can be seen not only in individual works of great beauty but in a generally higher standard of excellence....The United States no longer demands that major government commissions be executed in antique styles. Embassies being built abroad by the State Department, as part of a program vhich began in 19^6, and the new Academy for the United States Air Force, look like what they are: modern American buildings. Business organizations are now undertaking building programs that deliberately exceed strict utilitarian limits. Happily our buildings are beginning to benefit from the atteation to material, craftsmanship, and detail lavished on the automobile and other industrial products. Today's most valuable material, however, is space. In the present condition of our cities the use to which land is put is a decisive factor in architectural quality. Releasing part of a site so that it may be used as open space allows light and air to penetrate narrow streets, and makes it possible to see the buildings--a consideration of some importance if we are to have architecture at all. The concern with esthetic and social values shown by government and business through these buildings is not in itself new. It denotes rather a shift in emphasis clients are becoming patrons.


商業與政府建築在博物館展出

六座由商業和政府委託建造的建築於1957年2月26日至5月5日在紐約市現代藝術博物館(Museum of Modern Art)展出，地址為紐約市西53街11號。此次展覽展示了一種新型贊助在當前建設計劃中扮演的重要角色，這些建設正在改變我們國家的面貌以及我們在國外展現的形象。博物館展廳內已建造了實際的牆壁部分，包括玻璃磚、鏤空瓷磚、玻璃和鋁材，還有懸吊的鋁質圓盤天花板和花崗岩鋪面，向參觀者展示這些建築所使用的優質材料。大型模型配合照片壁畫，盡可能完整地展示每座建築的獨特特性。

由博物館建築和設計部主任亞瑟·德雷克斯勒(Arthur Drexler)選定的「商業與政府建築」展覽闡述了當代建築問題和可能性的範圍。底特律的通用汽車技術中心(General Motors Technical Center)由埃羅·沙里寧及其合夥人(Eero Saarinen and Associates)設計，以及科羅拉多斯普林斯的美國空軍學院(US Air Force Academy)由斯基德莫爾、歐文斯和梅里爾事務所(Skidmore, Owings and Merrill)設計，這些都是複雜的大型項目，由幾座建築組成，位於三百至四百英畝的場地上。位於公園大道375號的西格拉姆大廈(Seagram Building)由密斯·凡·德·羅厄(Mies van der Rone)和菲利普·C·約翰遜(Philip C. Johnson)設計，以及位於華爾街區域的大通曼哈頓銀行大樓(Chase Manhattan Bank)由斯基德莫爾、歐文斯和梅里爾事務所設計，正在世界上最著名和最擁擠的兩個地區建造，那裡空間是最寶貴的商品。由霍利穆斯、山崎和萊因韋伯(Holimuth, Yamasaki and Leinweber)設計的聖路易斯航空站(St. Louis Air Terminal)必須符合今日需求，同時能夠輕鬆擴展以適應未來的交通和人口。由愛德華·斯通(Edward Stone)設計的美國駐新德里大使館(US Embassy in New Delhi)是政府在國外進行的傑出工作的例子，在那裡建築是美國的重要代表。德雷克斯勒先生說：

「商業和政府都在重新發現精良建築的回報，結果不僅體現在個別具有偉大美感的作品中，還表現在普遍提高的卓越標準上……美國不再要求主要政府委託項目必須以古老風格執行。由國務院在國外建造的大使館，作為始於19^6年計劃的一部分，以及美國空軍的新學院，看上去就像它們本來的樣子：現代美國建築。商業組織現在正在進行超越嚴格實用主義限制的建築計劃。幸運的是，我們的建築開始受益於對材料、工藝和細節的關注，這些在汽車和其他工業產品上得到充分發揮。然而，今天最有價值的材料是空間。在我們城市的現狀下，土地的使用方式是建築品質的決定性因素。釋放部分場地使其可作為開放空間使用，可以讓光線和空氣滲透至狹窄的街道，並使人們有可能看到建築——如果我們要擁有建築藝術，這是一個頗為重要的考慮因素。政府和商業通過這些建築表現出的對美學和社會價值的關注本身並不新鮮。它反而表示客戶重心的轉變——客戶正在成為贊助人。」

As the visitor enters the Museum's third floor galleries, he steps onto a 25 x 4of area paved with cast quartz aggregate slabs with divider strips of black Albarene stone. This material is under study for the plaza of the 60-story Chase Manhattan Bank in downtown New York. Tne plaza will be decorated with trees and sculpture. The site, comprising 1 l/2 narrow blocks, provides an outstanding example of the difficulties of urban site planning. By making an agreement with the city to trade some land for wider sidewalks in return for the right to incorporate Cedar Street into the area given over to the plaza, the architects, Skidmore, Owings and Merrill, have been able to provide a setting for their building so that it can be seen as well as be a pleasant oasis in the urban canyon.

A model, as well as photographs and plans, show that on the building's perimeter, columns measuring 3 x 5' are placed outside the walls to release floor space within. The walls are of glass; column and spandrels will be sheathed in stainless steel or aluminum. Bank offices open on a circular pool below the plaza area.

A tile wall and a mesh ceiling of the US Embassy in New Delhi by Edward Stone are reproduced in the Museum exhibition. A 15' grille of pierced terracotta tile, similar to that which will protect the glass-walled building from India's sun, has been erected in the galleries along with a suspended mesh ceiling of aluminum discs anodized gold which will shade the interior patio pool around which the offices are grouped. Stepping stones in the actual pool will lead to tree-shaded islands. '[. The- model in the exhibition also shows an overhanging extra roof which serves as a parasol three feet above the building proper. This parasol roof projects well beyond the terra cotta grille and is supported at its perimeter by slender steel columns. It is perforated along its edge to cast lines of light on the richly Fhadowed tile.

This building is one of a series commissioned during the last ten years by the foreign Buildings Operations of the Department of State. "Clear organization of its elements gives this building much of its distinction. The choice of materials and colors, and the architect's intelligent adaptation of such locally traditional amenities as pools and pierced tile walls, give it an atmosphere appropriate to its purpose," Mr. Drexler says.

The air terminal building for Lambert Field in St. Louis by HeUmuth, Yamasaki and Leinweber presented some typical 20th century architectural problems. The building has to be seen easily from automobiles approaching on the ground and by Planes approaching from the air. "More important, it had to be conceived as an  unfinished composition. The design also had to allow for additions that would enhance rather than destroy the architects' conception," Mr. Drexler notes. As seen in the model in the exhibition, the building in its present state consists of three pairs of intersecting barrel vaults made of concrete, four inches thick and sheathed with copper. They attain a maximum height of 32 feet and together the three pairs enclose a room *H2 feet long. During this year, an additional unit will be added on the east; at a later date two more will be added on the west, doubling the building's present size and making the rhythm of the vaults even more effective through repetition.

The building is shown in photographs as well as by a model lighted from inside. The office building for Joseph E. Seagram & Sons at 375 Park Avenue, designed by Mies van der Rohe and Philip C. Johnson, is shown in a model and by a full scale mockup 20 feet long of part of a wall. The 38-story tower will be sheathed with gray-pink glass and hand-rubbed bronze mullions and spandrels. The long dimension of the tower parallels Park Avenue, facing a plaza approximately 100 x 200 feet and paved with pink granite. Formal pools on each side of the plaza, and a grove of beech trees on the north and south sides of the building, echo the symmetrical plan and elevations. The construction of this building is now in process.


當參觀者進入博物館的三樓展廳時，他會踏上一個25 x 4英尺的區域，該區域鋪設著石英骨料澆鑄板，板間有黑色阿爾巴倫石(Albarene stone)的分隔條。這種材料正在被研究用於紐約市中心60層高的大通曼哈頓銀行(Chase Manhattan Bank)的廣場。該廣場將裝飾有樹木和雕塑。該場地由1又1/2個狹窄的街區組成，提供了城市選址規劃困難的突出例子。通過與市政府達成協議，以交換一些土地獲得更寬的人行道，換取將雪松街(Cedar Street)納入廣場區域的權利，建築師斯基德莫爾、歐文斯和梅里爾事務所(Skidmore, Owings and Merrill)能夠為他們的建築提供一個環境，使它不僅能被看見，還能成為城市峽谷中的一個愉悅的綠洲。

模型、照片和平面圖顯示，在建築的周邊，3 x 5英尺的柱子被放置在牆壁外側，以釋放內部的地板空間。牆壁是玻璃的；柱子和樓層間隔將被不銹鋼或鋁覆蓋。銀行辦公室開向廣場區域下方的圓形水池。

由愛德華·斯通(Edward Stone)設計的美國駐新德里大使館(US Embassy in New Delhi)的瓷磚牆和網狀天花板在博物館展覽中被複製。一個15英尺的鏤空陶土瓷磚格柵，類似於將保護這座玻璃牆建築免受印度陽光影響的格柵，已在展廳內搭建，還有一個懸吊的網狀天花板，由陽極氧化成金色的鋁質圓盤組成，這將為辦公室群組周圍的內部庭院水池提供遮陽。實際水池中的踏腳石將通往樹蔭下的小島。模型中還展示了一個懸垂的額外屋頂，它作為一個遮陽傘，位於主建築上方三英尺處。這個遮陽傘屋頂遠遠伸出超過陶土格柵，並由其周邊的細長鋼柱支撐。它的邊緣被穿孔，以在豐富的陰影瓷磚上投下光線線條。

這座建築是過去十年由國務院外國建築運營部門委託建造的系列建築之一。「其元素的清晰組織賦予了這座建築許多獨特之處。材料和顏色的選擇，以及建築師對當地傳統設施如水池和鏤空瓷磚牆的聰明適應，賦予它一種與其目的相適應的氛圍，」德雷克斯勒先生說。

由赫爾穆斯、山崎和萊因韋伯(HeUmuth, Yamasaki and Leinweber)設計的聖路易斯蘭伯特機場(Lambert Field)航站樓呈現了一些典型的20世紀建築問題。這座建築必須從地面接近的汽車和空中接近的飛機容易看到。「更重要的是，它必須被構思為一個未完成的構圖。設計還必須允許進行增建，而這些增建會增強而非破壞建築師的構想，」德雷克斯勒先生指出。從展覽中的模型可以看到，目前的建築由三對相交的桶形拱頂組成，由4英寸厚的混凝土製成，外部覆銅。它們達到最大高度32英尺，三對拱頂一起圍成一個*H2英尺長的房間。今年內，東側將增加一個額外單元；未來西側將增加兩個單元，使建築的現有規模翻倍，並通過重複使拱頂的節奏更加有效。

這座建築不僅通過模型展示，該模型從內部點亮，還通過照片展示。由密斯·凡·德·羅厄(Mies van der Rohe)和菲利普·C·約翰遜(Philip C. Johnson)設計的位於公園大道375號的約瑟夫·E·西格拉姆父子公司(Joseph E. Seagram & Sons)辦公大樓，通過模型和一個20英尺長的牆壁部分原尺寸模型展示。這座38層高的塔樓將被灰粉色玻璃和手工拋光的青銅窗格和樓層間隔覆蓋。塔樓的長度與公園大道平行，面對一個約100 x 200英尺的廣場，廣場鋪設粉色花崗岩。廣場兩側的正式水池，以及建築物北側和南側的山毛櫸樹叢，呼應了對稱的平面和立面。該建築的建設目前正在進行中。


This is the first building in New York by Mies van der Rohe and is also the first opportunity the world-famous architect has had in the United States to execute a large building with the fine materials characteristic of his European work. Mr. Drexler calls 375 Park Mies' most powerful expression of a theme first stated in his twin glass and steel apartment towers in Chicago in 1951 and says that the mullion detail in particular may be compared with the delicate adjustments of line and shadow characteristic of the Ionic column.

The model includes studies for sculpture by Mies. These will be 30' sheets of bronze in three contrasting finishes. To be placed in each of the building pools, they will be the first sculptures executed by Mies van der Rohe.

The General Motors Technical Center, one of the two projects in the exhibition which is completed and in use, is shown by a model, color stereo slides and a 20' wall of the red glazed brick used for end walls and by a 10* aluminum and glass window wall. Occupying a 320 acre site--equivalent to the area from 59th Street to 79th Street and Fifth to Eighth Avenue in New York City-^the terminal center is organ ized in five sections or groups of buildings which are ranged around a twentytwo -acre artificial lake. In general the buildings designed by Eero Saarinen and Associates, are long rectangles with north and south elevations composed of pre-assembled aluminum frames, ten feet wide and one story high. Into these frames f.re placed sheets of green-tinted glass and two inch thick panels made of gray porcelain-enameled steel bonded to honeycombed paper. The modular rhythm is stopped atouptly by end walls of brick glazed bright red, yellow, orange or blue.

"Elegant and often beautiful, such details, together with exquisitely finished materials, suggast product dasign and manufacture as much as building," Mr. Drexler says. "The architect has created an attractive environment that plainly belongs to that part of American society whose values are increasingly determined by manufacturing and marketing techniques. Although the architect's designs produce effects unrelated to the company's products, the buildings are a kind of celebration of mass production. As such, they have more than architectural significance."

A ten by fifteen foot model of the new Air Force Academy now under construction in Colorado Springs is shown in the exhibition. A raised floor makes it possible for visitors to view it from two levels. A 25-foot photo-mural of the dramatic 17,500 acre site bounded by the Rampart Range of the Rocky Mountains covers the wall behind the model.

Six of the seven major buildings in the academy, which will occupy a 400 acre area, have been grouped on paved platforms modeled out of the site. The Cadet Quarters is the pivot of the composition. It consists of two floors above and two floors below an open arcade, where the cadets are assembled and where supervisory offices are located. This building is more than a quarter of a mile long with the upper part divided into two sections by an open garden court. There are three interior courts with landscaped gardens and streams.

Other buildings shown in the model are the Dining Hall for 3,000, with a two acre roof supported by 16 columns, the Social Hall, the Administration building, the Academic building and the Physical Education building which accomodates 15 basketball courts, three swimming pools and a rifle range.

The Chapel, for which the final design has not yet been made, is indicated by a simple block in the model. It is planned to contain one chapel each for Protestants, Catholics and other faiths. Acoustic controls will allow the three chapels to be used simultaneously.

"Architects Walter Netsch and Gordon Bunshaft," Mr. Drexler says, "have given the buildings an architectural unity difficult to achieve on so large a scale, without sacrificing variety in the design Of individual buildings and their groupings."

這是密斯·凡·德·羅厄(Mies van der Rohe)在紐約的第一座建築，也是這位世界著名建築師在美國首次有機會用其歐洲作品的特色優質材料來建造大型建築。德雷克斯勒先生稱375公園大道是密斯對他1951年在芝加哥的雙玻璃鋼鐵公寓塔樓中首次提出的主題最有力的表達，並且說窗格細節特別可以與愛奧尼柱式的精緻線條和陰影調整相比擬。

該模型包含密斯的雕塑研究。這些將是30英尺高的青銅板，具有三種對比鮮明的表面處理。它們將被放置在建築的每個水池中，將是密斯·凡·德·羅厄首次執行的雕塑。

通用汽車技術中心(General Motors Technical Center)是展覽中兩個已完工並投入使用的項目之一，通過模型、彩色立體幻燈片、一面20英尺用於端牆的紅色玻璃磚牆以及一面10英尺的鋁質和玻璃窗牆展示。佔地320英畝——相當於紐約市從第59街到第79街以及從第五大道到第八大道的區域——該終端中心分為五個部分或建築群，圍繞著一個二十二英畝的人工湖。總體而言，由埃羅·沙里寧及其合夥人(Eero Saarinen and Associates)設計的建築是長方形的，南北立面由預組裝的鋁框架組成，寬十英尺，高一層。這些框架中放置了綠色調的玻璃板和兩英寸厚的面板，這些面板由灰色瓷釉鋼板與蜂窩紙黏合而成。這種模塊化的節奏被端牆上明亮的紅色、黃色、橙色或藍色玻璃磚所突然終止。

「優雅且常常美麗的這些細節，加上精緻的材料處理，讓人聯想到產品設計和製造，而不僅僅是建築，」德雷克斯勒先生說。「建築師創造了一個具有吸引力的環境，明顯屬於美國社會中那部分價值觀越來越由製造和營銷技術決定的群體。雖然建築師的設計產生了與公司產品無關的效果，但這些建築是一種對大規模生產的慶祝。因此，它們具有超越建築意義的重要性。」
展覽中展示了現在在科羅拉多斯普林斯建設中的新空軍學院(Air Force Academy)的一個十乘十五英尺的模型。一個抬高的地板使參觀者可以從兩個層次觀看它。一個25英尺的照片壁畫展示了這個壯觀的17,500英畝場地，它被落基山脈的蘭帕特山脈所環繞，覆蓋了模型後面的牆壁。
學院的七個主要建築中的六個將佔據400英畝區域，已被分組在從場地建模的鋪砌平台上。學員宿舍是整個構圖的樞紐。它由開放拱廊上下各兩層樓組成，學員在拱廊處集合，監督辦公室也位於此處。這座建築長度超過四分之一英里，上部被一個開放的花園庭院分為兩個部分。有三個內部庭院，有園景花園和溪流。

模型中顯示的其他建築包括可容納3,000人的餐廳，其兩英畝的屋頂由16根柱子支撐，社交大廳，行政大樓，學術大樓和體育大樓，後者可容納15個籃球場，三個游泳池和一個射擊場。
教堂的最終設計尚未完成，在模型中以一個簡單的方塊表示。計劃將包含基督教徒、天主教徒和其他信仰各一個教堂。聲學控制將允許三個教堂同時使用。

「建築師沃爾特·內奇(Walter Netsch)和戈登·邦沙夫特(Gordon Bunshaft)，」德雷克斯勒先生說，「賦予了建築一種在如此大規模上難以實現的建築統一性，而不犧牲個別建築及其組合設計的多樣性。」