Museums

　　From Boston to Los Angeles, from New York City to Chicago to Dallas, museums are either planning, building, or wrapping up wholesale expansion programs. These programs already have radically altered facades and floor plans or are expected to do so in the not-too-distant future.

　　In New York City alone, six major institutions have spread up and out into the air space and neighborhoods around them or are preparing to do so.

　　The reasons for this confluence of activity are complex, but one factor is a consideration everywhere -- space. With collections expanding, with the needs and functions of museums changing, empty space has become a very precious commodity.

　　Probably nowhere in the country is this more true than at the Philadelphia Museum of Art, which has needed additional space for decades and which received its last significant facelift ten years ago. Because of the space crunch, the Art Museum has become increasingly cautious in considering acquisitions and donations of art, in some cases passing up opportunities to strengthen its collections.

　　Deaccessing -- or selling off -- works of art has taken on new importance because of the museums space problems. And increasingly, curators have been forced to juggle gallery space, rotating one masterpiece into public view while another is sent to storage.

　　Despite the clear need for additional gallery and storage space, however, the museum has no plan, no plan to break out of its envelope in the next fifteen years, according to Philadelphia Museum of Arts president.

　　博物館

　　從波士頓到洛杉機(jī)，從紐約到芝加哥、到達(dá)拉斯，所有的博物館或者正在籌劃、建造或者正在完成大規(guī)模的擴(kuò)建計(jì)劃。 這些計(jì)劃或者已經(jīng)根本性地改變了博物館門(mén)面與展廳的設(shè)計(jì)，或者預(yù)期在不久的將來(lái)會(huì)這樣做。 單單在紐約市，六個(gè)主要機(jī)構(gòu)或者已經(jīng)向空中和周?chē)鷶U(kuò)展，或者正準(zhǔn)備這樣做。大家一致行動(dòng)的原因是復(fù)雜多樣的，但其中的一個(gè)因素是普遍考慮的空間問(wèn)題。 隨著收藏品的增多，也隨著博物館的需要和功能的變化，空間已經(jīng)變成了一項(xiàng)非常珍貴的商品。在我國(guó)，也許沒(méi)有任何其他地方比費(fèi)城藝術(shù)博物館更符合這個(gè)事實(shí)。 這個(gè)博物館幾十年來(lái)一直需要額外的空間，十年前進(jìn)行了最后一次重大的翻新。 由于空間緊缺，該藝術(shù)博物館在考慮購(gòu)買(mǎi)與受贈(zèng)藝術(shù)品已越來(lái)越謹(jǐn)慎，有時(shí)甚至放棄增強(qiáng)藝術(shù)收藏的機(jī)會(huì)。由于博物館的空間問(wèn)題，將藝術(shù)品脫手或者說(shuō)賣(mài)掉已經(jīng)有了新的重要意義。 博物館館長(zhǎng)們被迫巧妙輪換利用陳列館的空間，輪流著把一些藝術(shù)杰作向公眾展出，而把另一些送入存儲(chǔ)室中。雖然對(duì)額外的陳列室和存儲(chǔ)室空間需要很明顯，但據(jù)費(fèi)城藝術(shù)博物館經(jīng)理講： 博物館還沒(méi)有在未來(lái)十五年打破這個(gè)束縛的計(jì)劃。

　　Museums

　　From Boston to Los Angeles, from New York City to Chicago to Dallas, museums are either planning, building, or wrapping up wholesale expansion programs. These programs already have radically altered facades and floor plans or are expected to do so in the not-too-distant future.

　　In New York City alone, six major institutions have spread up and out into the air space and neighborhoods around them or are preparing to do so.

　　The reasons for this confluence of activity are complex, but one factor is a consideration everywhere -- space. With collections expanding, with the needs and functions of museums changing, empty space has become a very precious commodity.

　　Probably nowhere in the country is this more true than at the Philadelphia Museum of Art, which has needed additional space for decades and which received its last significant facelift ten years ago. Because of the space crunch, the Art Museum has become increasingly cautious in considering acquisitions and donations of art, in some cases passing up opportunities to strengthen its collections.

　　Deaccessing -- or selling off -- works of art has taken on new importance because of the museums space problems. And increasingly, curators have been forced to juggle gallery space, rotating one masterpiece into public view while another is sent to storage.

　　Despite the clear need for additional gallery and storage space, however, the museum has no plan, no plan to break out of its envelope in the next fifteen years, according to Philadelphia Museum of Arts president.

　　博物館

　　從波士頓到洛杉機(jī)，從紐約到芝加哥、到達(dá)拉斯，所有的博物館或者正在籌劃、建造或者正在完成大規(guī)模的擴(kuò)建計(jì)劃。 這些計(jì)劃或者已經(jīng)根本性地改變了博物館門(mén)面與展廳的設(shè)計(jì)，或者預(yù)期在不久的將來(lái)會(huì)這樣做。 單單在紐約市，六個(gè)主要機(jī)構(gòu)或者已經(jīng)向空中和周?chē)鷶U(kuò)展，或者正準(zhǔn)備這樣做。大家一致行動(dòng)的原因是復(fù)雜多樣的，但其中的一個(gè)因素是普遍考慮的空間問(wèn)題。 隨著收藏品的增多，也隨著博物館的需要和功能的變化，空間已經(jīng)變成了一項(xiàng)非常珍貴的商品。在我國(guó)，也許沒(méi)有任何其他地方比費(fèi)城藝術(shù)博物館更符合這個(gè)事實(shí)。 這個(gè)博物館幾十年來(lái)一直需要額外的空間，十年前進(jìn)行了最后一次重大的翻新。 由于空間緊缺，該藝術(shù)博物館在考慮購(gòu)買(mǎi)與受贈(zèng)藝術(shù)品已越來(lái)越謹(jǐn)慎，有時(shí)甚至放棄增強(qiáng)藝術(shù)收藏的機(jī)會(huì)。由于博物館的空間問(wèn)題，將藝術(shù)品脫手或者說(shuō)賣(mài)掉已經(jīng)有了新的重要意義。 博物館館長(zhǎng)們被迫巧妙輪換利用陳列館的空間，輪流著把一些藝術(shù)杰作向公眾展出，而把另一些送入存儲(chǔ)室中。雖然對(duì)額外的陳列室和存儲(chǔ)室空間需要很明顯，但據(jù)費(fèi)城藝術(shù)博物館經(jīng)理講： 博物館還沒(méi)有在未來(lái)十五年打破這個(gè)束縛的計(jì)劃。