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▲ 美國芝加哥聯邦中心
United States Chicago Federal Center by Mies van der Rohe
世紀中期與中西部： 追溯美國工業走廊的現代主義運動
Mid-Century & Mid-Western: Tracing the Modernist Movement in America’s Industrial Corridor
由專筑網Zia，小R編譯
世紀中期現代主義運動不僅僅是美國設計美學或材料的轉變，更是對瞬息萬變的世界的回應。這場建筑革命興起于第二次世界大戰之后，它摒棄了過去華麗的傳統風格，轉而采用簡潔的線條、功能性設計以及鋼材、玻璃和混凝土等華而不實的材料。現代主義打破了傳統，轉而注重簡潔、高效和對未來的憧憬。它反映了一個國家重建的樂觀精神，表達了技術和創新對于城市景觀以及郊區住宅的塑造。
開放式平面布局、大窗戶、平屋頂以及室內外空間的融合是美國世紀中期現代主義的特點。建筑物的設計以功能性為中心，摒棄了不必要的裝飾，以適應戰后現代社會的需求。這些空間往往模糊了建筑與景觀之間的界限，追求與周圍環境的和諧。從芝加哥的玻璃鋼塔樓到加利福尼亞的簡約牧場式住宅，這場運動重新定義了現代生活的含義。
盡管紐約和洛杉磯等城市通常與世紀中期現代主義聯系在一起，但中西部地區在全國范圍內的現代主義運動中卻扮演著舉足輕重的角色。一些最有影響力的現代主義建筑師在這一地區找到了他們的舞臺，利用中西部的城市和鄉村景觀探索新的建筑可能性。從芝加哥的摩天大樓到印第安納州哥倫布市等小鎮的教堂，中西部是建筑創新的沃土。
The Mid-Century Modernist movement was more than an aesthetic or material shift in the United States, as it was a response to a rapidly changing world. Emerging after World War II, this architectural revolution rejected ornate, traditional styles of the past in favor of clean lines, functional design, and incorporation of flashy materials like steel, glass, and concrete. Modernism was a break from tradition, focusing instead on simplicity, efficiency, and a vision for the future. It reflected the optimism of a nation rebuilding itself, where technology and innovation shaped everything from cityscapes to suburban homes.
Open floor plans, large windows, flat roofs, and the integration of interior and exterior spaces characterized mid-century modernism in the United States. Buildings were designed with functionality in mind, stripped of unnecessary ornamentation, and adapted to the needs of a modern, postwar society. These structures often blurred the boundaries between architecture and landscape, seeking harmony with their surroundings rather than imposing on them. From the glass-and-steel towers of Chicago to the minimalist ranch homes in California, this movement redefined what it meant to live in the modern world.
While cities like New York and Los Angeles are often associated with Mid-Century Modernism, the Midwest played a pivotal role in shaping the movement across the country. Some of the most influential modernist architects found their canvas in this region, using the Midwest's urban and rural landscapes to explore new architectural possibilities. From skyscrapers in Chicago to churches in small towns like Columbus, Indiana, the Midwest was a fertile ground for architectural innovation.
伊利諾伊州：芝加哥戰后現代主義的城市中心
An Urban Epicenter of Post-War Modernism in Chicago, Illinois
▲ 北密歇根大街875號，原約翰·漢考克中心
875 N. Michigan Ave. Former John Hancock Center by SOM. Image © Dave Burk © SOM
要將芝加哥排除在北美現代主義對話之外是不可能的，即使在今天，芝加哥仍是一座與現代主義的關系更多是共生而非偶然的城市。芝加哥悠久的建筑創新歷史為二戰后興起的現代主義運動奠定了基礎，是現代摩天大樓設計的發源地，也是路易斯·沙利文和弗蘭克·勞埃德·賴特等先驅的故鄉，在展現密斯·凡德羅的國際風格原則方面，芝加哥具有得天獨厚的優勢。
20世紀30年代，密斯·凡德羅來到伊利諾伊理工學院，標志著這座城市的一個關鍵時刻。密斯的建筑理念以極簡主義形式為特征，強調鋼材和玻璃等新型工業材料，在芝加哥快速發展的城市景觀中找到了完美的出口。他的設計，如湖濱大道公寓（1951年）和皇冠大廳（1956 年），打破了過去的傳統，摒棄了裝飾，轉而以結構作為美的形式。這些建筑不僅僅是有形的結構，它們還是一種看待世界的新方式，將藝術和功能融合為一個優雅的整體。
It is impossible to exclude Chicago from the conversation of modernism in North America. It stands, even today, as a city whose relationship with modernism was more symbiotic than incidental. The city's long history of architectural innovation laid the groundwork for the birth of the Mid-Century Modern movement, which took off in the aftermath of World War II. Famously admired as the birthplace of modern skyscraper design and home to pioneers like Louis Sullivan and Frank Lloyd Wright, Chicago was uniquely positioned to embrace the principles of the International Style, perfected by Mies van der Rohe.
The arrival of Mies van der Rohe at the Illinois Institute of Technology in the 1930s marked a pivotal moment for the city. Mies's architectural philosophy, characterized by minimalist forms and an emphasis on new industrial materials like steel and glass, found a perfect outlet in Chicago's rapidly evolving urban landscape. His designs, such as the Lake Shore Drive Apartments (1951) and Crown Hall (1956), broke from the past, rejecting ornamentation in favor of structure as the form of beauty. These buildings were more than just physical structures—they were a new way of seeing the world that blended art and function into an elegant whole.
▲ 美國芝加哥聯邦中心
United States Chicago Federal Center by Mies van der Rohe. Image © Garrett Rock
芝加哥對現代主義的擁護不僅停留在理論上，而且有眾多實踐。SOM 設計的約翰·漢考克中心（1970年）以其大膽的錐形造型和一體化設計體現了這座城市正在進行的變革。這些摩天大樓不僅僅是財富的象征，還代表了具有前瞻性思維的工業城市在戰后變革中的自我重塑。現代主義在芝加哥的意義在于突破可能的界限，因而芝加哥的天際線成為了這種新建筑理念的城市實驗室。
Chicago's embrace of modernism wasn't just theoretical but intensely practical. The John Hancock Center by SOM (1970), with its bold tapering shape and integrated design, embodied the city's ongoing transformation. These skyscrapers weren't just symbols of wealth—they represented a forward-thinking, industrial city reinventing itself in the face of postwar change. Modernism in Chicago was about making a statement, about pushing the boundaries of what was possible, and the skyline became an urban laboratory for this new architectural philosophy.
印第安納州：哥倫布市成為意料之外的現代主義天堂
An Unexpected Modernist Haven in Columbus, Indiana
▲ 米勒花園住宅
Miller House and Garden by Eero Saarinen. Image Courtesy of Indianapolis Museum of Art
中西部地區的現代主義并不僅僅局限于廣闊的城市景觀，美國的小城鎮也以驚人的熱情擁抱著這場運動，其中以印第安納州的哥倫布最為突出。哥倫布是一個人口不足5萬的小鎮，但在康明斯發動機公司首席執行官J. Irwin Miller的遠見卓識下，哥倫布成為了意料之外的現代主義建筑中心。
Miller深信，建筑可以成為提升公民自豪感的工具，于是他開始將一些世界上最偉大的建筑師請到自己的家鄉。這一努力將哥倫布變成了建筑圣地，吸引了埃利爾·沙里寧、貝聿銘和理查德·邁爾等知名人士。這些建筑師不僅設計建筑，他們還為哥倫布塑造了新的形象，為哥倫布注入了世紀中期現代主義精神。由埃利爾·沙里寧設計的第一基督教堂（1942年）是該鎮最著名的地標之一，它是現代主義如何改造神圣空間的絕佳范例。教堂采用極簡主義設計，混凝土拱門高聳入云，內部光線充足，與傳統的宗教建筑截然不同，但簡約中不失靈性。
Modernism in the Midwest wasn't only defined by the sprawling urban landscapes. Small-town America, too, embraced the movement with a surprising fervor, most notably in Columbus, Indiana. A town of less than 50,000, Columbus became an unlikely hub of modernist architecture, thanks to the vision of J. Irwin Miller, the CEO of Cummins Engine Company.
Miller was convinced that architecture could be a tool for civic pride, and he set out to bring some of the world's greatest architects to his hometown. This endeavor transformed Columbus into an architectural mecca, attracting renowned figures like Eliel Saarinen, I.M. Pei, and Richard Meier. These architects didn't just design buildings—they shaped a new identity for the town, infusing it with the spirit of Mid-Century Modernism. One of the town's most notable landmarks, the First Christian Church (1942), designed by Eliel Saarinen, is a stunning example of how modernism could transform sacred spaces. The church's minimalist design, with its soaring concrete arches and light-filled interior, departs from traditional religious architecture, yet remains deeply spiritual in its simplicity.
▲ 米勒花園住宅
Miller House and Garden by Eero Saarinen. Image Courtesy of Indianapolis Museum of Art
哥倫布并不僅僅在公共建筑中采用現代主義，現代主義還影響了哥倫布的學校、圖書館和公交車站的設計和建造。到20世紀70年代，哥倫布的人均現代主義建筑數量超過了美國其他地區。哥倫布是現代主義如何超越城市中心，成為中西部小城生活方式的完美范例，它提升了日常公共空間的檔次，并將公民自豪感植入該地區的身份認同中。
But Columbus didn't just embrace modernism in its public buildings. It influenced the narrative and construction of its schools, libraries, and bus stations. By the 1970s, the town had more modernist structures per capita than any other place in the United States. Columbus is a perfect example of how modernism transcended urban centers and became a way of life in a small Midwestern town, elevating everyday spaces and embedding a sense of future-oriented civic pride into the region's identity.
美國小鎮的鄉村世紀中期現代主義
Rural Mid-Century Modernism in Small-Town America
▲ 范斯沃斯豪宅的家具展示
Installation at Farnsworth House Showcases Furniture. Image © William Zbaren
▲ 范斯沃斯豪宅的家具展示
Installation at Farnsworth House Showcases Furniture. Image © William Zbaren
雖然芝加哥和哥倫布可能是中西部地區最具代表性的世紀中期現代主義代表，但這一運動的影響甚至波及到該地區最偏遠的鄉村角落。在愛荷華州的梅森城和印第安納州的韋恩堡等城鎮，現代主義簡約、開放和功能性的理想并不局限于宏偉的城市項目。它們進入日常生活，塑造住宅、學校、圖書館、市政建筑和社區基礎設施。與芝加哥或哥倫布高聳入云的摩天大樓和大膽的公共空間不同，農村地區的世紀中期現代主義建筑在規模上更為適中，但仍然體現了對簡潔線條、高效設計和環境整合的關注。
以弗蘭克·勞埃德·賴特在愛荷華州梅森市設計的草原學校住宅為例。這些房屋擁有平直的屋頂線條、寬大的懸挑以及開放、流暢的內部空間，抓住了世紀中期現代設計的精髓，打破了傳統的封閉式房間，創造出寬敞并與自然相連的空間。雖然這些住宅都是私人住宅，但它們是更廣泛的世紀中期精神的縮影，采用當地材料，與景觀融為一體，并利用設計來提高生活質量。賴特在梅森城的作品反映了世紀中期現代主義并不僅僅滿足于美學，而是將空間設計得簡潔、實用，并與周圍環境緊密相連。
While Chicago and Columbus may stand as the most iconic expressions of Mid-Century Modernism in the Midwest, the movement's influence rippled through even the most rural corners of the region. In towns like Mason City, Iowa, and Fort Wayne, Indiana, the modernist ideals of simplicity, openness, and functionality weren't just limited to grand urban projects. They found their way into everyday life, shaping residential homes, schools, libraries, civic buildings, and community infrastructure. Unlike the towering skyscrapers and bold public spaces in Chicago or Columbus, the rural examples of Mid-Century Modernism were more modest in scale. Still, they reflected the same commitment to clean lines, efficient design, and environmental integration.
Take, for example, the Frank Lloyd Wright-designed Prairie School houses in Mason City, Iowa. With their flat rooflines, wide overhangs, and open, flowing interiors, these homes captured the essence of Mid-Century Modern design, breaking away from traditional boxed-in rooms to create spaces that were expansive and connected to nature. While these houses were private homes, they served as a microcosm of the broader Mid-Century ethos, embracing local materials, blending with the landscape, and using design to enhance the quality of life. Wright's work in Mason City reflects how Mid-Century Modernism did not answer only to aesthetics, but to the ideologies of designing spaces that are simple, functional, and intrinsically linked to their environmental context.
▲ 米勒花園住宅
Miller House and Garden by Eero Saarinen. Image Courtesy of Indianapolis Museum of Art
除了建筑，世紀中期現代主義的原則開始滲透到這些鄉村社區設計的方方面面。塑造該地區住宅和學校的價值觀也影響了家具設計、產品設計，甚至基礎設施。在小城鎮，學校的設計采用了寬大的玻璃窗，以促進開放性，并將學生與外面的自然世界聯系起來。與此同時，線條簡潔的現代主義家具在當地家庭中也很常見，既簡潔又實用。韋恩堡的學校與著名建筑師埃羅-沙里寧設計的學校一樣，融入了現代主義元素，如開放、靈活的空間，可以適應學生的需求，反映了這一運動更廣泛的目標，即創造鼓勵合作、創新的社區環境。
此外，農村地區的世紀中期現代主義還延伸到了城市規劃和社區基礎設施——注重效率、可達性以及與自然景觀的完美融合。這些小城鎮的道路、公園、甚至公共交通的規劃都強調簡潔明了的形式，確保建筑環境并不割裂，而是對自然環境的補充。小城鎮的城市規劃者接受了現代主義的理想，即建筑和設計應服務于社區，作為日常生活的背景和豐富日常生活的手段。
Beyond architecture, the principles of Mid-Century Modernism began to permeate every facet of design in these rural communities. The same values that shaped the homes and schools of the region also influenced furniture design, product design, and even infrastructure. In small towns, schools were designed with expansive glass windows to foster openness and connect students to the natural world outside. At the same time, the clean lines of modernist furniture became commonplace in local homes, offering simplicity and functionality. Schools in Fort Wayne, like those designed by the notable architect Eero Saarinen, incorporated modernist elements such as open, flexible spaces that could adapt to the needs of students, reflecting the movement's broader aim of creating environments that encouraged collaboration, innovation, and community.
Moreover, Mid-Century Modernism in rural areas extended into urban planning and community infrastructure—with designs focused on efficiency, accessibility, and a seamless integration with the natural landscape. Roads, parks, and even public transportation in these small towns were planned with an emphasis on simplicity and clarity of form, ensuring that the built environment was not an imposition, but a complement to the natural surroundings. Urban planners in small towns embraced the modernist ideal that architecture and design should serve the community as a backdrop to daily life and a means to enrich it.
▲ 范斯沃斯豪宅的家具展示
Installation at Farnsworth House Showcases Furniture. Image © William Zbaren
▲ 范斯沃斯豪宅的家具展示
Installation at Farnsworth House Showcases Furniture. Image © William Zbaren
在這些中西部城鎮中，現代主義運動并不僅僅是一種自上而下的潮流，而是當地文化根深蒂固的一部分，與居民對具有前瞻性思維但又立足于當地的生活方式的渴望產生了共鳴。20世紀中期的理想是開放、簡約和與自然的聯系，這種理想不僅體現在高聳的市政建筑或寬闊的城市公園中，也體現在小鎮生活的結構中。在這里，現代主義并不是要創造宏偉的姿態，也不以改變世界為目的，而是要在此時此地為人設計，著眼未來，展現過去。這種對現代主義原則的本土化改造表明，現代主義運動的理念可以在任何規模上得以實現，也表明美國鄉村對于這種思路的接納，目的是讓生活更簡單、更高效、更美麗。
In these Midwestern towns, the modernist movement was not simply a top-down trend but a deeply ingrained part of the local culture, resonating with residents' desire for a forward-thinking yet regionally grounded approach to life. The Mid-Century ideals of openness, simplicity, and a connection to nature found expression not just in towering civic buildings or sweeping urban parks, but in the very fabric of small-town life. Here, modernism was not about creating grand, world-changing gestures—it was about designing for the people, in the here and now, with an eye toward the future, and understanding the past. This local adaptation of modernist principles shows how the movement's philosophy could be realized at any scale, and how rural America embraced a movement that was fundamentally about making life simpler, more efficient, and more beautiful.
中西部地區世紀中期現代主義的影響
Scales of Mid-Century Modernism in the Midwest
▲ 美國芝加哥聯邦中心
United States Chicago Federal Center by Mies van der Rohe. Image © Samuel Ludwig
▲ 美國芝加哥聯邦中心
United States Chicago Federal Center by Mies van der Rohe. Image © Samuel Ludwig
中西部各州的世紀中期現代主義拒絕受到規模、地理或城市環境的限制。它仍然證明，現代建筑并不是不斷擴張的城市或特權精英的專屬領域。相反，在不斷擴張的城市環境和家具設計決策中，現代建筑是一種多功能的民主力量。
中西部地區的世紀中期現代主義之美在于它能夠將開放、簡潔和功能性的理想轉化為各種形式。這場運動通過不朽的市政建筑、流線型住宅或時尚的家具設計，從最宏偉的市政姿態到最微小的日常用品，在各個層面重塑了中西部的景觀。在現代主義的多尺度應用中，中西部建筑遺產的核心設計輝煌燦爛。
Mid-century modernism in the Midwestern states refused to be confined by scale, geography, or urban context. It remains proof that modern architecture was not the exclusive realm of sprawling cities or privileged elites. Instead, it was a versatile and democratic force in sprawling urban contexts and furniture design decisions.
The beauty of mid-century modernism in the Midwest lies in its ability to translate the ideals of openness, simplicity, and functionality into various forms. The movement reshaped the Midwestern landscape at every level through monumental civic buildings, streamlined homes, or sleek furniture designs, from the grandest civic gestures to the most miniature everyday objects. In this multi-scaled application of modernism, the heart of the Midwest's architectural legacy truly shines.
▲ 五大湖海軍訓練基地
Great Lakes Naval Training Center, Hostess House by SOM. Image © Hedrick Blessing
▲ 五大湖海軍訓練基地
Great Lakes Naval Training Center, Hostess House by SOM. Image © Hedrick Blessing
在整個地區的城鎮展望未來時，這場運動的經驗教訓為我們提供了寶貴的啟示，即如何創造能反映社區精神和愿望的功能性空間。然而，對這些建筑的保護仍然是一個有爭議的問題，一些現代主義地標隨著時間的流逝而消失，而另一些則最終因其文化和建筑意義而得到認可，這種關于保護的持續對話反映了現代主義運動更廣泛的影響。
歸根結底，中西部地區對世紀中期現代主義的追捧是對一個時代的見證，這個時代充滿了樂觀主義、前瞻性思維以及對設計塑造日常生活潛力的深刻信念。在美國的工業中心地帶，現代主義展現了對未來的憧憬，這種憧憬以簡潔、功能和美觀的價值觀為基礎，通過建筑設計直觀地表達出來。
As cities and towns across the region look to the future, the lessons of this movement offer valuable insight into creating functional spaces that reflect a community's spirit and aspirations. However, preserving these structures remains a contested issue, with some modernist landmarks lost to time while others are finally recognized for their cultural and architectural significance. This ongoing conversation about preservation speaks to the broader legacy of the movement.
Ultimately, the Midwest's embrace of Mid-Century Modernism stands as a testament to an era marked by optimism, forward-thinking, and a profound belief in the potential of design to shape everyday life. In the industrial heartland of the United States, modernism adopted a vision for a future that was accessible, scalable, and grounded in the values of simplicity, function, and beauty.
▲ 五大湖海軍訓練基地
Great Lakes Naval Training Center, Hostess House by SOM. Image © Hedrick Blessing
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