单项选择题

A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburban town of Merion, Pa., to a site in Philadelphia"s museum district caused an argument—not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to break a relationship among art, architecture and landscape critical to the Barnes"s success as a museum.
For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming (势不可挡的). What is an architect"s responsibility to Barnes"s vision of a marvelous but odd collection of early Modern artworks housed in a rambling (布局凌乱的) 1920s Beaux-Arts pile Is it possible to reproduce its spirit in such a changed setting Or does trying to copy the Barnes"s unique atmosphere only doom (注定) you to failure The answers of the New York architects taking the commission are not reassuring.
The new Barnes will include many of the features that have become virtually mandatory (强制性的) in the museum world today—conservation and education departments, temporary exhibition space, bookstore, café— making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to copy the peacefulness, if not the fantastic charm, of the old museum.
But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.
The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cézanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the country"s most charming exhibition spaces.
But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate. Why does the author oppose to relocate the Barnes