巴黎再添一座“奇奇怪怪”的建筑

An Architect’s Big Parisian Moment

巴黎再添一座“奇奇怪怪”的建筑

In a cultural twofer that makes it Frank Gehry week here, the Louis Vuitton Foundation, a private cultural center and contemporary-art museum designed by Mr. Gehry, had its official inaugural ceremony on Monday, attended by the French president, François Hollande. At the same time, the Pompidou Center across town is giving Mr. Gehry, based in Los Angeles, a major career retrospective.

巴黎，本周可謂弗蘭克·蓋里(Frank Gehry)周(本文最初發(fā)表于2014年10月21日——編注)。周一的時(shí)候，蓋里先生設(shè)計(jì)的路易威登基金會(huì)大樓(Louis Vuitton Foundation)舉行了正式落成儀式，這是一個(gè)具有雙重用途的文化建筑——它既是一處私有的文化中心，也是一座當(dāng)代藝術(shù)博物館。出席落成儀式的，包括法國總統(tǒng)弗朗索瓦·奧朗德。與此同時(shí)，位于巴黎另一側(cè)的蓬皮杜中心(Pompidou Center)為這位來自洛杉磯的建筑師舉辦了大型的回顧展，這也是他在歐洲的第一個(gè)職業(yè)生涯展。

The Pompidou exhibition, “Frank Gehry,” establishes a narrative arc for a career that effectively started with small-scale, experimental wood-frame studios and houses in Southern California and culminates in the Vuitton Foundation in the Bois de Boulogne, which some critics have called one of the most technologically sophisticated, artistically motivated buildings of his oeuvre. A 126,000-square-foot, $135 million structure that formally opens to the public next Monday, it promises to add a major contemporary monument to Paris’s long list of historic architecture.

蓬皮杜中心的“弗蘭克·蓋里展”從南加州的試驗(yàn)性小型木結(jié)構(gòu)工作室和住宅開始，以位于布洛涅林苑 (Bois de Boulogne)的路易威登基金會(huì)大樓結(jié)束，為這位建筑師的職業(yè)生涯建立了一條敘述弧。一些建筑評(píng)論家認(rèn)為，路易威登基金會(huì)大樓是弗蘭克·蓋里的所有作品中技術(shù)最為復(fù)雜、最具藝術(shù)感的建筑之一。這個(gè)占地12.6萬平方英尺、耗資1.35億美元的建筑將在下周一正式對公眾開放，無疑令巴黎厚重的歷史建筑名單上又增添了一件重大的當(dāng)代杰作。

The Louis Vuitton Foundation, a private cultural center and contemporary-art museum designed by Frank Gehry, opens to the public next week.

路易威登基金會(huì)是一個(gè)私人文化中心，也是一個(gè)當(dāng)代藝術(shù)博物館，由弗蘭克·蓋里設(shè)計(jì)。

At the end of the ceremony, President Hollande described the building as a “cathedral of light” that was “a miracle of intelligence, creativity and technology.”

在落成儀式的最后，奧朗德總統(tǒng)形容該建筑是“智慧、創(chuàng)造力和技術(shù)的奇跡”，是一座“開明大教堂”(cathedral of light)。

Mr. Gehry’s moment in Paris comes after his Dwight D. Eisenhower Memorial in Washington was approved last week, following a bruising five-year process in which Mr. Gehry’s design went through more than 15 committees and commissions and many adjustments. In Paris, after settling concerns about building in a park, he needed the approval of only one client, Bernard Arnault, chairman and chief executive of the luxury goods conglomerate LVMH, whose foundation owns the new building.

蓋里的“巴黎時(shí)刻”到來之前，就在上一周，他設(shè)計(jì)的華盛頓艾森豪威爾紀(jì)念碑(Dwight D. Eisenhower Memorial )獲得了通過，該方案在五年時(shí)間里經(jīng)過了至少15個(gè)委員會(huì)的評(píng)估，做了大量的修改。在巴黎，平息了公眾對于在公園里興建建筑的疑慮之后，蓋里只需要獲得一個(gè)人的許可，他就是大型奢侈品集團(tuán)LVMH的董事會(huì)主席和首席執(zhí)行官伯納德·阿諾特(Bernard Arnault)，他的基金會(huì)是這棟新建筑的主人。

“The guy knew what he wanted, and he wanted a building that would be different than anything else anybody had ever seen,” said Mr. Gehry, interviewed over coffee on Monday in his hotel off the Champs Élysées.

“他很清楚自己想要一個(gè)什么樣的建筑，他要的是一個(gè)前所未見的東西，”周一的時(shí)候，蓋里在位于香榭麗舍大道附近的酒店，就著咖啡接受采訪的時(shí)候說道。

Mr. Arnault hired Mr. Gehry, he has said, after seeing his Guggenheim Museum in Bilbao, Spain, a spectacle of fluid forms that reshaped that city’s derelict waterfront while enclosing classical white galleries inside. At Vuitton, Mr. Gehry builds on the Bilbao precedent, creating a more complex structure clad in glass rather than titanium.

阿諾特曾經(jīng)說過，他在看了蓋里設(shè)計(jì)的西班牙畢爾巴鄂古根海姆美術(shù)館之后，就決定讓他來做設(shè)計(jì);那是一個(gè)有著流暢線條的壯觀建筑，將古典的白色展廳圈在中間，它的落成令該城破敗的濱海區(qū)煥然一新。對于路易威登基金會(huì)大樓，蓋里在畢爾巴鄂的那棟建筑基礎(chǔ)上做了更為復(fù)雜的結(jié)構(gòu)設(shè)計(jì)，外立面沒有像前者一樣采用鈦板，而是選擇了玻璃。

Visitors encounter what looks like a Cubist sailboat, with glass sails and spinnakers rising above the tree line and billowing simultaneously fore, aft, port and starboard. The building appears to glide over a cascade of water lapping down a stepped embankment below its cantilevered prow. The two-story structure has 11 galleries, a voluminous auditorium and multilevel roof terraces for events and art installations.

來這里參觀的人，看到的是一個(gè)立體派的帆船式建筑，玻璃材質(zhì)的蓬帆和大三角帆在樹梢高度，同時(shí)朝著前后左右四個(gè)方向揚(yáng)起。水在從懸臂裝船首下方的階梯狀護(hù)坡滾滾而下，令整棟建筑看來似乎行于水面。這棟兩層樓的建筑有11個(gè)展廳、一個(gè)大禮堂以及多層屋頂露臺(tái)，方便舉辦各種活動(dòng)和陳列藝術(shù)裝置。

The site is next to the Jardin d’Acclimatation, a 19th-century children’s park and zoo at the north edge of the Romantically landscaped Bois de Boulogne. The architect had to build within the square footage and two-story volume of a bowling alley that previously stood here; anything higher had to be glass. Mr. Arnault’s program for the Foundation, whose stated mission is to stimulate artistic creation, called for a museum with galleries for permanent and temporary exhibitions, and a concert hall.

這棟建筑毗鄰Jardin d’Acclimatation，這是一座19世紀(jì)的兒童樂園、動(dòng)物園，位于有著浪漫主義景致的布洛涅林苑北側(cè)。之前佇立于此的是一座相當(dāng)于兩層樓高的保齡球館，建筑師在建筑面積和體量方面都必須受制于它，高出的部分只得采用玻璃。路易威登基金會(huì)的使命是激勵(lì)藝術(shù)創(chuàng)作，根據(jù)阿諾特對于該基金會(huì)的想法，它還得是一個(gè)美術(shù)館，帶有多個(gè)可舉辦臨時(shí)或者常設(shè)展覽的展廳，以及一座音樂廳。

Mr. Gehry said, “We talked to him about the site, and it was clear that it had to be something that fits into a garden, something in the tradition of a 19th-century glass pavilion or conservatory.”

蓋里說：“我們跟他談到了地點(diǎn)的問題，顯然它必須是一個(gè)適合放在花園里的建筑，遵循19世紀(jì)的玻璃房或者溫室傳統(tǒng)。”

Unlike his compatriot I. M. Pei, who placed the glass Pyramid at the Louvre to acknowledge the long axis of the Champs Élysées, Mr. Gehry ignored France’s geometric traditions. “The clouds of glass respond to nature’s geometry, to the park’s English landscaping,” he said of the Bois de Boulogne. “Nature’s apparent disorder has its own order.”

與另一位美國設(shè)計(jì)師貝聿銘不同——后者給盧浮宮設(shè)計(jì)的玻璃金字塔位于香榭麗舍大道的軸線上，蓋里完全沒有理會(huì)法國的幾何傳統(tǒng)。“大量的玻璃運(yùn)用，與大自然的幾何圖形和公園的英式風(fēng)景形成了應(yīng)答關(guān)系，”他在談到布洛涅林苑時(shí)說道。“大自然表面看起來亂，其實(shí)亂中有序。”

In trying to create a spirited adult version of the Jardin d’Acclimatation’s fantasy buildings, Mr. Gehry said he was “very moved by the park, which reminded me of Proust’s Paris.” He added: “I read him over and over again, and I realized it was a pretty emotional site for everybody. It brought tears to my eyes.”

在打造Jardin d’Acclimatation里那些奇幻建筑令人興奮的成人版過程中，蓋里稱自己“被這座公園深深打動(dòng)了，讓我想到了普魯斯特的巴黎”。他又補(bǔ)充，“我一遍又一遍地讀他的書，我發(fā)現(xiàn)這里對每個(gè)人來說，都是一個(gè)令人動(dòng)感情的地方。它讓我的眼睛充滿淚水。”

He had two mandates: respecting the park and garden and satisfying the requirements for the galleries.

他接到了兩條要求：尊重那座公園和花園，滿足展覽的所有需求。

“Once we had the big, basic premise that there was a solid piece for the galleries, which we started to call the icebergs, and then the glass sails for the garden, we started to work them independently,” Mr. Gehry said. “Merging the two would not work, because you couldn’t have curvy galleries, and you can’t hang paintings on glass.” The diaphanous sails, supported on an acrobatic armature of wood and steel, project outside the iceberg.

“一旦敲定基本的大前提——一個(gè)用作展廳的固體部分，我們稱之為冰山，一個(gè)是給花園做的玻璃風(fēng)帆，我們開始進(jìn)行各自分開的設(shè)計(jì)工作，”蓋里說。“把兩個(gè)部分生生并到一起不可行，因?yàn)檎箯d不可能是曲線形的，而且畫又不可能掛在玻璃上。”半透明的風(fēng)帆伸在冰山的外側(cè)，由一個(gè)木頭和鋼材材質(zhì)的、雜技演員般的支架來支撐。

The glass structure takes its place in a long Parisian tradition dating from the 13th-century Gothic Sainte-Chapelle on the Île de la Cité, with its tall walls of stained glass, and the 19th-century Grand Palais, an exhibition hall whose glass vaults echo the vast public spaces of Rome. The Foundation’s fragmented, multidirectional forms recall the Cubism of Braque and Picasso. The mission statement of the Foundation acknowledges 20th-century Modern art movements as a basis of the contemporary art it champions.

在巴黎漫長的建筑傳統(tǒng)中，玻璃結(jié)構(gòu)占有著一席之地，其歷史可以上溯到圣路易島上有著彩色玻璃墻、十三世紀(jì)的圣禮拜堂(Gothic Sainte-Chapelle)，以及十九世紀(jì)的巴黎大皇宮，這個(gè)大展廳的玻璃拱頂是對羅馬大型公共空間的效仿。路易威登基金會(huì)大樓四分五裂的多向外形，讓人聯(lián)想到布拉克和畢加索的立體主義。該基金會(huì)的目標(biāo)宣言指出，二十世紀(jì)的現(xiàn)代藝術(shù)運(yùn)動(dòng)是其所倡導(dǎo)的當(dāng)代藝術(shù)的基礎(chǔ)。

Visitors enter a tall hall from which angled staircases and meandering paths lead to the galleries and to a roofscape of outdoor terraces enclosed by the glass sails. Between the iceberg and the sailboat, accordion spaces expand and contract, alternately intimate and grand, in what Mr. Gehry called “a chaotic dance.” The white galleries, some with tall ceilings that act as chimneys of light, are “a refuge,” said Edwin Chan, a former design partner in the Gehry firm, who worked with Mr. Gehry and the main project architect, Laurence Tighe. One opens to the sky.

參觀者進(jìn)入一個(gè)高大的大廳，這里有樓梯和蜿蜒的步道通往展廳和玻璃帆背后的屋頂露臺(tái)。在冰山和帆船之間，是可伸縮的空間，氣氛可以親密可以宏大，蓋里稱其為“一曲無序的舞蹈”。白色的展廳有些帶有高大的天花板，起到采光井的作用，蓋里建筑事務(wù)所的前設(shè)計(jì)伙伴埃德溫·陳(Edwin Chan)稱這里是“一處庇護(hù)所”，他曾與蓋里和大項(xiàng)目建筑師勞倫斯·泰伊(Laurence Tighe)合作。有一個(gè)展廳的屋頂還是開放式的。

Frédéric Migayrou, the deputy director of the Pompidou, organized the full retrospective and a smaller boutique show of Mr. Gehry’s development drawings that will be on view at the Foundation. “This building doesn’t reveal itself at once, but over many encounters,” he said. “It’s a provocation for the viewer; you have to be part of it, as with an artwork where you make your own experience.”

此次的全面回顧展由蓬皮杜的副館長弗雷德里克·米蓋魯(Frédéric Migayrou)策展，此外他還在基金會(huì)大樓組織了一個(gè)規(guī)模小一些的精品展，展出蓋里先生的展開圖。“它不是那種將自己豁然展現(xiàn)出來的建筑，它需要你一次次地與之相遇來進(jìn)行品咂，”他說。“它對于觀者來說是一個(gè)挑釁;你必須要融入其中，就像與一件藝術(shù)品建立你自己獨(dú)有的體驗(yàn)。”

Claude Parent, France’s 91-year-old éminence grise in architecture whose work in the 1950s and ’60s anticipated deconstructivism, said that when he first saw the Foundation building, “I was seized by an emotion so strong that it seemed to come from something other than architecture.” He called Mr. Gehry’s design “an act of unbridled imagination.”

法國91歲的建筑泰斗、上世紀(jì)五六十年代就開始在設(shè)計(jì)中嘗試結(jié)構(gòu)主義的克勞德·帕朗泰(Claude Parent)說，當(dāng)他第一次看見基金會(huì)大樓的時(shí)候，“產(chǎn)生了一股并非建筑所帶來的強(qiáng)烈情緒。”他稱蓋里的設(shè)計(jì)為“天馬行空的想像”。

Others describe the building less favorably. The architecture critic of The Observer, Rowan Moore, known for his Spartan architectural attitudes, wrote dismissively, “Everything that is good about the Fondation could have been achieved, and better, without the sails.” Denis Lafay, writing in the online financial newspaper La Tribune, did not criticize the architecture but called the building the ostentatious result of an oligarch’s commodifying of artistic creation to burnish his own brand.

不過，也有人不是那么喜歡這棟建筑。以斯巴達(dá)式的建筑態(tài)度(主張簡單樸素——譯注)著稱的《衛(wèi)報(bào)》建筑評(píng)論家羅昂·穆爾(Rohan Moore)不屑一顧地寫道：“若是沒有那些風(fēng)帆，基金會(huì)大樓的所有優(yōu)點(diǎn)也還是能達(dá)到，而且會(huì)更好。”網(wǎng)絡(luò)財(cái)經(jīng)報(bào)紙《La Tribune》的撰稿人但尼·拉費(fèi)(Denis Lafay)沒有對建筑進(jìn)行直接的批評(píng)，但稱該建筑為一個(gè)寡頭將藝術(shù)創(chuàng)作商品化加以鋪張的結(jié)果，目的是令自己的品牌熠熠生輝。

At the Foundation, Mr. Migayrou’s immersive show, “Voyage of Creation,” explains the building, with large-screen videos filmed from overhead cranes and drones that flew over and through the building.

米蓋魯在基金會(huì)大樓做的沉浸式展覽“創(chuàng)造之旅”(Voyage of Creation)，用高架式起重機(jī)以及攝影飛行器從空中和內(nèi)部拍攝了大屏幕視頻，以此對這棟建筑進(jìn)行了詮釋。

“I wanted to give a dynamic view of the building, and the films put the building into movement,” he said in an interview. The show includes many conceptual and development models, along with the seminal sketches Mr. Gehry drew on the long flight back to Los Angeles after he and Mr. Arnault first met to discuss the project.

“我希望能從一個(gè)動(dòng)態(tài)的角度來展現(xiàn)這棟建筑，而這些畫面讓它動(dòng)了起來，”他在一次采訪中說道。這個(gè)展覽還展出了該項(xiàng)目的許多概念模型和開發(fā)模型，以及蓋里與阿諾特討論這個(gè)建筑項(xiàng)目后坐飛機(jī)回洛杉磯的長途旅行中畫的原始素描。

In the Pompidou retrospective, Mr. Migayrou includes little-known urban designs for housing projects and town plans, evidence of an urban-planning expertise that he said had informed the organization of all of Mr. Gehry’s architectural work. The exhibition also features a wall of previously unexhibited photographs by Mr. Gehry, who gravitated to raw moments in the cityscape, like cement plants, that his eye made beautiful.

在蓬皮杜的回顧展上，米蓋魯還收錄了蓋里不太有名的住宅區(qū)項(xiàng)目及城市設(shè)計(jì)規(guī)劃。他說，對于城市規(guī)劃的了解，構(gòu)成了蓋里所有建筑設(shè)計(jì)工作的基礎(chǔ)。該展覽還展出了蓋里拍攝的從未公開的照片，掛了整整一面墻。片中他捕捉到城市景觀中的一些罕見瞬間，比如水泥廠，他的雙眼令這些地方有了別樣風(fēng)情。