巴黎再添一座奇奇怪怪的建築

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，本週可謂弗蘭克·蓋裏(Frank Gehry)周（本文最初發表於2014年10月21日——編注）。週一的時候，蓋裏先生設計的路易威登基金會大樓(Louis Vuitton Foundation)舉行了正式落成儀式，這是一個具有雙重用途的文化建築——它既是一處私有的文化中心，也是一座當代藝術博物館。出席落成儀式的，包括法國總統弗朗索瓦·奧朗德。與此同時，位於巴黎另一側的蓬皮杜中心(Pompidou Center)爲這位來自洛杉磯的建築師舉辦了大型的回顧展，這也是他在歐洲的第一個職業生涯展。

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·蓋裏展”從南加州的試驗性小型木結構工作室和住宅開始，以位於布洛涅林苑 (Bois de Boulogne)的路易威登基金會大樓結束，爲這位建築師的職業生涯建立了一條敘述弧。一些建築評論家認爲，路易威登基金會大樓是弗蘭克·蓋裏的所有作品中技術最爲複雜、最具藝術感的建築之一。這個佔地12.6萬平方英尺、耗資1.35億美元的建築將在下週一正式對公衆開放，無疑令巴黎厚重的歷史建築名單上又增添了一件重大的當代傑作。

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.”

在落成儀式的最後，奧朗德總統形容該建築是“智慧、創造力和技術的奇蹟”，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.

蓋裏的“巴黎時刻”到來之前，就在上一週，他設計的華盛頓艾森豪威爾紀念碑(Dwight D. Eisenhower Memorial )獲得了通過，該方案在五年時間裏經過了至少15個委員會的評估，做了大量的修改。在巴黎，平息了公衆對於在公園裏興建建築的疑慮之後，蓋裏只需要獲得一個人的許可，他就是大型奢侈品集團LVMH的董事會主席和首席執行官伯納德·阿諾特(Bernard Arnault)，他的基金會是這棟新建築的主人。

“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什麼樣的建築，他要的是一個前所未見的東西，”週一的時候，蓋裏在位於香榭麗舍大道附近的酒店，就着咖啡接受採訪的時候說道。

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.

阿諾特曾經說過，他在看了蓋裏設計的西班牙畢爾巴鄂古根海姆美術館之後，就決定讓他來做設計；那是一個有着流暢線條的壯觀建築，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煥然一新。對於路易威登基金會大樓，蓋裏在畢爾巴鄂的那棟建築基礎上做了更爲複雜的結構設計，外立面沒有像前者一樣採用鈦板，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.

來這裏參觀的人，看到的是一個立體派的帆船式建築，玻璃材質的蓬帆和大三角帆在樹梢高度，同時朝着前後左右四個方向揚起。水在從懸臂裝船首下方的階梯狀護坡滾滾而下，令整棟建築看來似乎行於水面。這棟兩層樓的建築有11個展廳、一個大禮堂以及多層屋頂露臺，方便舉辦各種活動和陳列藝術裝置。

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.

這棟建築毗鄰Jardin d’Acclimatation，這是一座19世紀的兒童樂園、動物園，位於有着浪漫主義景緻的布洛涅林苑北側。之前佇立於此的是一座相當於兩層樓高的保齡球館，建築師在建築面積和體量方面都必須受制於它，高出的部分只得採用玻璃。路易威登基金會的使命是激勵藝術創作，根據阿諾特對於該基金會的想法，它還得是一個美術館，帶有多個可舉辦臨時或者常設展覽的展廳，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.”

蓋裏說：“我們跟他談到了地點的問題，顯然它必須是一個適合放在花園裏的建築，遵循19世紀的玻璃房或者溫室傳統。”

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.”

與另一位美國設計師貝聿銘不同——後者給盧浮宮設計的玻璃金字塔位於香榭麗舍大道的軸線上，蓋裏完全沒有理會法國的幾何傳統。“大量的玻璃運用，與大自然的幾何圖形和公園的英式風景形成了應答關係，”他在談到布洛涅林苑時說道。“大自然表面看起來亂，其實亂中有序。”

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裏那些奇幻建築令人興奮的成人版過程中，蓋裏稱自己“被這座公園深深打動了，讓我想到了普魯斯特的巴黎”。他又補充，“我一遍又一遍地讀他的書，我發現這裏對每個人來說，都是一個令人動感情的地方。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——一個用作展廳的固體部分，我們稱之爲冰山，一個是給花園做的玻璃風帆，我們開始進行各自分開的設計工作，”蓋裏說。“把兩個部分生生併到一起不可行，因爲展廳不可能是曲線形的，而且畫又不可能掛在玻璃上。”半透明的風帆伸在冰山的外側，由一個木頭和鋼材材質的、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.

在巴黎漫長的建築傳統中，玻璃結構佔有着一席之地，其歷史可以上溯到聖路易島上有着彩色玻璃牆、十三世紀的聖禮拜堂(Gothic Sainte-Chapelle)，以及十九世紀的巴黎大皇宮，這個大展廳的玻璃拱頂是對羅馬大型公共空間的效仿。路易威登基金會大樓四分五裂的多向外形，讓人聯想到布拉克和畢加索的立體主義。該基金會的目標宣言指出，二十世紀的現代藝術運動是其所倡導的當代藝術的基礎。

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.

參觀者進入一個高大的大廳，這裏有樓梯和蜿蜒的步道通往展廳和玻璃帆背後的屋頂露臺。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，蓋裏稱其爲“一曲無序的舞蹈”。白色的展廳有些帶有高大的天花板，起到採光井的作用，蓋裏建築事務所的前設計夥伴埃德溫·陳(Edwin Chan)稱這裏是“一處庇護所”，他曾與蓋裏和大項目建築師勞倫斯·泰伊(Laurence Tighe)合作。有一個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裏克·米蓋魯(Frédéric Migayrou)策展，此外他還在基金會大樓組織了一個規模小一些的精品展，展出蓋裏先生的展開圖。“它不是那種將自己豁然展現出來的建築，它需要你一次次地與之相遇來進行品咂，”他說。“它對於觀者來說是一個挑釁；你必須要融入其中，就像與一件藝術品建立你自己獨有的體驗。”

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歲的建築泰斗、上世紀五六十年代就開始在設計中嘗試結構主義的克勞德·帕朗泰(Claude Parent)說，當他第一次看見基金會大樓的時候，“產生了一股並非建築所帶來的強烈情緒。”他稱蓋裏的設計爲“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，也有人不是那麼喜歡這棟建築。以斯巴達式的建築態度（主張簡單樸素——譯註）著稱的《衛報》建築評論家羅昂·穆爾(Rohan Moore)不屑一顧地寫道：“若是沒有那些風帆，基金會大樓的所有優點也還是能達到，而且會更好。”網絡財經報紙《La Tribune》的撰稿人但尼·拉費(Denis Lafay)沒有對建築進行直接的批評，但稱該建築爲一個寡頭將藝術創作商品化加以鋪張的結果，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.

米蓋魯在基金會大樓做的沉浸式展覽“創造之旅”(Voyage of Creation)，用高架式起重機以及攝影飛行器從空中和內部拍攝了大屏幕視頻，以此對這棟建築進行了詮釋。

“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.

“我希望能從一個動態的角度來展現這棟建築，而這些畫面讓它動了起來，”他在一次採訪中說道。這個展覽還展出了該項目的許多概念模型和開發模型，以及蓋裏與阿諾特討論這個建築項目後坐飛機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，米蓋魯還收錄了蓋裏不太有名的住宅區項目及城市設計規劃。他說，對於城市規劃的瞭解，構成了蓋裏所有建築設計工作的基礎。該展覽還展出了蓋裏拍攝的從未公開的照片，掛了整整一面牆。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情。

“He was photographing the city, the spaces between places,” Mr. Migayrou said.

“他用照相機記錄這個座城市，記錄地點與地點之間的空間，”米蓋魯說道。

He also chose models and original drawings to show the evolution of Mr. Gehry’s ideas leading up to the Vuitton Foundation. Other shows, Mr. Migayrou said, “have portrayed Gehry’s buildings as an object, a shape.”

爲了展現蓋裏的路易威登基金會大樓的設計成型過程，米蓋魯還挑選了許多模型和原圖。他說，其他的那些展品“則是把蓋裏的建築設計當作一個物品、一個形狀加以呈現”。

“I tried to do the reverse,” he said, “going through all the works to define the evolution of the language, the continuities, the idea of dynamic movement, how he opens form so that they interact with the city and provoke the movement of the body around the building.”

“我嘗試着反過來倒推，”他說，“通過檢視他所有的作品，來定義其建築語言的進化過程、連續性以及動態運動的理念，以及他是如何讓建築形式採取開放的姿態，從而令建築與城市展開互動，激發建築四周物體的流動。”