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，本周可谓弗兰克·盖里(Frank Gehry)周（本文最初发表于2014年10月21日——编注）。周一的时候，盖里先生设计的路易威登基金会大楼(Louis Vuitton Foundation)举行了正式落成仪式，这是一个具有双重用途的文化建筑——它既是一处私有的文化中心，也是一座当代艺术博物馆。出席落成仪式的，包括法国总统弗朗索瓦·奥朗德。与此同时，位于巴黎另一侧的蓬皮杜中心(Pompidou Center)为这位来自洛杉矶的建筑师举办了大型的回顾展，这也是他在欧洲的第一个职业生涯展。

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“弗兰克·盖里展”从南加州的试验性小型木结构工作室和住宅开始，以位于布洛涅林苑 (Bois de Boulogne)的路易威登基金会大楼结束，为这位建筑师的职业生涯建立了一条叙述弧。一些建筑评论家认为，路易威登基金会大楼是弗兰克·盖里的所有作品中技术最为复杂、最具艺术感的建筑之一。这个占地12.6万平方英尺、耗资1.35亿美元的建筑将在下周一正式对公众开放，无疑令巴黎厚重的历史建筑名单上又增添了一件重大的当代杰作。
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.”
在落成仪式的最后，奥朗德总统形容该建筑是“智慧、创造力和技术的奇迹”，是一座“开明大教堂”(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.
盖里的“巴黎时刻”到来之前，就在上一周，他设计的华盛顿艾森豪威尔纪念碑(Dwight D. Eisenhower Memorial )获得了通过，该方案在五年时间里经过了至少15个委员会的评估，做了大量的修改。在巴黎，平息了公众对于在公园里兴建建筑的疑虑之后，盖里只需要获得一个人的许可，他就是大型奢侈品集团LVMH的董事会主席和首席执行官伯纳德·阿诺特(Bernard Arnault)，他的基金会是这栋新建筑的主人。
“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个什么样的建筑，他要的是一个前所未见的东西，”周一的时候，盖里在位于香榭丽舍大道附近的酒店，就着咖啡接受采访的时候说道。
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.
阿诺特曾经说过，他在看了盖里设计的西班牙毕尔巴鄂古根海姆美术馆之后，就决定让他来做设计；那是一个有着流畅线条的壮观建筑，将古典的白色展厅圈在中间，它的落成令该城破败的滨海区焕然一新。对于路易威登基金会大楼，盖里在毕尔巴鄂的那栋建筑基础上做了更为复杂的结构设计，外立面没有像前者一样采用钛板，而是选择了玻璃。
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.
来这里参观的人，看到的是一个立体派的帆船式建筑，玻璃材质的蓬帆和大三角帆在树梢高度，同时朝着前后左右四个方向扬起。水在从悬臂装船首下方的阶梯状护坡滚滚而下，令整栋建筑看来似乎行于水面。这栋两层楼的建筑有11个展厅、一个大礼堂以及多层屋顶露台，方便举办各种活动和陈列艺术装置。
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.
这栋建筑毗邻Jardin d’Acclimatation，这是一座19世纪的儿童乐园、动物园，位于有着浪漫主义景致的布洛涅林苑北侧。之前伫立于此的是一座相当于两层楼高的保龄球馆，建筑师在建筑面积和体量方面都必须受制于它，高出的部分只得采用玻璃。路易威登基金会的使命是激励艺术创作，根据阿诺特对于该基金会的想法，它还得是一个美术馆，带有多个可举办临时或者常设展览的展厅，以及一座音乐厅。
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.”
盖里说：“我们跟他谈到了地点的问题，显然它必须是一个适合放在花园里的建筑，遵循19世纪的玻璃房或者温室传统。”
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.”
与另一位美国设计师贝聿铭不同——后者给卢浮宫设计的玻璃金字塔位于香榭丽舍大道的轴线上，盖里完全没有理会法国的几何传统。“大量的玻璃运用，与大自然的几何图形和公园的英式风景形成了应答关系，”他在谈到布洛涅林苑时说道。“大自然表面看起来乱，其实乱中有序。”
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兴奋的成人版过程中，盖里称自己“被这座公园深深打动了，让我想到了普鲁斯特的巴黎”。他又补充，“我一遍又一遍地读他的书，我发现这里对每个人来说，都是一个令人动感情的地方。它让我的眼睛充满泪水。”
He had two mandates: respecting the park and garden and satisfying the requirements for the galleries.
他接到了两条要求：尊重那座公园和花园，满足展览的所有需求。
“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——一个用作展厅的固体部分，我们称之为冰山，一个是给花园做的玻璃风帆，我们开始进行各自分开的设计工作，”盖里说。“把两个部分生生并到一起不可行，因为展厅不可能是曲线形的，而且画又不可能挂在玻璃上。”半透明的风帆伸在冰山的外侧，由一个木头和钢材材质的、杂技演员般的支架来支撑。
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.
在巴黎漫长的建筑传统中，玻璃结构占有着一席之地，其历史可以上溯到圣路易岛上有着彩色玻璃墙、十三世纪的圣礼拜堂(Gothic Sainte-Chapelle)，以及十九世纪的巴黎大皇宫，这个大展厅的玻璃拱顶是对罗马大型公共空间的效仿。路易威登基金会大楼四分五裂的多向外形，让人联想到布拉克和毕加索的立体主义。该基金会的目标宣言指出，二十世纪的现代艺术运动是其所倡导的当代艺术的基础。
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.
参观者进入一个高大的大厅，这里有楼梯和蜿蜒的步道通往展厅和玻璃帆背后的屋顶露台。在冰山和帆船之间，是可伸缩的空间，气氛可以亲密可以宏大，盖里称其为“一曲无序的舞蹈”。白色的展厅有些带有高大的天花板，起到采光井的作用，盖里建筑事务所的前设计伙伴埃德温·陈(Edwin Chan)称这里是“一处庇护所”，他曾与盖里和大项目建筑师劳伦斯·泰伊(Laurence Tighe)合作。有一个展厅的屋顶还是开放式的。
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.”
此次的全面回顾展由蓬皮杜的副馆长弗雷德里克·米盖鲁(Frédéric Migayrou)策展，此外他还在基金会大楼组织了一个规模小一些的精品展，展出盖里先生的展开图。“它不是那种将自己豁然展现出来的建筑，它需要你一次次地与之相遇来进行品咂，”他说。“它对于观者来说是一个挑衅；你必须要融入其中，就像与一件艺术品建立你自己独有的体验。”
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.”
法国91岁的建筑泰斗、上世纪五六十年代就开始在设计中尝试结构主义的克劳德·帕朗泰(Claude Parent)说，当他第一次看见基金会大楼的时候，“产生了一股并非建筑所带来的强烈情绪。”他称盖里的设计为“天马行空的想像”。
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.
不过，也有人不是那么喜欢这栋建筑。以斯巴达式的建筑态度（主张简单朴素——译注）著称的《卫报》建筑评论家罗昂·穆尔(Rohan Moore)不屑一顾地写道：“若是没有那些风帆，基金会大楼的所有优点也还是能达到，而且会更好。”网络财经报纸《La Tribune》的撰稿人但尼·拉费(Denis Lafay)没有对建筑进行直接的批评，但称该建筑为一个寡头将艺术创作商品化加以铺张的结果，目的是令自己的品牌熠熠生辉。
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.
米盖鲁在基金会大楼做的沉浸式展览“创造之旅”(Voyage of Creation)，用高架式起重机以及摄影飞行器从空中和内部拍摄了大屏幕视频，以此对这栋建筑进行了诠释。
“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.
“我希望能从一个动态的角度来展现这栋建筑，而这些画面让它动了起来，”他在一次采访中说道。这个展览还展出了该项目的许多概念模型和开发模型，以及盖里与阿诺特讨论这个建筑项目后坐飞机回洛杉矶的长途旅行中画的原始素描。
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.
在蓬皮杜的回顾展上，米盖鲁还收录了盖里不太有名的住宅区项目及城市设计规划。他说，对于城市规划的了解，构成了盖里所有建筑设计工作的基础。该展览还展出了盖里拍摄的从未公开的照片，挂了整整一面墙。片中他捕捉到城市景观中的一些罕见瞬间，比如水泥厂，他的双眼令这些地方有了别样风情。
“He was photographing the city, the spaces between places,” Mr. Migayrou said.
“他用照相机记录这个座城市，记录地点与地点之间的空间，”米盖鲁说道。
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.”
为了展现盖里的路易威登基金会大楼的设计成型过程，米盖鲁还挑选了许多模型和原图。他说，其他的那些展品“则是把盖里的建筑设计当作一个物品、一个形状加以呈现”。
“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.”
“我尝试着反过来倒推，”他说，“通过检视他所有的作品，来定义其建筑语言的进化过程、连续性以及动态运动的理念，以及他是如何让建筑形式采取开放的姿态，从而令建筑与城市展开互动，激发建筑四周物体的流动。”