Photograph by Flickr user Taku

"I might become Mies van der Rohe" says Frank Gehry

由专筑网缕夕，严越编译

弗兰克•盖里（Frank Gehry）表示，他很喜欢继续为以前的作品思考新想法，像他的“灵活”费城艺术博物馆改造，因为他正在创造大片建筑群。

88岁的盖里（Gehry）以其沃尔特•迪斯尼音乐厅、毕尔巴鄂古根海姆博物馆和路易威登基金会等独特的雕塑派建筑而闻名。

但加美建筑事务所告诉Dezeen，盖里在未来很可能将他的建筑风格换成更类似20世纪现代主义的设计。

盖里说：“我可能会成为密斯•凡•德•罗，或者是那个方向的人。”

他表示，他的这个计划开创性地修复了历史悠久的费城艺术博物馆，并表示说如果客户要求的话，他就能创造更安静、更赋予感性的空间架构。

他在上周的开创典礼之后告诉记者：“前博物馆馆长Annie d'Harnoncourt特想要所谓的毕尔巴鄂式的效果，但都是内部的，她说，‘你可以不做像古根哈姆博物馆的外观设计吗？我们不想在外观上看到你的风格’，但我喜欢这个想法——这是一个非常有意思的想法。

“我试图设计得灵活动感，”盖里说，暗示自己没有绑定单一的风格之前。

随着博物馆的翻新，他用他自己的办公室为蓝本设计了他在加州北部的脸谱网（Facebook）的校园--以他的工作风格为例。他还描述了科技公司创始人马克•扎克伯格（Mark Zuckerberg）在“世界上最大的开放式平面图”的4万平方米办公大楼里的工作场景。盖里说，“扎克并不是一个建筑师，但他来到我的办公室说，‘我喜欢这个’”。

盖里对可持续发展的态度也是保守的，他说他经常9-为别人觉得他的设计没有考虑到可持续性设计而感到沮丧。

“我发现人们对我有这样一个假定：要是有人像我这样做建筑，我就会对这个话题不感兴趣，”盖里说，“这远远不是真相。”

“从我成为建筑师的那一天起，我们一直在谈论低效率这件事。”

作为1989年普利茨克奖获得者，盖里在费城与当地新闻界进行了答问对话，与德赞恩进行了交谈，其中涉及广泛的话题。下面我们来简单总结一下其中的亮点。

Frank Gehry has said he is as comfortable working on historically sensitive projects like his "nimble" Philadelphia Museum of Art renovation as he is creating blockbuster buildings.
Gehry, 88, is famous for his overtly sculptural structures like the Walt Disney Concert Hall, Guggenheim Museum Bilbao and Fondation Louis Vuitton.
But the Canadian-American architect told Dezeen that he could easily swap his signature style for designs more akin to 20th-century modernism in the future.
"I might become Mies van der Rohe or something – who knows where I'm going," Gehry said.
Speaking to journalists at the groundbreaking of his plans to overhaul the historic Philadelphia Museum of Art, he said that the project proves that he is just as capable of quieter, more contextually sensitive architecture if that's what a client requests.
"[Former museum director Annie d'Harnoncourt] wanted the so-called Bilbao effect, but all interior," he told journalists, shortly after the groundbreaking ceremony last week. "She said 'can you do it without being on the outside? We don't wanna see you on the outside'. And I loved that idea – it's a very perverse idea I thought."
"I think I try to be nimble enough," Gehry said, before suggesting that he isn't tied down to a single style.
Along with the museum renovation, Gehry used the campus he designed for Facebook in northern California – modelled on his own offices – as an example of a different style of his work.
He also described the moment the tech company's founder Mark Zuckerberg approached him to work on the 40,000-square-metre office building, which has "the largest open floor plan in the world".
"He's not really an architecture buff so to speak," Gehry said. "But he came to my office and said, 'I like this'."
The architect was also defensive about his approach to sustainability, and said he is often frustrated by people who think he designs without considering energy efficiency.
"There is a presumption, I have found in the world, that when somebody does buildings like I do – that I'm not interested in that topic," he said. "And it's the furthest thing from the truth."
"From the day I became an architect, we were always talking about inefficiencies," Gehry added.
The 1989 Pritzker Prize winner spoke to Dezeen during a question-and-answer session with press in Philadelphia, which touched on a broad range of topics. Read the edited highlights below.


盖里的费城艺术博物馆的装修将“除去历史建筑物的动脉”/Gehry's Philadelphia Museum of Art renovation will "unclog the arteries" of the historic building

费城艺术博物馆的装修

前博物馆馆长Annie d'Harnoncourt想要所谓的毕尔巴鄂效应，但都是内部的。她说“你不能在外面做，我们不想在外面看你的风格”。

而且我喜欢这个想法，这是一个非常反常的想法。这是我喜欢的东西，不知道我们要怎么做，不是真正了解建筑细节。我的意思是我可以看到，这是一座古典建筑，我知道所有这些东西，因为我住在靠近好莱坞的圣莫尼卡。

我认为一旦进入建筑，我们意识到古典的形式是很简单的：它有z和y轴，随着时间的推移，清晰度已经被建筑DNA的干预所模糊，他们大概只是机会主义的干预。

最困难的一个是礼堂，因为礼堂是人们的综合交汇点，所以所有的流线都在它周围。如果你仔细思考的话，所有关于流线的混乱都是围绕着礼堂展开。并且它扰乱了x-y轴。这不难解释，我们都把它们放在一起。但是，如果把像礼堂那样昂贵的资产分散，你会做什么呢？

扩大画廊是最初想法，以便这个建筑可以扩展其现代收藏，并扩大画廊的展示作品，我相信一旦扩大画廊，他们将从画家甚至相关人员中获得捐赠的收藏品，因为他们会意识到这将是一个展示它的好地方。

哦，天啊，希望这个想法能奏效。我希望它会在这里成为这个国家最好的博物馆之一。因为花了时间思考，因为拥有特鲁博尔先生（博物馆的原始建筑师）所做的精心设计的骨骼。

有一点很幸运：它与城市的位置的关系。忘记Rocky——真的很重要。它已经做到了：当它获得了这件艺术品的时候，它补充了你已经拥有的伟大作品，它将成为一个重磅炸弹。它会让我开心，我想我会感觉到它的一部分，并为此感到自豪。


关于可持续性

我发现人们对我有这样一个假定：要是有人像我这样做建筑，我就会对这个话题不感兴趣，这远远不是真相。

在我的职业生涯中，有一个完整的部分，它的庶物，它取代了生活质量、品格、感觉、灵魂、建筑物的人性，他们相互抵触，这不是真的。

我刚刚在洛杉矶建了一座房子，在这里我们正在试验热井，为了完成这个实验，我们再投入一大笔钱。我在圣莫尼卡的这个房子，德国斯图加特的公司连接到电脑系统，当房子有人使用的时候，他们会通过监控收到消息。

从我成为建筑师的那天起，我们一直在谈论低效率。1978年我在圣莫尼卡建造的小房子，打开了一个天窗，使得在洛杉矶非常炎热的一天里，只要我回家，按下一个按钮，天窗打开 ——15分钟，房子很酷，而且我不需要使用空调。我认为这个行业有责任处理这些问题。


他的新业务方法

当你有一个建筑公司和一个项目，你有100多人为你工作——我不推销自己，或我没有代理人或任何东西——我坐在门口，我等待某人敲门，说：“你好盖里先生”。这就是现在的样子。这是一种机会主义——我只是等待某事发生。

我拒绝了我认为不值得花费生命的东西，其中一些会让你震惊，你们可能觉得有多重要，但是我并不舒服。但是，费城美术馆的项目让我对毕尔巴鄂的毕业生感兴趣。

做一些强有力的事情，而不用做一个大的建筑。我喜欢这个想法，那个挑战。我觉得我试着就够灵活了。

我可能会成为密斯•凡•德•罗或者要成为那样的人。

On his Philadelphia Museum of Art renovation
[Former museum director Annie d'Harnoncourt] wanted the so-called Bilbao effect, but all interior. She said "can you do it without being on the outside? We don't wanna see you on the outside".
And I loved that idea – it's a very perverse idea I thought. That's the kind of stuff I like – not knowing where we were going, not really understanding the building in detail. I mean I could see it, I knew it was a classical building, I knew about the Rocky steps and all that kind of stuff since I live in Santa Monica, which is close to Hollywood.
I think once we got into it we realised the classical form is simple: its got a z and y axis and over time that clarity has been obfuscated by interventions that weren't made in consideration of the DNA of the building, they were just opportunistic interventions probably.
The most difficult one was the auditorium, because the auditorium is right where the joint is and it's solid, so all the circulation is around it. All the confusion about the circulation – if you think about it – goes around the auditorium. And it clutters the x-y axes.
It wasn't hard to explain, we all got it together. But how do you take an asset like an auditorium, which is expensive, tear it out, and what are you gonna do with that?
The intent was to expand the galleries so that this building could expand its contemporary collection and expand the galleries for showing that work, and I believe once it is there, they're gonna get donated collections from people who have that kind of work because they're gonna realise that this is going to be a great place to show it.
Oh god I hope it works. I hope we deliver what we said. I hope it's gonna make waves here that it's going to become one of the best museums in the whole country. Because it's taken the time to think it through, because it has the fortune to have well-thought-out bones done by [the museum's original architect] Mr Trumbauer.
There's a bunch of lucky stuff: the location of it in relation to the city; the importance of it because of the location. Forget Rocky – it's really important. It already does it. And when it gets the kind of art coming here, which supplements the great works you already have, it's gonna be a blockbuster. It's gonna make me happy, and I think I'm gonna feel like part of it and proud of it.

On sustainability
There is a presumption, I have found in the world, that when somebody does buildings like I do – that I'm not interested in that topic. And it's the furthest thing from the truth.
There's a whole part of my profession that's become fetishistic about it to the point that it supersedes the quality of life, the character, the feeling, the soul, the humanity of the building and that they're counter to each other, and that's not true.
I just built a house in LA, in which we were experimenting with geothermal wells and we put a whole pile of extra money into it just to complete this experiment. I'm in Santa Monica with this house and this German firm in Stuttgart is connected to the system and they're reading it daily while the house is being used.
From the day I became an architect, we were always talking about inefficiencies. The little house I built in 1978 in Santa Monica, I put a skylight at the very top that opens so that on a very hot day in LA, I come home, push a button, the skylight opens – 15 minutes the house is cool. I don't need to use air conditioning. I think that there's a sense of responsibility in the profession to deal with those issues.

On his approach to new business
When you have an architectural firm and a practice and you got a 100 or so people working for you – I don't market myself, or I don't have an agent or anything – I sit at the door and I wait for somebody to knock and say, "Hi Mr Gehry". That's the way it's been. It's opportunism in a way – I just wait for something to happen.
I do turn down things that I don't think are worth spending my life on and some of them would shock you how big and important they might be, but that I didn't feel comfortable with. But [the Philadelphia Museum of Art project] intrigued me because it came off of Bilbao.
To do something powerful without making a big architectural statement – I loved that idea, that challenge. I think I try to be nimble enough.
I might become Mies van der Rohe or something – who knows where I'm going.


盖里的加利福尼亚州的校园屋顶上设有一个巨大的公园/Gehry's California campus for Facebook features a giant park on the roof

与马克•扎克伯格（Mark Zuckerberg）合作

他真的不是一个建筑师，但他来到我的办公室说：“我喜欢这样”。这是一个带书桌和很多机型的仓库。

我的办公室几乎是一英亩，他说他想要10倍，所以在一个房间里有10英亩。然后他想要一个花园在上面，所以我们做了一个屋顶花园，那个花园现在已经成长——它看起来像一个公园，你看不到建筑物。


关于他缺乏住宅项目

我们不做很多房子，但每隔一段时间有人进来，想要实验。做一个房子给你一个实验语言的机会，做一些你不能在商业或机构项目中做的事情。


他与Robert Venturi（罗伯特•文丘里）的友谊

我在麻省理工学院做了一次演讲，我们是同行的，盖里也发表了一个演讲。当我在说话的时候，他正在很快写东西，然后他站起来说一些都是反对我的话。

我看着他，我说：“你正在成为一个老旧的爱好者”。无论如何，我们有这种关系。我知道他生病了，我没再见过他。

On working with Mark Zuckerberg
He's not really an architecture buff so to speak. But he came to my office and said, "I like this". It's a warehouse with desks and a lot of models.
My office is almost an acre, and he said he wanted 10 times that – so 10 acres in one room. And so we proposed that, over parking, and then he wanted a garden on top, so we made a roof garden and that garden has now grown – it looks like a park, you don't see the building.

On his lack of residential projects
We don't do many houses, but every once in a while somebody comes in and wants to experiment. Doing a house gives you an opportunity experiment the language and do things that you can't do in a commercial or institutional project.

On his friendship with Robert Venturi
I gave a talk at MIT once, and we were in parallel and he gave a talk. While I was talking, he was writing very quickly on a yellow pad and then he got up and spoke and it was all against me. It was piece by piece just demolishing me.
And I looked at him and I said, "You're becoming an old fuddy duddy". Anyway, we have that kind of relationship. I know he's sick, I haven't seen him.


盖里目前的项目包括洛杉矶日落大道的综合开发项目/Gehry's current projects include a mixed-use development for LA's Sunset Strip

关于他目前的项目

我们正在做两件事，你们称之为酒店、公寓、零售业的开发项目。有一个已经筹备了相当长的时间，这是在华特迪士尼音乐厅的对面。现在似乎正在进行中，所以这是一个机会，采取一个文化建设，我们做自己的角色，然后将它连接到一个自己的商业项目，并让他们相互交谈。因为通常他们相互没有联系，所以这是令人兴奋的。

然后，我们又在马尔蒙庄园酒店对面的日落大道上进行了另一个开发项目，那就是F Scott Fitzgerald（弗朗西斯·斯科特·基·菲茨杰拉德）去世的真主花园。安拉花园已经有了很长时间，但当我看到它时，我在洛杉矶，所以这是一个很重要的历史遗迹。

在法国南部，在一个有两座罗马露天剧场的老罗马城市，业主正在为艺术和摄影等专业建立工作基础。它是一种特殊的建筑，一个特殊的业主。它更像雕刻，所以也许你会把它与毕尔巴鄂——它是完全不同形式的毕尔巴鄂，正在建设中。

On his current projects
We're doing two, what you'd call developer projects with hotels, apartments, retail. One has been in the pipeline for quite a long time – it's across from the Walt Disney Concert Hall. And seems to be going ahead now, so it's a chance to take a cultural building that we've done that has its own persona and then connect it to a commercial project that has its own mandate, and have them talk to each other. That's exciting, because usually they don't. Usually the big, bad developer comes in and "kabunk" and there's no relationship.
And then we have another development project on Sunset Boulevard, across from the Chateau Marmont, so on the site of the old Garden of Allah, where F Scott Fitzgerald died. The Garden of Allah has been gone for a long time, but I was in LA when I saw it and so it's a historic site that's kind of important.
In the south of France, in an old Roman city that has two Roman amphitheatres, a client is building a foundation for arts and photography and so on. And it's kind of a special building, a special client. It's more sculptural so maybe you'd lump it with Bilbao – it's quite different form Bilbao. That's under construction.


出处：本文译自www.dezeen.com/，转载请注明出处。