“第五大道的異軍突起”
—— 索羅門·古根海姆博物館

特約撰稿_Anita Xu 編輯_曹爾寅 供圖_AIP藝術(shù)留學(xué)供圖

“第五大道的異軍突起”
—— 索羅門·古根海姆博物館

特約撰稿_Anita Xu 編輯_曹爾寅 供圖_AIP藝術(shù)留學(xué)供圖

《北京人在紐約》有一句話說(shuō)得巧妙而隱晦：“如果你愛(ài)他，就把他送到紐約；因?yàn)槟抢锸翘焯茫蝗绻愫匏桶阉偷郊~約，因?yàn)槟抢锸堑鬲z。”基于藝術(shù)從業(yè)者的角度來(lái)看，紐約毋庸置疑，是一片天堂，是一汪海洋，美好得令人垂涎欲滴，但又或因它的混雜善變、深不見(jiàn)底而逡巡著不敢前進(jìn)。就在你猶豫著該如何邁出探索紐約的第一步時(shí)，在你還被《孤獨(dú)星球》（Lonely Planet）上的一個(gè)個(gè)景點(diǎn)介紹搞得頭暈眼花時(shí)，遍布城市大大小小的博物館不會(huì)是錯(cuò)誤的選擇。

There is a saying that goes,”Send him to New York if you love him, for it’s heaven; Send him to New York if you hate him, for it’s hell.” From the perspective of practitioners of art and design, New York is everything, especially a paradise of inspiration. However, as you feel cautious and baffled to step forward, museum visiting is undoubtedly your best bet.

古根海姆博物館和鬼才建筑師萊特

The Guggenheim Museum and Wright

紐約絕不是缺少響亮名頭的博物館的地界兒：大都會(huì)藝術(shù)博物館（Metropolitan Museum of Art），自然歷史博物館（American Museum of Natural History），現(xiàn)代藝術(shù)博物館（The Museum of Modern Art），惠特尼美術(shù)館（Whitney Museum of American Art）等等不勝枚舉，世界上都難找出第二座可以與它媲美的城市。就在你還埋首于旅游指南左右選擇之時(shí)，筆者推薦不妨先去邂逅了那個(gè)矗立在街角，卻又如鶴立雞群一般，極具遺世獨(dú)立之感的建筑—索羅門·R·古根海姆博物館。

相比于名聲顯赫的大都會(huì)，或自然歷史博物館這些從外表看來(lái)就好似已經(jīng)承載了千百年歷史的博物館來(lái)說(shuō)，古根海姆博物館放眼望去，更像一朵白色的荷花，低調(diào)卻又散發(fā)著難以遮掩的光芒。

由索羅門·R·古根海姆所奠基的古根海姆博物館分別落戶于紐約，柏林，畢爾巴鄂（Bilbao, Spain），威尼斯和拉斯維加斯。而紐約作為總部，自然要擔(dān)負(fù)得起這個(gè)名頭。支撐起它的，不僅僅是館內(nèi)印象派藝術(shù)、當(dāng)代藝術(shù)、抽象藝術(shù)的豐富收藏，還有這個(gè)出自美國(guó)建筑鬼才弗蘭克·勞埃德·賴特鬼斧神工之手的大樓。

比起我眼中白色的荷花，更多的人將這棟已成為紐約地標(biāo)建筑的樓宇比作茶杯，彈簧，或是海螺。一個(gè)僅用了白色混凝土裝飾外觀的建筑，卻賦予了人們?nèi)绱藢拸V的想象，足可見(jiàn)賴特在看似簡(jiǎn)樸的建筑設(shè)計(jì)中，所灌注的深度和廣度。

The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighborhood of Manhattan, New York City. It is the permanent home of a renowned and continuously expanding collection of Impressionism, Postimpressionism, early Modern and contemporary art and also features special exhibitions throughout the year. The museum's collection has grown organically, over eight decades, and is founded upon several important private collections, beginning with Solomon R. Guggenheim's original collection. The collection is shared with the museum's sister museums in Bilbao, Venice, Berlin, and Las Vegas.

追溯至賴特所處的19世紀(jì)末20世紀(jì)初，美國(guó)資本主義工業(yè)急速發(fā)展。城市化加劇，人口密度猛增，過(guò)多不合理的街道被開(kāi)辟出來(lái)，高樓平地而起。而賴特對(duì)于摩天大樓的建造一直都不感興趣甚至是嗤之以鼻。幼年的成長(zhǎng)環(huán)境注定了他對(duì)于城市過(guò)度集中的反感。翻看賴特的履歷，他的作品多是民用住宅、平矮但卻舒展的別墅建筑。“大草原”（Prairie Houses）和“美國(guó)風(fēng)”（Usonian Houses）以及“有機(jī)建筑”（Organic Architecture）的誕生，更是深刻闡述了賴特在建筑設(shè)計(jì)中對(duì)于“自然”和“自由”的追求。

或許你會(huì)心生疑惑，這些建筑風(fēng)格，根本就和紐約這個(gè)風(fēng)情萬(wàn)種又魚(yú)龍混雜的大都會(huì)背道而馳。放大谷歌的衛(wèi)星地圖，你會(huì)看到古根海姆博物館被密密麻麻的灰褐色磚瓦樓夾在了街角，與眾不同中夾帶了些許落寞。縱然賴特對(duì)于“自然”秉持著一貫的追求，對(duì)博物館選址紐約有著千般萬(wàn)般的不情愿，但也不能違背客戶的意愿。唯一的慰藉也只能是博物館街對(duì)面的中央公園了，即便那只是一個(gè)人造公 園。

Frank Lloyd Wright was born on June 8, 1867, in Richland Center, Wisconsin. After college, he became chief assistant to architect Louis Sullivan. Wright then founded his own firm and developed a style known as the Prairie school, which strove for an "organic architecture" in designs for homes and commercial buildings. Over his career he created numerous iconic buildings.

Wr ight m a d e n o s e c ret of his disenchantment with Guggenheim's choice of New York for his museum∶ "I can think of several more desirable places in the world to build his great museum," Wright wrote in 1949 to Arthur Holden, "but we will have to try New York." To Wright, the city was overbuilt, overpopulated, and lacked architectural merit. Still, he proceeded with his client's wishes, considering locations on 36th Street, 54th Street, and Park Avenue (all in Manhattan), as well as in the Riverdale section of the Bronx, before settling on the present site on Fifth Avenue between 88th and 89th Streets. Its proximity to Central Park was key; as close to nature as one gets in New York, the park afforded relief from the noise and congestion of the city.

博物館內(nèi)部設(shè)計(jì)

Interior Design

古根海姆博物館被人們描述成“海螺”并不是沒(méi)有理由的。樓體外部看起來(lái)像被一條盤旋上升的白色綢帶環(huán)繞著，內(nèi)部結(jié)構(gòu)則呈現(xiàn)出螺旋線的樣式，像一枚貝殼上彎曲的、毫不扭捏造作的花紋。

在我看來(lái)，賴特十分理解身處紐約的人們對(duì)“自由”的渴望。相比賴特的故鄉(xiāng)的人，紐約的“城里人”好像被困住了。人們?cè)诩~約，以為自己看到了整個(gè)世界，但轉(zhuǎn)身面對(duì)的卻是四面方方正正的墻，和一張可能會(huì)有蟲(chóng)子的床。賴特在古根海姆這座美術(shù)館里，給了人們跳出去的希望。走進(jìn)博物館的底層，你可以沿著蜿蜒的展廳走廊向上盤旋行進(jìn)。所有的展品都沿廊而置，你完全不必?fù)?dān)心錯(cuò)過(guò)了什么大師的作品，只需要跟隨著螺旋結(jié)構(gòu)的廊道緩緩上升和旋轉(zhuǎn)。在不清楚到底轉(zhuǎn)了幾圈走到盡處的時(shí)候，你還以為展覽就此謝幕，不巧你卻抬頭發(fā)現(xiàn)，玻璃穹頂連接至天際，鑲嵌著漫無(wú)盡頭的宇宙。這興許正是賴特想留給參觀者們的最后一幅作品，這副作品表達(dá)著他對(duì)自由、對(duì)遠(yuǎn)方、對(duì)廣袤原野的向往和追求，即便這里是紐 約。

在古根海姆博物館這棟建筑令人心馳神往的諸多因素中，其對(duì)于藝術(shù)展品的陳列方式便是其中之一。如前文中提到的，有別于那些直走幾步就會(huì)撞南墻回頭的陳列室，古根海姆博物館的展品沿著廊道陳列，給人一種將這棟建物和它所容納的展品完美融合在一起的舒暢之感，完全顛覆了傳統(tǒng)博物館內(nèi)一個(gè)個(gè)小隔間的展出形式。在古根海姆，你可以先乘電梯直達(dá)頂層，再沿著傾斜的坡道回到底層。或者是像我們一般都會(huì)做的那樣，從一層不疾不徐地前行，直至六層。

Nature not only provided the museum with a respite from New York's distractions but also leant it inspiration. The Guggenheim Museum is an embodiment of Wright's attempts to render the inherent plasticity of organic forms in architecture. His inverted ziggurat (a stepped or winding pyramidal temple of Babylonian origin) dispensed with the conventional approach to museum design, which led visitors through a series of interconnected rooms and forced them to retrace their steps when exiting. Instead, Wright whisked people to the top of the building via elevator, and led them downward at a leisurely pace on the gentle slope of a continuous ramp. The galleries were divided like the membranes in citrus fruit, with self-contained yet interdependent sections. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously. The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another.

精神的圣殿

A Temple of Spirit

1943年，賴特接到了古根海姆博物館的所有者—礦業(yè)大亨索羅門·R·古根海姆以及他的顧問(wèn)希拉·貝蕾的盛情邀請(qǐng)，為古根海姆博物館設(shè)計(jì)新館。它的舊址，位于54街的“非物體繪畫(huà)博物館”(Non-Objective Art)已經(jīng)負(fù)荷不了古根海姆愈來(lái)愈豐富，尤其是對(duì)于抽象派作品的收藏了。古根海姆將新館的設(shè)計(jì)理念定義為“一個(gè)精神的圣殿”（A Temple of Spirit），而不簡(jiǎn)簡(jiǎn)單單的是儲(chǔ)藏和展覽藝術(shù)品的盒子。在他的眼里，賴特是唯一一位能夠讓這個(gè)理念付諸實(shí)踐的建筑師人選。最終，博物館的建筑設(shè)計(jì)所達(dá)到的高度，甚至超越了館內(nèi)藏品，而這也成博物館被那些躁動(dòng)不安的批評(píng)家們?cè)嵅〉脑蛑弧?/p>

盡管賴特對(duì)紐約的選址有諸多不滿，他終拗不過(guò)客戶的“旨意”，不過(guò)他還是通過(guò)與之相鄰的中央公園，找到了這棟建筑通向自然的一把鑰匙。在萊特完成700多張草圖和6套工作圖紙后，古根海姆博物館在1956年迎來(lái)了破土動(dòng)工的日子。遺憾的是，3年后的1959年10月，當(dāng)人們?cè)诘谖宕蟮琅帕衅痍?duì)伍，等待進(jìn)入這座充滿超前意識(shí)的，與周遭一切都格格不入的建筑物時(shí)，賴特已辭世多月，沒(méi)能看到自己嘔心瀝血培養(yǎng)出來(lái)的“孩子”出生的這一刻。

When Solomon Guggenheim, the heir to a mining fortune, and his art adviser, Hilla Rebay, decided to construct a museum for abstract painting (which they called "non-objective art"), Wright was a natural choice as architect. In Rebay's words, the two were seeking "a temple of spirit, a monument" and Wright, through his long career, was a builder of temples and monuments.

The project evolved into a complex struggle pitting the architect against his clients, city officials, the art world, and public opinion. Both Guggenheim andWright died before the building's 1959 completion. The resultant achievement, the Solomon R. Guggenheim Museum, testifies not only to Wright's architectural genius, but to the adventurous spirit that characterized its founders.

古根海姆博物館的外觀曾被那個(gè)相對(duì)古板的年代所排斥，古根海姆博物館連鎖式的運(yùn)營(yíng)方式更是被譏諷為藝術(shù)博物館界的“麥當(dāng)勞”。然而半個(gè)多世紀(jì)后的今天，事實(shí)給了那些譏笑者一記耳光。紐約的古根海姆成為了地標(biāo)性建筑，周末慕名前來(lái)駐足博物館門前的長(zhǎng)龍足以證明這座建筑的偉大。今天，古根海姆博物館也依舊在全球不斷地摸索著下一個(gè)扎根落腳的營(yíng) 地。

Solomon R. Guggen heim Museum was once rejected by its rigid comtemporaries for its appearace, and it was even mocked as the Mcdonald in the world of museums because of its chain operation. However, after half a century, facts now speak louder than words. Solomon R. Guggenheim Museum has become the landmark building of New York. The crowds of people waiting in front of the musuem every weekend can be a firm confirmation of its greatness. These days, Solomon R. Guggenheim Museum is still exploring in every piece of land around the world in order to find the next territory where it can settle down.

背景詞匯

Background Vocabulary

American Museum of Natural History 美國(guó)自然歷史博物館。《博物館奇妙夜》的拍攝地。在第五大道與大都會(huì)藝術(shù)博物館遙遙相望。

Metropolitan Museum of Art 大都會(huì)藝術(shù)博物館。美國(guó)最大的藝術(shù)博物 館。

Non-Objective Art“非物體繪畫(huà)”。古根海姆博物館的前身“非物體繪畫(huà)”博物館。被稱作“非物體繪畫(huà)”，實(shí)則類似于抽象繪畫(huà)。

Organic Architecture “有機(jī)”建筑。現(xiàn)代建筑的一個(gè)派別，代表人物為賴特。

disenchantment n.醒悟；覺(jué)醒；不抱有幻想

dispensed v.&adj.分發(fā)，執(zhí)行，處置；分發(fā)的，分配的

embodiment n.體現(xiàn)；使具體化

make no secret對(duì)…毫不掩飾

nautilus shell鸚鵡螺貝殼

overbuild v. 過(guò)多地建造

overpopulate v.&adj.使人口過(guò)密；人口過(guò)多的。

plasticity n.可塑性；適應(yīng)性

relief n. 減輕；救濟(jì)；安慰

renowned adj.著名的

respite n.緩解，暫時(shí)的休息

rotunda n. 圓形大廳

self-contained adj. 獨(dú)立的，自給自足的

slope (ramp) n. 斜坡、坡道

strive for為…而奮斗

Prairie Houses “大草原”住宅。由賴特提出并創(chuàng)造。強(qiáng)調(diào)建筑與周圍自然環(huán)境的融合。這類住宅大多位于郊外的草原上。
The Museum of Modern Art 簡(jiǎn)稱MOMA。現(xiàn)代藝術(shù)博物館。
Usonian Houses “美國(guó)風(fēng)”建筑。賴特在20世紀(jì)30年代美國(guó)遭遇經(jīng)濟(jì)大蕭條時(shí)期所提出的住宅風(fēng)格。該風(fēng)格的建筑只使用磚頭，木頭，水泥，玻璃和紙這5種材料。強(qiáng)調(diào)建筑的簡(jiǎn)潔，經(jīng)濟(jì)實(shí)用并同樣與自然環(huán)境相結(jié)合。

詞匯

Words and expressions

painting抽象畫(huà)