Prada藝術(shù)塔,時尚米蘭的“變色龍”

MILAN — The lambent new tower of art galleriesRem Koolhaas and his Rotterdam-based firm, OMA, have designed for the Prada Foundation is achameleon.

米蘭——雷姆·庫哈斯(Rem Koolhaas)和他位于鹿特丹的建筑事務(wù)所OMA為普拉達基金會(Prada Foundation)設(shè)計的藝術(shù)展覽空間——一座新的塔樓散發(fā)著柔和的光澤，就像一只變色龍。

From the east, the elevation presents a slim, unadorned, milk-white concrete block, nine stories high, punctured by loggias — a signpost, like the traditional village bell tower, rising above a low, scruffy neighborhood.

從東面看，一幢細長、未加修飾的乳白色混凝土大樓聳立著，九層樓高，開出幾處陽臺——它成了一個路標(biāo)，就像傳統(tǒng)村莊里的鐘塔，從一片低矮破舊的房屋當(dāng)中拔地而起。

To the north, where the facade meets Milan’s skyline and becomes mostly glass, cantileveringover the street, the block breaks into a zigzag of shifting floor plates, rectangles and trapezoids, the whole building wedged onto a triangular plot.

再到北面，建筑立面在此匯入米蘭的天際線，墻面變成玻璃為主，懸挑在街道之上，不同樓層的樓面在平行四邊形和不規(guī)則四邊形之間變換，把樓體分割出曲折錯落，整座建筑落在一個三角形地塊上。

The south end makes plain how the structure stands up. An ensemble of enormous cablesencased inside a giant beam counteracts the thrust of all those heavy, cantilevered concrete decks. Like a sword in a stone, the beam angles from the top of the tower through the red-tiled roof of an adjacent former warehouse, anchoring in the floor below.

南面令豎立的建筑結(jié)構(gòu)一目了然。一條碩大的梁里藏有數(shù)根粗大的鋼纜，牽制了那些懸挑、沉重的混凝土樓板產(chǎn)生的推力。這道梁像一把插入石頭的劍，從樓頂傾斜向下，穿過緊挨著的一座老倉庫的紅瓦頂，錨入地面。

In the Arthurian legend, the wizard Merlin put the sword in the stone. Mr. Koolhaas must be Merlin, I suppose. That makes Miuccia Prada, the Lady of the Lake.

在亞瑟王的傳奇里，是魔法師梅林(Merlin)把劍放進了石頭。我想這里的梅林必然是庫哈斯。那么湖夫人(Lady of the Lake)就是繆西婭·普拉達(Miuccia Prada)了。

The tower completes the arts campus OMA has spent the past decade conceiving for the Prada Foundation. An offshoot of the global fashion conglomerate, dedicated to contemporary art and culture, the foundation commissions new art, presents exhibitions and organizes film festivals and other events. It also oversees the vast art collection Ms. Prada and her husband, Patrizio Bertelli, have put together. For years, it operated in far-flung locales.

OMA用了十年時間為普拉達基金會設(shè)計該藝術(shù)中心，這座塔樓是藝術(shù)中心的收官之作。普拉達基金會是全球性時尚集團普拉達的分支機構(gòu)，專事當(dāng)代藝術(shù)與文化，基金會委約創(chuàng)作新的藝術(shù)作品，舉辦展覽，組織電影節(jié)和其他活動。這個機構(gòu)也負責(zé)監(jiān)管普拉達女士和丈夫帕特里齊奧·貝爾泰利(Patrizio Bertelli)龐大的藝術(shù)收藏。多年以來，基金會都在偏遠地點運營。

In 2008, Mr. Koolhaas and a partner, Christopher van Duijn, were enlisted to reimagine a former, turn-of-the-century distillery Prada owned as the foundation’s permanent home. Walled-in, abutting a weedy stretch of railroad tracks, the distillery was a pictures queassortment of dilapidated stables, a bottling facility, a carriage house, some offices and warehouses.

2008年，庫哈斯與合伙人克里斯多夫·范·丹(Christopher van Duijn)受邀把普拉達擁有的一座20世紀(jì)初的酒廠重新設(shè)計為基金會的永久總部。圍墻內(nèi)，毗鄰一條荒草叢生的鐵道，畫面感十足的酒廠包括幾處殘破的馬房、裝瓶車間、馬車庫、辦公室和倉庫。

The architects cleared away some of the old buildings, refurbished others. They built new ones. The tower was the last piece of the puzzle.

建筑師拆除了一些老建筑，另一些做了翻新。他們也蓋了新建筑。塔樓是整個設(shè)計的最后一塊拼圖。

Without it, the site first opened to the public in 2015. It featured about 120,000 square feet of new or reconfigured exhibition space; a new cinema; a new two-story Miesian pavilion of wide open gallery spaces, called the Podium, the whole building clad in light, shimmery panels off oamed aluminum, an automotive and medical industry material also used for bomb blastabsorption that looks a little like rough stone. There was even a 1950s-style Italian cafe straight out of a Wes Anderson movie.

2015年還沒有塔樓的時候，藝術(shù)中心首次對公眾開放。那時已經(jīng)有了12萬平方英尺(約合1.1萬平方米)的新建或改建的展覽空間;一座新影院;一座新建的密斯風(fēng)格的兩層展廳，有著開闊的展示空間，名叫“講臺”(Podium)，“講臺”通體覆以啞光的輕質(zhì)泡沫鋁板，這是汽車與醫(yī)療產(chǎn)業(yè)常用的一種材料，也用于吸收爆破沖擊波，看上去有點像粗糙的石材。甚至還有一間1950年代意大利風(fēng)格的咖啡館，直接出自韋斯·安德森(WesAnderson)的一部電影。

That was because Wes Anderson designed it.

因為它是韋斯·安德森的設(shè)計。

Chameleons themselves, Mr. Koolhaas and Ms. Prada made natural confederates. She was the famous communist turned high-fashion mogul whose empire evolved from bags and backpacks constructed out of an industrial nylon lining material. He was a prophet of global cities who declared the countryside his real passion after everyone else jumped on the urbanistband wagon.

庫哈斯和普拉達女士都很多變，他們的結(jié)盟也就自然而然。她是著名的由共產(chǎn)黨員轉(zhuǎn)型的高端時尚業(yè)大亨，她的帝國始自用一種工業(yè)尼龍材料做襯里的手袋和背包。他是全球城市的預(yù)言家，在別人都跳進都市化大潮之后宣告鄉(xiāng)間才是他真正的熱情所在。

Her clothes always seemed less about what men desired than what whet her creative appetite. He was once invited to propose an expansion for the Museum of Modern Art and thumbed his nose at the selection committee by suggesting a billboard that said “MoMA Inc.” They were both contrarians and closet optimists.

她設(shè)計的服裝似乎總是取決于什么能激發(fā)她的創(chuàng)造欲望，而無關(guān)男人的渴望。而他曾受邀為紐約現(xiàn)代藝術(shù)博物館(Museum of Modern Art)的擴建做提案，面對評委會大不敬地提議樹一塊“現(xiàn)代藝術(shù)博物館有限公司”(MoMA Inc.)的廣告牌。兩個人都是逆反者和背地里的樂觀主義者。

And they shared a sense of humor. At one time it was rumored that Prada might back the Dutcharchitect for a seat in the Italian Parliament.

他們倆還有共同的幽默感。一度有謠傳說普拉達要支持這位荷蘭建筑師在意大利國會爭取一個席位。

The foundation became their love child. It is unlike the eye-popping art gallery Frank Gehrydesigned for the Louis Vuitton Foundation beside the Bois de Boulogne in Paris, with its billowing glass sails, conjuring up flounces of silk and memories of Bilbao. The Prada campus feels, by comparison, world-weary, sneakily luxurious and — especially with its new tower— a mini-city, fragmentary, full of craft and secrets. Cities enshrine history and agitate for change. They’re forever unresolved.

普拉達基金會成了兩個人愛的結(jié)晶。它不像弗蘭克·蓋里(Frank Gehry)在巴黎布洛涅森林邊上為路易·威登基金會(Louis Vuitton Foundation)設(shè)計的令人瞠目的藝術(shù)中心，那些鼓鼓的玻璃風(fēng)帆讓人想起絲綢的翻涌，想起畢爾巴鄂。相比之下，普拉達基金會的藝術(shù)園看破了紅塵，不事張揚地奢華，尤其是有了新的塔樓后，像一座斷片拼接的迷你城市，充滿了心機與秘密。城市珍藏歷史又激蕩于變革。它們永無定論。

This has been Mr. Koolhaas’s mantra. It is reflected in a foundation that’s neither a preservation project nor a tear-down-and-build-new venture. Its mode is bricolage. More is more. Both is better.

這一直是庫哈斯的真言。它反映在這處即非保護項目又不是拆除重建的營造上。它的手法是利用手頭的現(xiàn)成材料進行創(chuàng)作。繁即是多。新舊結(jié)合更佳。

Cities are theaters and shape-shifters, too. I’m vaguely reminded of the old Cinecittà studios outside Rome, where Fellini worked and Mr. Anderson has made films. A stable house in the former distillery now resembles the cabinet rooms in old master museums. A tiny, Alice in Wonderland door opens onto an immense warehouse, 60 feet high and 200 feet long.

城市是劇場，城市也會變身。我隱約想起了羅馬郊區(qū)老舊的電影城(Cinecittà studios)，費里尼曾在那里工作，韋斯·安德森也在那拍過電影。老酒廠里的一間馬房現(xiàn)在就像古代大師美術(shù)館里的書房。一間小小的、愛麗絲漫游奇境式的門通向60英尺(約合18米)高、200英尺(約合61米)長的巨大倉庫。

And a building nicknamed the Haunted House is slathered in gold leaf, like an early Renaissancepanel painting. (“A very cheap cladding material,” Mr. Koolhaas has insisted, “compared to marble or even paint.”)

綽號“鬼屋”的建筑外表貼以金箔，像一幅文藝復(fù)興早期的木板油畫。(“這是一種很便宜的外墻材料，”庫哈斯曾堅持說，“比大理石甚至涂料還便宜。”)

“There is no difference between gold and rags,” Michelangelo Pistoletto, the veteran artist, once said. Mr. Pistoletto made his bones in the 1960s as a founder of Arte Povera, the Italian twist on post-Minimalism. Writing in 2001, after Mr. Koolhaas’s Prada shop opened in downtown Manhattan, the critic Herbert Muschamp noted Prada’s philosophical roots in Arte Povera.

藝術(shù)家米開朗基羅·皮斯特萊托(Michelangelo Pistoletto)曾說，“黃金與破布并沒有什么不同。”皮斯特萊托因在1960年代開創(chuàng)了“貧窮藝術(shù)”(Arte Povera)而聞名，這是后極簡主義的意大利變體。2001年，庫哈斯設(shè)計的位于曼哈頓下城的普拉達門店開業(yè)之后，評論家赫伯特·穆尚浦(Herbert Muschamp)提出普拉達的哲學(xué)源自貧窮藝術(shù)。

Mr. Muschamp recalled how Art Povera consisted of “old bedding and tar-stained rope” displayed “in barren, out-of-the-way locations.”

穆尚浦回顧了“破床單和沾染油污的繩索”在“荒無人煙的偏僻場所”展出，是怎樣構(gòu)成了貧窮藝術(shù)。

Somehow, he added, “you always needed a private jet to get there.”

不知為什么，他加了一句：“你總是要搭乘私人飛機才能抵達。”

Up to a point, that describes the foundation, with its fetishized lowdown materials like chipboard and orange construction fencing and slightly out-of-the-way location, south of the city’s center.

某種程度上，這個描述是貼切的，門店設(shè)計高調(diào)使用了刨花板、橙色的工地圍欄等廉價材料，店面也位于市中心以南略微偏僻的地段。

Arte Povera isn’t the only ghost of midcentury modernism inhabiting the project — there’s the twee cafe, with its Formica furniture and veneered wood paneling; the new tower restaurant, with its furniture bought at auction from New York’s Four Seasons; the cinema, with chairs imported from ’70s-era Milanese movie houses; and the sun-baked, deeply shadowed squares, conjuring up de Chirico.

游蕩在這里的上世紀(jì)中期的現(xiàn)代主義鬼魂還不只是貧窮藝術(shù)——藝術(shù)中心有間花哨的咖啡館，里邊是貼面家具和木紋墻板;新塔樓里的餐廳，家具是從紐約四季飯店歇業(yè)前的拍賣上買來的;電影院里的座椅來自幾家1970年代的米蘭影院;還有陽光燦爛時廣場上的陰影，讓人想起基里科(Giorgio de Chirico)的畫。

At the same time, there are the custom sheets of very modern translucent poly carbonate and aluminum handrails milled like Ferraris. There are the oak wood box-on-end pavers and there purposed metal prison grates painted lime green, which serve as screens in the coat checks and bathroom stalls.

同時這里又使用了非?，F(xiàn)代的定制透明聚碳酸酯板，鋁合金扶手打磨得像法拉利汽車一樣精細。還有橡木鋪路板和漆成嫩綠色的監(jiān)獄金屬柵欄改作他用，成了存衣處的屏風(fēng)和廁所里的隔間。

Some visitors have complained the layout doesn’t tell you where to go. You find your way around it. Like in a city. I think that is a virtue.

有些訪客抱怨說內(nèi)部布局不告訴你該往哪里走。你得自己去試探。就像在一座城市里。我認為這是個優(yōu)點。

But until now the project was missing its cornerstone where the 200-foot-high, 22,000-square-foot tower, or Torre, was meant to rise. Delays in construction stretched three years. They ended up allowing time to refine the design.

不過整個項目一直在等最重要的這座高200英尺(約合60米)高、面積2.2萬平方英尺(約合2044平方米)的塔樓，直到現(xiàn)在。建設(shè)工期拖延了三年。這也給改進設(shè)計留出了時間。

The tower’s six, stacked gallery floors were created as full-time showcases for Prada’s private art collection. They’re reached through a small, open-air lobby like a disco ball, with flashing screens and a dizzying cutout in the ceiling to reveal the building core’s scissored stairs. One flight up, mirrored bathrooms, industrial sinks and a patterned floor summon to mind PierreChareau and Super studio.

塔樓里上下六層樓的展廳專門用來陳列普拉達的私人藝術(shù)收藏。進入展廳要通過一個小型的開放式前廳，像迪斯科舞廳的反光球，有許多閃爍的屏幕，天花板上有令人暈眩的開口，透過它能看到建筑核心筒里交錯的樓梯。沿樓梯向上一層，鑲鏡面的洗手間、工業(yè)水槽和拼花地板讓你想起皮埃爾·夏洛(Pierre Chareau)和Superstudio(注：1960年代的意大利激進建筑小組)。

The galleries above are one to a floor, no two rooms alike, each taller than the last, their layouts shifting with the floor plates, the lowest gallery, 9 feet high; the topmost, 26 feet high.

樓上每一層就是一個展廳，每個展廳都截然不同，每個都比上一個更高，布局也隨著樓面形狀而變化;最低層的展廳挑高9英尺(約合2.7米)，最上層的是26英尺(約合7.9米)。

The middle-floor galleries end up feeling the nicest, proportion-wise. But the whole building is one narrative. As Federico Pompignoli, OMA’s project manager, has said, the tower is “an attempt at the white cube defying its own boringness.”

從空間比例來說，中間層的展廳感覺最舒服。但整座樓是一個整體表述。就像OMA的項目經(jīng)理費德里克·龐皮尼奧里(Federico Pompignoli)說過的，塔樓是“嘗試在一個白方塊上抗拒它自身的無趣”。

Much credit here goes to him. He oversaw every inch of construction and it shows. Elevatorcabs clad in backlit slabs of rose and green onyx suggest medieval reliquaries. I am told blacksmiths from a tiny shop outside Milan hand-tooled the restaurant’s exquisite bar, sliding doors and custom-embossed the anodized aluminum panels on the terraces that look like expensive Lego pieces.

對于塔樓，他功不可沒。他監(jiān)督了它每一寸的建造與外觀。電梯轎廂內(nèi)鋪以有背光的玫瑰色及綠色縞瑪瑙，使人聯(lián)想到中世紀(jì)的圣物盒。我聽說來自米蘭城外一家小鋪子的鐵匠手工打造了餐廳里精致的吧臺、滑動門和露臺上定制花紋的陽極氧化鋁板，它們看上去就像昂貴的樂高積木。

I kept running my hands over the tower’s concrete walls. Infused with Carrara marble andpoured by construction workers who wore white gloves, they feel smooth as silk.

我不停用雙手撫摸塔樓的混凝土墻面?；炷磷⑷肟ɡ?Carrara)產(chǎn)的大理石模板，由戴著白手套的建筑工人澆筑，摸上去像絲一樣滑。

The big rectangular and wedge-shaped galleries, windows alternating between panoramas of the city and narrow views over the campus, accommodate best the large-scale works in the inaugural show, “Atlas.” It features Jeff Koons, Mona Hatoum, Michael Heizer and others. Check out the restaurant if you go. Works by Carsten H?ller and Lucio Fontana are on permanent display.

在巨大的長方形和楔形展廳，窗外風(fēng)景在城市全景與院內(nèi)的狹窄視野間交替，展廳極好地容納了揭幕展《阿特拉斯》(Atlas)中的大尺寸作品。展覽展出了杰夫·昆斯(Jeff Koons)、莫娜·哈透姆(Mona Hatoum、邁克爾·海澤(Michael Heizer)等藝術(shù)家的作品。你去的話一定要到餐廳看看?？ㄋ闺?middot;霍勒(Carsten H?ller)和盧齊歐·封塔納(Lucio Fontana)的一些作品在那里永久陳列。

 

From “Atlas,” I made my way through the loan exhibition about Fascist art that has taken over the pavilion and stables, watching a few of the old news clips of cheering mobs and BenitoMussolini in the cinema.

從《阿特拉斯》展出來，我又去了涼亭和馬房里關(guān)于法西斯藝術(shù)的借展，在電影院看了幾段老的新聞短片，里面有歡呼的人群和貝尼托·墨索里尼(Benito Mussolini)。

Then I wandered into Mr. Anderson’s cafe and ordered what may be the most delicious sandwich I have eaten in my entire life.

然后我溜達進韋斯·安德森的咖啡館，點了三明治，這可能是我這輩子吃過的最好吃的三明治。

Private museums are mostly vanity projects. Few invent social spaces. It may be the ultimate tribute to Mr. Koolhaas and OMA to say that the Prada campus works. The plazas are poetic. The galleries are practical and varied.

私立美術(shù)館大多是浮華的項目。很少創(chuàng)造社交空間。在這點上普拉達基金會藝術(shù)中心是成功的，這樣說可能是對庫哈斯和OMA的最大肯定。廣場很有詩意。展廳實用而形態(tài)多樣。

Ms. Prada should be pleased and maybe a little worried. It’s up to the foundation to program these spaces for generations to come.

普拉達女士應(yīng)該很高興，或許也有一點擔(dān)心。這些空間現(xiàn)在要靠基金會為將來的幾代人策劃內(nèi)容了。

Architecturally speaking, there’s a lot to live up to.

從建筑上講，有很多不可辜負之處。