完美杰作的不完美之处：音频导览

本期节目由Acura赞助播出。

This episode is sponsored by Acura.

Acura一直走自己的路，打破常规，打造别人不敢尝试的东西，同时始终专注于真正重要的——性能。

Acura has always done things its own way, breaking rules and building what no one else dared, all while focusing on what truly matters, performance.

他们为此投入了四十多年的热情和专注。

They've dedicated over forty years of passion and devotion to it.

凭借精心的工艺和追求不同路线的自信，Acura追逐每一个想法，为您带来流线型设计、前瞻性科技和精准打造的性能。

Through thoughtful craftsmanship and the confidence to pursue a different approach, Acura chases every idea to bring you sleek designs, visionary technology, and precision crafted performance.

他们相信，最好的体验源于细节。

They believe that the best experiences are made through the little details.

了解更多

Learn more

请访问acura.com。

at acura.com.

这里是《99% Invisible》。

This is 99% Invisible.

我是罗曼·马尔斯。

I'm Roman Mars.

2019年，我和纽约的古根海姆博物馆合作了一个非常令人兴奋的项目，制作了一个关于美国建筑史上真正伟大作品的历史和设计的语音导览。

In 2019, I worked on a very exciting project with the Guggenheim Museum in New York, an audio tour about the history and design of a truly great work of American architecture.

即使你从未去过古根海姆，你大概也能认出它。

Even if you've never been to the Guggenheim, you probably recognize it.

从外面看，这座建筑是一个浅灰色的螺旋形，而里面，艺术品沿着一条长长的坡道展示，坡道向上弯曲，通向天花板上的玻璃天窗。

From the outside, the building is a light gray spiral, and inside, the art is displayed on one long ramp that curves up towards a glass skylight in the ceiling.

没有哪座博物馆能与之相比，它是由我最喜欢的建筑师之一弗兰克·劳埃德·赖特设计的。

There's no museum like it, and it was made by one of my favorite architects, Frank Lloyd Wright.

你现在要听到的是完整的语音导览。

What you're going to hear now is the whole audio tour.

如果你在纽约市，你应该试着在博物馆里面听。

If you're in New York City, you should try and listen to it inside the museum.

每一层都有标志，指示你应该在哪里停下来。

There are signs on every floor indicating where you should stop.

但如果你去不了纽约，这个导览依然非常有趣，单独听也完全没问题。

But if you can't make it to New York, the tour is still really fun and works on its own.

古根海姆的团队非常慷慨，允许我制作一种不同风格的导览，听起来就像和一个极其热情又博学的朋友一起逛这座建筑，而不是听一位严肃的建筑学教授讲课。

The team at the Guggenheim were generous enough to allow me to create a different kind of audio tour that feels like walking through the building with an extremely enthusiastic and knowledgeable friend rather than a formal architecture professor.

希望你们喜欢。

I hope you like it.

我们会在网站99pi.org上发布一期带照片的节目指南，这样你在家也能跟着看。

We're gonna post an episode guide with photos on our website at 99pi.org so you can follow along at home.

不过我觉得你闭上眼睛想象一下，也能享受所有这些故事。

But I think you can close your eyes and imagine and still enjoy all the stories.

这是第一站。

Here's the first stop.

如果你就在馆内，请在大厅的圆形大厅开始播放这段。

If you're in the building, start playing this in the lobby of the rotunda.

欢迎来到古根海姆博物馆。

Welcome to the Guggenheim Museum.

我是罗曼·马尔斯，设计建筑播客《99% 隐形》的创始人和主持人。

I'm Roman Mars, the creator and host of the design and architecture podcast 99% Invisible.

古根海姆博物馆是建筑大师弗兰克·劳埃德·赖特创作的建筑杰作。

The Guggenheim Museum is an architectural masterpiece made by a master of architecture, Frank Lloyd Wright.

2019年，联合国教科文组织将赖特设计的八座建筑，包括古根海姆博物馆，列为世界遗产。

In 2019, UNESCO selected eight buildings designed by Wright, including the Guggenheim, to be a World Heritage Site.

联合国教科文组织的遗产地被认为对人类共同利益至关重要。

UNESCO sites are considered vital to the collective interests of humanity.

黄石公园是遗产地，大峡谷也是。

Yellowstone is a heritage site, so is the Grand Canyon.

在美国的世界遗产中，有12处是上帝创造的。

Of the World Heritage properties in America, 12 were made by God.

有8处是弗兰克·劳埃德·赖特设计的。

Eight were made by Frank Lloyd Wright.

古根海姆博物馆的联合创始人兼首任馆长希拉·里贝委托建造这座建筑时，她说她想要一座精神殿堂，而赖特为她设计了一座。

When cofounder and first director of the Guggenheim Museum, Hilla Riebe, commissioned this building, she said she wanted a temple of spirit, and Wright designed one for her.

接下来是古根海姆博物馆的馆长，理查德·阿姆斯特朗。

Here's the director of the Guggenheim, Richard Armstrong.

现在当我抬头看那个穹顶时，我实际上是在看大教堂里玫瑰窗的一个非常美丽的抽象表现。

I feel now when I look up into that dome, I'm actually looking at a very beautiful abstraction of a rose window in a cathedral.

我深感敬畏。

I'm in awe.

所以我们就把这座建筑的非凡之处当作既定事实吧。

So we're gonna take the genius of this building as a given.

它很棒。

It's great.

我要关注的是那些奇特之处、那些累积的痕迹、那些干预的痕迹，它们揭示了另一种天才，不仅仅是弗兰克·劳埃德·赖特和他大胆的原始愿景的天才，还有所有让这座建筑在几十年里运作、适应和成长的人们的天才。

What I'm gonna focus on are the oddities, the accretions, the interventions that reveal a different kind of genius, not just the genius of Frank Lloyd Wright and his bold original vision, but the genius of all the people that made this building function, adapt, and grow over the decades.

弗兰克·劳埃德·赖特是“有机建筑”概念的创始人。

Frank Lloyd Wright was the originator of a concept called organic architecture.

你可能会环顾四周，看到这整座建筑像海螺壳，然后你可能会想，哦，酷。

And you might look around and see how this entire building resembles a seashell, and you might think, oh, cool.

那肯定就是有机建筑了。

Well, that must be organic architecture.

不过抱歉，这其实不是他的本意。

But sorry, that's actually not what he meant.

真的，弗兰克·劳埃德·赖特所说的有机建筑，更多是关于生命体的隐喻。

Really, Frank Lloyd Wright, organic architecture was more about the metaphor of a living organism.

这位是阿什利·门德尔松，古根海姆博物馆的建筑与数字项目助理策展人。

This is Ashley Mendelson, the Guggenheim's assistant curator of architecture and digital initiatives.

实际上，他在现场时，把钢材比作建筑的肌腱和肌肉，混凝土是脂肪组织，防水涂料则是皮肤。

And actually, when he was on the site, he referred to the the steel as the tendons and the muscles of the building, the concrete as the fatty tissue, and the waterproof paint as the skin.

所以我们要去探索、触摸，甚至和这座像生命体一样的建筑共舞，见证这些弯曲墙壁内发生的演变。

So we're going to explore, touch, and even dance with this living organism of a building and witness the evolution that's occurred within these curved walls.

下一站是主坡道上的二楼电梯旁。

The next stop is by the 2nd Floor elevators on the main ramp.

弗兰克·劳埃德·赖特的计划是让古根海姆成为一座自上而下的博物馆。

Frank Lloyd Wright's plan was for the Guggenheim to be a top down museum.

原本的设计是，游客先坐电梯到螺旋坡道的顶端，然后一路往下走。

Originally, visitors were supposed to ride the elevator to the top of the spiral ramp and walk down.

展览就是从那里开始的。

That's where the exhibitions all started.

我看过很多六七十年代的老照片，那时候介绍文字就放在那个位置。

I've seen many images of old installation views from the sixties into the seventies where that's where the intro text was.

起初的布展计划是从上往下的，从第五层坡道开始。

Initially, the exhibitions were planned from top down starting on Ramp 5.

走出电梯。

Get out of the elevator.

展览的入口就在你面前，你走下来就能看到它。

The entrance name of the exhibition was right in front of you, you walked down to see it.

但随着时间的推移，策展人开始从下往上安排展览内容。

But over time, curators started programming from the bottom up.

这样感觉更自然。

It just felt natural.

另外，古根海姆博物馆经常举办回顾展，聚焦一位艺术家从早期到后期的作品。

Also, the Guggenheim does a lot of retrospectives focusing on one artist from their early work to the late stuff.

很多艺术家在职业生涯中，作品规模会越来越大。

Many artists over the course of their careers, their work got larger in scale.

所以如果你要办回顾展，从早期的小作品开始，再到后期的大作品，从底层开始就很合理，因为建筑里的展示空间越往上越大。

And so if you're doing a retrospective where you're starting with the early work, which is small, and then moving to larger work, it makes sense to start at the bottom because the display spaces in the building get bigger and bigger as you move up in space.

但如果你想做弗兰克·劳埃德·赖特的忠实追随者，坚持要从古根海姆顶层往下走，那你坐电梯上去的时候可能会遇到同好。

But if you wanna be a Frank Lloyd Wright originalist and you really need to walk down from the top of the Guggenheim, you might have company as you ride up the elevator.

我觉得还是有15%到20%的人会坐电梯上去。

I think still 15 to 20% of people take the elevator up.

可能是因为他们听说弗兰克·劳埃德·赖特原本的设计就是这样，想按那个方式体验。

And it's probably because they heard that that's how Frank Lloyd Wright intended, and they wanna see it that way.

所以大多数设计师和策展人会考虑到两种参观方式。

And so most designers and curators plan for it to be experienced both ways.

事实上，我接触过的很多游客都是先走上去，再走下来。

And in fact, most visitors that I talk to walk up and then walk down.

所以展览应该设计成两种方式都能看，这样才合理。

So it makes sense that the show should be able to read in both ways.

这还不是弗兰克·劳埃德·赖特对古根海姆设想的最大不同之处。

This isn't the only big difference from how Frank Lloyd Wright envisioned the Guggenheim.

他的蓝图里还计划了第二条螺旋坡道，会从圆形大厅中央突出来。

His blueprints included plans for a second spiral ramp that would protrude out into the center of the rotunda.

那条坡道的陡峭程度是你现在站的这条螺旋坡道的两倍。

It was going to be twice as steep as the corkscrew ramp you are standing on right now.

他称之为快速坡道，目的是让人们在楼层之间更快地移动。

He called it the quick ramp, and it was supposed to make it faster to get between floors.

弗兰克·劳埃德·赖特在描述中说，走大坡道下来时感受重力的牵引，想要快速便捷地在坡道之间穿梭，就坐快速坡道，这确实不错。

And Frank Lloyd Wright in the description said, feel the pull of gravity as you walk down the grand ramp, and for quick and easy access between ramps, take the quick ramp, which is really good.

但在快速坡道上，重力的牵引感可能会太强了。

But on the quick ramp, you'd feel gravity's pull a little too much.

那个设计实在太陡了。

The design was way too steep.

那更像是一个快速滑梯，所以最后没有建成。

It was more like a quick slide, so it never got built.

但快速坡道还是影响了博物馆的最终设计。

But the quick ramp still influenced the final design of the museum.

你会注意到圆形大厅中央的那个洞，它并不是一个完美的圆，你现在所在的坡道也不是一个完美的螺旋。

You'll notice the hole in the center of the rotunda, it's not a perfect circle, and the ramp you're on right now is not a perfect spiral.

有一个半圆形突出到圆形大厅里。

There's a semicircle that juts out into the rotunda.

那叫做“凸出部分”。

That's called the bump out.

这个凸出部分以前是快速坡道的一部分。

The bump out used to be part of the quick ramp.

当你看到那个，你就会明白，其实每一条曲线都属于某个圆。

When you see that, then you understand that every curve actually belongs to a circle somewhere.

它们的存在都是有原因的。

They all had a reason for being there.

可惜我们没能有机会从古根海姆滑下来，不过作为楼层之间替代路线的楼梯，还是挺让人开心的。

Sadly, we missed out on the opportunity to slide our way down the Guggenheim, but the stairs we got as an alternative route between floors are still pretty delightful.

你可以在电梯门后面的走廊里找到它们。

You can find them in the hallways behind the elevator doors.

它们以三角形的形状盘旋而上，给博物馆又增添了一种可爱的纯粹形态。

They twist up the building in a triangle and add another lovely pure form to the museum.

下一站是主坡道上的三楼电梯旁。

The next stop is by the 3rd Floor elevators on the main ramp.

当你沿着圆形大厅的坡道往上走时，把手放在护墙上。

As you walk up the ramp in the rotunda, place your hand on the parapet.

那是把坡道和中央的空洞隔开的矮墙。

That's the low wall separating the ramp from the void in the center.

你首先会注意到它非常矮。

The first thing you notice is that it's very low.

说实话，如果是今天建造的话，它可能会高出几英寸。

If it were built today, let's be honest, it would probably be a couple inches taller.

你还会注意到，虽然这座建筑是由圆形和螺旋形这样的纯粹形状构成的，但栏杆的顶部并不是完美的圆弧，也没有利落的直角收边。

The other thing you'll notice is that even though the building is composed of these pure forms like circles and spirals, the top of the parapet isn't perfectly rounded or finished off with a crisp right angle.

它表面是凹凸不平的。

It's bumpy and uneven.

栏杆之所以看起来有点不平整，是因为我们每天在博物馆闭馆后都会补漆，因为建筑是白色的，容易脏。

So the reason why the parapet is kind of lumpy in that way is because we touch up paint truly every day when the museum's not open, that's because the building's white, and so it gets dirty.

如果要真正重新粉刷内部，你得把整个建筑关闭，我估计得关整整一周左右。

You'd have to really close the whole building and have it closed for, you know, I don't know, a full week or something if you were to truly repaint the interior.

所以我们只是这里补补、那里补补，这样一来，所有东西都带点纹理感。

And so instead, we touch up here and there, and for that reason, everything kind of has a texture.

你对这座建筑产生了影响。

You have an effect on this building.

你来到这里，触摸了这条栏杆，你已经改变了它。

By being here and touching this railing, you've changed it.

它不断变化的纹理，正是它作为有机结构演变的一部分。

Its changing texture is part of its evolution as an organic structure.

好的。

Okay.

就待在这儿。

Stay right here.

这是三楼参观的第二个点。

This is the second stop on the 3rd Floor.

要实现弗兰克·劳埃德·赖特那个螺旋形博物馆的构想，可不是件容易的事。

Constructing Frank Lloyd Wright's vision of a spiral museum was not an easy feat to pull off.

赖特负责监督整个工程，但具体项目是由当地一位名叫威廉·肖特的建筑师负责的，而乔治·科恩则是总承包商。

Wright oversaw the work, but a local architect named William Short was in charge of the project on the ground, and George Cohen was the general contractor.

在建造古根海姆博物馆的三年里，他们逐渐意识到赖特的一些想法根本行不通，比如把建筑建成一个自支撑的螺旋结构。

In the three years it took to build the Guggenheim, they came to the realization that some of Wright's ideas were not going to be doable, like the idea of making the building a self supporting spiral.

你可以想象一下弹簧或者类似的东西，它的金属丝因为张力而自己撑住自己。

If you imagine a slinky or something in the way that the wire, just because it's in tension in that way, is holding itself together.

这就是他早期提出的构想。

That's what he said early on.

所以他们没有用自支撑的螺旋结构，而是用了所谓的网状墙体。

So instead of a self supporting spiral, they use something called web walls.

看看你对面那层楼。

Look at the floor across from you.

你看到的那些从地板延伸到天花板的薄墙，其实都是连在一起的。

Those thin walls that you see that jut out from floor to ceiling, those are actually all connected.

那些就是网状墙体。

Those are the web walls.

它们把整栋楼撑起来了。

They hold this whole building together.

这些垂直的墙体一直延伸到顶部的圆形天窗，它们合在一起构成了整栋建筑的结构骨架。

These vertical walls, extend all the way up into the oculus, the combination of all of those together is the structural skeleton of the building.

其他所有部分都是挂在它上面的。

Everything else hangs off of it.

坡道也是挂在它上面的。

The ramp hangs off of it.

外墙也是挂在它上面的。

The exterior walls hang off of it.

他们必须解决建造一座弯曲螺旋建筑的问题，这在之前没人想象过，更别说建造了。

They had to solve the problem of making a curving spiral building no one had even imagined before, much less built.

他们用喷浆混凝土做到了。

And they did it with gunite.

喷浆混凝土是从软管里高速喷出的混凝土。

Gunite is concrete that is shot out of a hose at high velocity.

你把它喷到模具上，它干得很快，并且会呈现模具的形状。

You spray it against a mold, it dries real fast, and takes on the shape of the mold.

建造这座建筑时，使用这种相当新颖的技术是赖特的主意。

It was Wright's idea to use this pretty novel technology when the building was constructed.

如果你仔细看，而且阳光正好，你可以看到倾斜的棋盘格线条图案，这些线条暴露了形成外墙形状的胶合板模具的痕迹。

If you look closely and the sun is just right, you can see an angled checkerboard pattern of lines that betray the form of the plywood molds that created the shape of the outer wall.

他们雇了一个分包商来做喷浆混凝土。

They had hired a subcontractor to do the gunite.

因为他们没考虑到模板会露出来，所以喷浆模板的安装角度是随意的，并不一致。

And because they didn't think about the formwork being expressed, the gunite formwork is placed on a real angle, which is not consistent.

就是因为他们觉得你不会看到，所以只是按常规方式做了图案。

It's just because they didn't think you would see it, and so they just made their pattern work as you do.

这个图案是喷浆施工的结果，弗兰克·劳埃德·赖特不喜欢它露出来。

The pattern is a result of the gunite construction, and Frank Lloyd Wright didn't like the fact that it was visible.

但乔治·科恩说服了他，并且实际上体现了弗兰克·劳埃德·赖特和其他现代主义者所倡导的建筑诚实原则。

But George Cohen convinced him and actually exemplified the principles of architectural honesty that Frank Lloyd Wright and other modernists championed.

在很多方面，乔治·科恩是古根海姆博物馆被低估的英雄，但弗兰克·劳埃德·赖特对他的尊重是显而易见的。

In many ways, George Cohen is the undersung hero of the Guggenheim, but Frank Lloyd Wright's respect for him is clear.

就在正门旁边，乔治·科恩的名字以金属镶嵌在外墙上，旁边还有一个红色方块，那是弗兰克·劳埃德·赖特的签名。

Right by the front entrance, George Cohen's name is written in metal embedded on the exterior wall alongside a red square that serves as Frank Lloyd Wright's signature.

这是赖特唯一一次把总承包商的名字放在建筑上。

This was the only time Wright ever put the general contractor's name on a building.

下一站，请前往三楼坡道旁的咖啡馆。

For the next stop, head over to the cafe off the ramp on the 3rd Floor.

往窗外看，你就能近距离看到外立面。

Look out the window, and you'll see the outer facade up close.

关于古根海姆的外立面，有两件很酷的事值得了解。

There are two cool things to know about the facade of the Guggenheim.

首先是颜色。

First is the color.

它和建筑刚开放时很不一样。

It's very different from when the building opened.

当时不是这种灰白色。

It wasn't this whitish gray.

而是更偏米黄色。

It was more of a beigey yellow.

弗兰克·劳埃德·赖特把原来的颜色称为“浅黄色”。

Frank Lloyd Wright called the original color buff.

那些照片真的拍得很好。

There are really great photos of that.

看起来几乎更像一座沙堡。

It kind of almost looks more like a sand castle.

它给人的感觉和现在很不一样。

It has a very different feeling than it does now.

为了做出那种米黄色，他们用一种叫Cocoon的特殊防水漆。

To create buff, they used a special waterproof paint called Cocoon.

建筑开放八年后，外墙需要重新粉刷。

Eight years after the building opened, the exterior needed to be repainted.

于是博物馆的工作人员去找Cocoon漆的制造商，发现他们已经不生产那种米黄色了。

So the museum staff went to the manufacturer of Cocoon Paint and discovered they no longer had buff.

所以第一次重新粉刷时，原来的米黄色已经买不到了。

So that original color buff was no longer on the market the first time they repainted the building.

所以他们最后用了稍微浅一点的色调。

So they end up going with a slightly lighter shade.

这些年他们换了好几种颜色，更多是纯白色，现在则是灰色。

And over the years, they used a bunch of different colors, more of a stark white, and currently, it's gray.

人们觉得那是白色的，但其实是灰色的。

People perceive that to be white, but it's actually gray.

建筑获得地标地位后，古根海姆博物馆进行了一次修复，这在油漆方面引发了一个有趣的难题。

After the building was awarded landmark status, the Guggenheim went through a restoration, and it created an interesting conundrum paint wise.

博物馆是应该坚持大家已经习惯的浅灰色，还是让时光倒流，把古根海姆重新刷回原来的黄褐色？

Should the museum stick with the light gray everyone had grown accustomed to or roll back time and repaint the Guggenheim the original yellow buff color?

最后，他们选择了浅灰色。

In the end, they chose light gray.

这就是今天大家一想到这座博物馆就会想到的颜色。

It's the color everyone associates with the museum today.

关于这座建筑的外观，第二件要知道的事情是，它并不是承重结构。

The second thing to know about the facade is that it's not structural.

混凝土只是挂在建筑的框架上，并不支撑任何东西。

The concrete just hangs off the framework building and doesn't hold anything up.

它非常薄。

It's super thin.

有些地方的混凝土厚度还不到五英寸。

In places, the concrete is less than five inches thick.

档案里有记录，警告工人在挂艺术品时不要用太长的钉子。

There are notes in the archives warning workers not to use nails that are too long when hanging the artwork.

钉子可能会直接穿透到外面。

The nails could go right through to the outside.

好的。

Okay.

待在这里别动。

Stay right here.

这是第二个咖啡厅停靠点。

This is the second cafe stop.

所以现在你人在咖啡厅，但其实你是站在第二个较小的圆形大厅的三楼。

So right now, you're in the cafe, but you're also standing on the 3rd Floor of a second smaller rotunda.

哦，不。

Oh, no.

看起来不像。

It doesn't look like it.

最初，弗兰克·劳埃德·赖特希望所有古根海姆的员工都在这栋楼里工作。

Originally, Frank Lloyd Wright wanted all of the Guggenheim staff to work in this building.

他把这个空间叫做“监视器”，不过没人完全确定为什么这么叫。

He called this space the monitor, although nobody's entirely sure why.

我确实找不到一个好的解释，但弗兰克·劳埃德·赖特在所有通信中都一直称它为“监视器”。

I really couldn't find a good description, but Frank Lloyd Wright always referred to it as the monitor in all correspondences.

他确实就是这么叫的。

Like, he really dubbed it that.

我猜是因为这是行政楼，有点像在监视其他所有人。

My guess is that because it was the administrative building, it's kind of monitoring everyone else.

以前人们在这里放办公桌、台灯和家庭照片，他们就坐在你现在站的地方。

People used to have desks and lamps and family photos, and they sat right where you're standing.

但那个空间相当拥挤，形状也很别扭。

But it was a pretty cramped space and awkwardly shaped.

你看到的这个杏仁形或橄榄球形的整体，其实是一个楼梯间。

This overall almond slash football shape that you see is a stairwell.

这种形状在整个建筑里反复出现，而且这些都是原装的。

That shape kind of repeats throughout the building, and all of this is original.

一直就是这样。

It's always been here.

所以如果你想象这里曾经是办公空间，所有东西都得绕着这些形状来安排。

So if you're trying to imagine this being an office space, everything had to work around these forms.

这些办公室有点像那种火车厢式的公寓。

The offices were kind of like railroad apartments.

没有走廊。

There was no hallway.

所以如果你的办公桌在靠窗的后面，你得穿过别人的办公室才能去吃午饭。

So if you had a desk at the back window, you had to walk through everyone else's office just to go to lunch.

现在，博物馆的员工大多在市中心的一个地方办公，而这个监控室已经变成了公共画廊空间，还有古根海姆咖啡馆和礼品店。

Today, the museum staff mostly work off-site in a downtown location, and the monitor has become public gallery space and home to the Guggenheim Cafe and Gift Shop.

你看到角落里那堵矮墙了吗？看起来像个阳台的那个。

Now you see that low wall in the corner, the one that looks like a balcony?

走过去往下看看。

Well, walk over there and take a look down.

你会看到一个画廊。

You'll see a gallery.

那个画廊其实是连接博物馆的一座十层塔楼的一部分。

That gallery is actually part of a 10 story tower that's connected to the museum.

你进来的时候可能没注意到主楼后面的那座塔。

You probably didn't notice the tower behind the main building when you came in.

没人注意到，这正是它的设计意图。

Nobody does, and that's kind of the point.

它建于1992年，由建筑事务所Guathme Segal设计，取代了弗兰克·劳埃德·赖特的女婿建造的一座旧塔。

It was built in 1992 by the architecture firm, Guathme Segal, and it replaced an older tower built by Frank Lloyd Wright's son-in-law.

旧塔的问题在于它有点过于显眼了。

The problem with the old tower was that it was just a bit much.

阿什利拿出了一张它的照片，然后只是听她试着描述它。

Ashley pulled out a photo of it and just listened to her try to describe it.

所以这座塔就像是两个相交的盒子。

So this tower is kind of two intersecting boxes.

一个高高的垂直盒子，那是电梯井，然后这个长方形的盒子是悬臂式的，所以它挂在那东西上面。

One tall vertical box, which is the elevator core, and then this rectangular box, which is cantilevered, so it's hanging off of that thing.

而且它们都有这些垂直的条纹，六边形的窗户，整个外立面都是六边形的图案。

And both of them have these vertical stripes, hexagonal windows, just a pattern of hexagons all over the facade.

这也很疯狂，因为我觉得它完全从大家的记忆里消失了。

It's wild too because I feel like it's completely fallen out of everyone's memory.

说真的，你拿手机查一下，或者回家再查。

Seriously, look it up on your phone or when you get home.

那真的很疯狂。

It was wild.

它看起来有点像七十年代的科幻建筑。

It looks a bit like seventies sci fi architecture.

我其实挺喜欢的，但它确实抢了博物馆的风头。

I kinda love it, but it actually stole attention away from the museum.

而Gwathme Siegel塔楼看起来就像是一直就在那里，让弗兰克·劳埃德·赖特的原建筑真正闪耀，这一点做得太好了。

And the Gwathme Siegel Tower does such a good job of just looking like it was always meant to be there and allowing the original Frank Lloyd Wright building to really shine.

它只是作为一个背景。

It just acts as a backdrop.

所以我觉得这就是那个设计这么棒的原因。

And so I think that's why that design is so great.

我们马上回来。

We'll be right back.

让我们休息一下，感谢今天节目的赞助商Acura。

Let's take a break to thank the sponsor of today's episode, Acura.

就像博物馆设计师仔细考虑游客体验的每一个细节一样，Acura的工程师和设计师也痴迷于塑造每一次驾驶体验的细节。

Just as museum designers carefully consider every detail of the visitor experience, Acura engineers and designers obsess over the details that shape every drive.

精工细作的性能是经过精心策划的，带着意图、精准和工艺，来塑造有意义的体验。

Precision Crafted Performance is curated with intention, precision, and craftsmanship to shape meaningful experiences.

他们精心设计体验，围绕人们实际使用车辆的方式，打造直观、有趣、令人兴奋且有回报的体验。

Thoughtfully designing the experience around how people actually use their vehicles, designing for an intuitive, engaging, exhilarating, and rewarding experience.

对于Acura来说，形式服从功能，轮廓设计提升效率，车灯减少夜间疲劳，扬声器布置巧妙，营造丰富环绕的音响氛围。

With Acura, form follows function, contours to enhance efficiency, headlights to reduce fatigue at night, and strategically placed speakers to create a rich and enveloping audio atmosphere.

碰撞缓解、后置雷达以及安全科技，既创新又安全。

Collision mitigation, rear mounted radar, and safety inspired technology is as innovative as it is safe.

从自适应巡航控制到车道保持辅助，Acura在一个不可预测的世界里以人为本，因为最有影响力的选择往往是那些你不会刻意注意到但深深感受到的。

From adaptive cruise control to lane keeping assist, Acura put people first in an unpredictable world because the most impactful choices are often the ones you won't consciously notice but deeply feel.

了解更多

Learn more

请访问acura.com。

at acura.com.

下一站是主坡道四楼电梯旁。

The next stop is by the 4th Floor elevators on the main ramp.

看看你站着的这条坡道。

Take a look at the ramp you're standing on.

如果要在像这样有斜坡的地板上挂一幅画，你会怎么挂？

If you hang a picture with a slanted floor like this one, how would you do it?

你是会挂得笔直，还是会顺着地板的倾斜角度来挂？

Would you make it straight or would you try to hang it to match the angle of the floor?

弗兰克·劳埃德·赖特设计了第三种方案。

Frank Lloyd Wright designed a third option.

他在整栋建筑里设计了一些向后倾斜的壁龛，用来挂画。

He made bays throughout the building which slope backwards where you can hang paintings.

赖特确实把壁龛看作一个综合的展示系统。

Wright really thought about a bay as a comprehensive display system.

所以后面的墙是倾斜的，大约105度，这跟画架的角度很相似。

So the back wall is at an angle approximately a 105 degrees, which is really similar to an easel.

画架方案的问题在于，当画朝后倾斜时，很难欣赏。

The problem with the easel plan is that it's hard to look at paintings when they're tilting away from you.

这不是艺术家和策展人想要的。

That's not how artists and curators wanted it.

看看外面的圆形大厅。

Look out into the rotunda.

如果现在展出的展览里有画作，你会注意到很多画看起来像是悬浮在空中。

If the exhibition on display right now has paintings, you'll notice that many of them appear to be floating in space.

这是古根海姆博物馆挂画的标志性方式。

That's the Guggenheim's signature way of hanging paintings.

你看不到挂画的装置。

You can't see the hanging mechanism.

它藏在画的后面。

It's hiding behind the painting.

如果我们能真正……

If we were able to get a real...

从一个真正的角度回头看，你就能看到挂画装置在哪里，而且它全都在画的后面。

On a real angle and look back, you would be able to see where that hanging mechanism is, and all of it is behind there.

所以这就是为什么那里会有那么漂亮的阴影，而且阴影里没有任何挂画装置的痕迹。

And so that's why you get that really nice shadow there, and the shadow doesn't have any of the hanging mechanism.

就只有作品本身。

It's just the piece itself.

我就不拐弯抹角了。

I'm not gonna sugarcoat this.

安装团队在这里的工作非常艰巨。

The installation team has a very hard job here.

他们得为每件艺术品和建筑的每个部分制定新的方案，因为越往上，空间就越大。

They have to figure out a new plan for each work of art and for each part of the building because the bays get larger as you go up.

现在关于圆形大厅还有一点。

Now here's another thing about the rotunda.

如果你抬头看，会看到艺术品。

If you look up, you'll see works of art.

如果你平视过去，那边也有艺术品。

If you look across, you'll see works of art there too.

往下看，还有更多的艺术品。

Down, there's more art.

你被艺术包围了。

You're surrounded by art.

南希·斯佩克特是古根海姆的艺术总监，也是詹妮弗和大卫·斯托克曼的首席策展人。

Nancy Spector is the artistic director and Jennifer and David Stockman chief curator at the Guggenheim.

对有些人来说，这可能是一种宗教般的体验。

For some people, it can be a religious experience.

站在那些艺术品面前，感受太深刻了。

It's so profound to stand there with that work of art or works of art.

而且，你还能隔着圆形大厅望过去，看到自己要去的地方和走过的路，这样你就有机会从远处重新审视。

Then on top of that, you have the ability to look across the rotunda and see where you're going and where you've come from so you have a chance to revisit from a distance.

古根海姆是城里唯一没有后台区域的博物馆，工作人员无法在那里准备新展览。

The Guggenheim is the only museum in town without a backstage area where staff can prepare new exhibits.

这意味着，如果你在展览更换期间来，就能亲眼看到新展览在你面前逐渐成形。

And that means if you come during a changeover period between exhibitions, you get to see the new exhibit taking shape right before your eyes.

南希说，在古根海姆布置艺术品是一个完全独特的挑战，但她热爱这个挑战。

Nancy says installing art in the Guggenheim is a totally unique challenge, but it's a challenge she loves.

我是在一个圆形建筑里接受教育的，那里有奇怪的斜墙和倾斜的坡道，所以对我来说这就是常态。

My education has been in a round building with very strange leaning walls and inclined ramps, so it is my normal.

我一直说这座建筑是一个催化剂，它一次又一次地挑战我们。

I've always spoken about the building as a catalyst and that it challenges us over and over and over again.

其中一个挑战就是，南希必须绕着建筑走圈，才能确定每件艺术品的位置是否恰到好处。

And one of those challenges is that Nancy has to literally walk laps around the building to see if the placement of each work of art is just right.

安装的时候，你得不停地绕着圈走。

When you're installing, you're constantly walking around the circle.

每个角度看都不一样，所以你得明白这一点。

It changes at every vantage point, so one has to kind of understand that.

连续坡道的设计引导观众按特定顺序欣赏每件艺术品。

The progression of the continuous ramp encourages viewers to look at each piece of art in a particular order.

艺术品的顺序讲述了一个故事。

The order of the art tells a story.

就博物馆的结构而言，它确实引导人们按顺序观看，这是方形或矩形房间做不到的。

In terms of the structure of the museum, it really invites sequential looking in a way that a square or rectangular room doesn't.

我真的很喜欢在空间里构建一个故事、提出一个论点，对我来说，因为在这里工作了很久，在坡道上做这件事更容易，因为坡道是逐步展开的，而一个房间基本上立刻就把故事讲完了。

I really do like building a story, making an argument in space that for me, having worked here for so long, it's easier to do on the ramps, which again, unfold sequentially versus a room that basically tells you the story immediately.

但是，作为古根海姆的参观者，你也能掌控这个故事。

But you, as a visitor to the Guggenheim, also have control over the story.

你可以选择欣赏圆形大厅里的艺术品，或者就在你眼前的那片区域。

You can choose to take in the art across the rotunda or the bay right in front of you.

你可以跟着故事走，也可以选择自己的路线，看看会发现什么。

You can follow along with the story being told or choose your own adventure and see what you discover.

下一站是主坡道上的五楼电梯旁。

The next stop is by the 5th Floor elevators on the main ramp.

我叫克里斯托弗·乔治。

My name is Christopher George.

我是制作部门的负责人。

I'm the director of the fabrication department.

我是理查德·艾弗里，高级设施经理。

Richard Avery, senior facilities manager.

克里斯托弗和理查德是负责在这栋楼里安装新展览的团队成员。

Christopher and Richard are part of the team that installs new exhibitions in this building.

他们挂过真车大小的展品，也挂过超大的猫骨架，来填满中央那个空荡荡的空间。

They've hung full sized cars and oversized cat skeletons to fill the center void.

在这个不寻常的空间里，每次展览都是一项工程壮举，必须完美规划，但能提前规划的事情也就那么多。

In this unusual space, each exhibition is a feat of engineering that has to be planned perfectly, but there's only so much planning that can happen.

显然，我们不可能去古根海姆圆形大厅练习。

Obviously, there's no Guggenheim Rotunda that we can go to, you know, and practice.

我们只能尽量利用现有的空间，希望真正安装的时候一切都能顺利。

We make the best with the spaces available, and then hopefully everything comes together well when it's time for the actual installation.

一旦你解决了挂一个由九辆车组成的吊灯的问题，下次艺术家想在圆形大厅展示什么大胆的作品时，你肯定不想从头再来。

Once you solve the problem of hanging a chandelier made of nine cars, you do not want to have to start from scratch the next time an artist wants to display something audacious in the rotunda.

所以有些锚点还是保留了下来。

So some of the anchor points are still left in place.

抬头看。

Look up.

这里有混凝土支撑墙，叫做网状墙，它们支撑着整栋建筑，并在天际线处交汇。

There are concrete support walls, they're called web walls, that hold up the whole building and converge in the skyline.

如果你仔细看，会发现它们上面布满了不锈钢圆环。

If you look very carefully, you'll notice stainless steel circles all over them.

那些是吊装点，是多年来安装缆绳和滑轮的地方。

Those are rigging points, places where cables and pulleys have been attached over the years.

每个点都有自己的名字。

Each point has a name.

我们其实是以最初安装时对应的艺术家来命名的。

So we've actually named them according to the artists that they were initially installed for.

比如有叫弗拉文点的吊装点，是安装弗拉文灯塔时用的。

So we have rigging points that we call the flavin points for when there's the Flavin light tower installed.

还有弗兰克·盖里的点，叫盖里点，是安装那组悬挂铝材时用的。

We have them for Frank Gehry, the Gehry points from when we installed the sets of hanging aluminum.

整个博物馆里，到处都能看到螺栓和挂钩，它们透露着过去展览的展示方式。

Throughout the museum, there are lots of bolts and hooks that unveil how old exhibitions were displayed.

这些都是这里曾经发生过的一些精彩事情的痕迹。

These are the leftovers of something amazing that happened here.

这些痕迹不仅在天花板和墙壁上。

It's not just on the ceilings and walls.

地板上也有。

The floors happen too.

当你走在坡道上时，低头看看水磨石地面。

As you walk on the ramps, look down to the terrazzo floor.

你会看到地面上有很多深色的圆形凹陷。

You'll see a lot of dark circular depressions in the floor.

在倾斜的地板上安装水平雕塑需要很多预先考虑和电动工具。

Installing level sculptures on a slanted floor requires a lot of forethought and power tools.

比如说安装基座、平台、立柱，甚至一些艺术品，它们都需要固定在地板上。

Say for installing pedestals or platforms or stanchions or even some pieces of art, they need to be affixed to the floor.

但斜坡地板的问题就在这里。

But here's the thing with a slope floor.

如果雕塑因为任何原因需要移动，你不能只是把底座拿起来挪几英寸。

If a sculpture needs to be moved for any reason, you can't just pick up the pedestal and shift it a couple inches.

角度可能会不对。

The angle might be wrong.

所以你得把整个底座重新切割，再重新固定到地板的另一个位置。

So you have to recut the whole pedestal and do it over again, affixing it to the floor at another point.

这就是为什么地板上的锚点不能从一次展览重复用到下一次。

That's why the anchor points in the floor aren't as reusable from exhibition to exhibition.

留着它们也没用，所以古根海姆会修复它们。

There's no point in leaving them there, so the Guggenheim fixes them.

但完全修复水磨石地板并不容易。

But fully repairing the terrazzo isn't easy.

只有少数几家公司知道怎么修这种地板，其中有一位和古根海姆合作过的师傅。

There are only a few companies that know how to fix this kind of flooring, including one guy who has worked with the Guggenheim.

他叫拉里。

His name is Larry.

拉里手艺不错，但可惜他现在已经退休了。

Larry's good, but unfortunately, Larry is now retired.

我们正让他培训一些博物馆的员工，这样我们还能掌握这项技能，以后自己继续做这些修复工作。

We're having him actually train some of the museum staff so that we'll still have the skill set in hand to continue with these repairs ourselves.

这些坑坑洼洼的小洞就像幽灵一样，是过去展览留下的微小痕迹。

These divots and pockmarks are ghosts, tiny reminders of past exhibitions.

有些是你自己弄的，

Some you've

你还记得当时在地板上打那些洞，但总有一天它们都会消失，只剩下回忆。

done yourself and you kinda remember putting those holes in the floor, but, you know, one day they'll all be gone and they'll just be memories.

最后一站是主坡道六楼的电梯旁。

The final stop is by the 6th Floor elevators on the main ramp.

当你走到螺旋坡道顶端的最后一圈时，低头看看水磨石地板。

When you reach the final revolution at the top of the spiral ramp, look down at the terrazzo floor.

你会发现图案变了。

You'll notice that the pattern changes.

坡道上的大部分地面都是重复的圆形图案，但到了这里，图案变成了方形。

Most of the floor on the ramp has a repeating circular pattern, but at this point, the pattern turns to square.

所以这最初标志着公共空间和私人空间的分界线。

And so that initially showed the boundary between public and private space.

在古根海姆博物馆早期，你不能越过这条线。

In the early days of the Guggenheim, you could not go past this line.

关于弗兰克·劳埃德·赖特到底想要什么，有些争议，但据我们所知，这部分本来不应该是展厅。

There's some debate as to what Frank Lloyd Wright wanted, but as best we can tell, this part was not supposed to be gallery space.

这里从来就不是展览空间，这让你很难想象吧。

This was never exhibition space, which hard for you to imagine.

这里太美了。

It's so beautiful up here.

大家都喜欢这些地方。

Everyone loves these spaces.

早期，这里被用作储藏室，但现在它向公众开放了，你有一个绝佳的机会，可以越界踏入曾经被禁止的区域。

In the early days, this space was used for storage, but here it is now, open to the public, and you have a lovely opportunity to transgress and trespass into what was once forbidden territory.

跟我一起做。

Do it with me.

迈一步，踩到方格区域。

Take one step over into the squares.

按照最初的规划，你本来不应该出现在这里。

According to the original plans, you were not supposed to be here.

现在退回去。

Now step back.

弗兰克·劳埃德·赖特的灵魂可以安息了。

The ghost of Frank Lloyd Wright is at peace.

好。

Okay.

再迈一步，进入禁区。

Step over again into the forbidden zone.

看看你，真是个城市探险家。

Look at you, you urban explorer.

感觉不错吧？

It feels good, doesn't it?

现在退回去，来回走动，跟古根海姆一起跳舞。

Now step back and keep going back and forth and dance with the Guggenheim.

如果有什么建筑值得为之起舞，那就是它了。

If there is any piece of architecture worth dancing about, this is it.

这次古根海姆博物馆之旅，我称之为“弗兰克·劳埃德·赖特完美杰作的不完美之处的语音导览”，由我罗曼·马尔斯制作，还有克里斯·布鲁贝和索菲亚·克拉茨克参与。

This tour of the Guggenheim Museum, which I called an audio guide to the imperfections of Frank Lloyd Wright's perfect masterpiece, was produced by me, Roman Mars, with Chris Brube and Sofia Klatzker.

混音由谢里夫·优素福完成。

Mix by Sherif Youssef.

额外技术支持由马丁·冈萨雷斯提供。

Additional tech production by Martin Gonzalez.

音乐由斯旺·里亚尔创作。

Music by Swan Rial.

特别感谢古根海姆博物馆的每一位工作人员，感谢他们允许我制作这个节目，其中许多人在我们录制并发布这期节目后已经离开了，尤其是凯特琳·多佛和劳拉·克利格，他们想出了这个主意，还有阿什利·门德尔森，她担任了我们这次导览的向导。

Special thanks to everyone at the Guggenheim Museum for allowing me to make this, many of whom have moved on since we recorded and released this episode, especially Caitlin Dover and Laura Klieger, who cooked up this whole idea, and Ashley Mendelson for being our guide for this guide.