Name: 我是如何開始的：法蘭克·蓋瑞 I Fortune (How I Got Started: Frank Gehry I Fortune)
Uploaded: 2025-12-08T15:16:38.000Z
Duration: 6 min 54 s

How do you create feeling with inert materials?

怎麼用沒有生命的材料創造出感覺？

現在的希臘人就知道怎麼做了。

I've got a picture of the Charioteer 500 BC.

我有一張公元前 500 年的戰車御者圖片。

When I saw it when I was 40 years old, I started crying and I thought, that's what I want to do.

四十歲看到那幅畫時，我哭了，心想這就是我想做的。

I want to be able to build a building that makes people, moves them 500 years from now.

我想蓋一棟能感動人、讓人在五百年後依然深受感動的建築。

What is it that made me want to come into this profession?

是什麼讓我想要進入這個行業？

In high school I took shop and built things and I did well in that and loved it.

高中時我上木工課，動手做東西，做得很好也很喜歡。

I looked at the professions one could go into and I remember looking at architecture at that time.

我看了當時可以選擇的職業，我記得那時候我看了建築學。

And architecture curriculum was to build a Cape Cod house or something.

而建築學的課程是蓋一棟鱈魚角式房屋之類的。

You know, it was, was not very interesting.

你知道，那時候，並不是很有趣。

So I closed the book on that and didn't even pay attention.

所以我把那本書闔上，根本沒去注意。

But I did go to the lecture series on Friday nights at the University of Toronto and there was a guy from Finland showing his buildings and furniture.

但我確實有去多倫多大學週五晚上的系列講座，有一位來自芬蘭的先生在介紹他的建築和傢俱。

And that guy turned out to be Alvar Aalto.

而那個人後來證實就是阿爾瓦爾·阿爾託。

So I was kind of peripherally interested.

所以我就有點被動地感興趣了。

I was intrigued by the way things were built.

我對事物建造的方式感到著迷。

When I got to LA, I went to night school, LA City College.

到了洛杉磯，我去唸夜校，洛杉磯城市學院。

I took a ceramics class with Glenn Lukens, who was a well known ceramist.

我上了一門陶瓷學的課，老師是格倫·盧肯斯，一位有名的陶瓷藝術家。

And he's the one that after a year told me not to stay in ceramics.

而他就是在我上了一年課後，告訴我不要繼續待在陶瓷學領域的那個人。

He was building a house by Rafael Soriano.

他當時正在建造一棟由拉斐爾·索裡亞諾設計的房子。

Rafael Soriano was telling people to move beams around.

拉斐爾·索裡亞諾當時正讓大家移動樑柱。

The first buildings I designed looked like Raphael Soriano.

我設計的第一批建築看起來就像拉斐爾·索裡亞諾的作品。

My mother took me to concerts when I was a kid in Toronto.

我小時候在多倫多，我媽媽會帶我去聽音樂會。

And I'm still to this day very interested in the topic buildings for music because you get a relationship between the orchestra members so they hear each other and it's comfortable.

我到現在對音樂廳這個主題還是很有興趣，因為這能讓管絃樂團的成員互相聽到，而且感覺很舒適。

They hear each other in a way that is substantial and uplifting.

他們能互相聽到，而且這種聽覺感受是紮實且令人振奮的。

You create a relationship between the orchestra and the audience that's palpable, that they both feel, if you do it right, they both feel it.

你創造了樂團和觀眾之間一種可以感覺到的連結，如果做得好的話，他們兩者都能感受到。

所以音樂這塊真的很令人興奮。

And my belief that people talk to each other through the arts led me to the Divan Orchestra with Daniel Berenbar.

我深信人們透過藝術互相交流，這讓我接觸到了丹尼爾·巴倫博伊姆的迪萬管絃樂團。

He and Edward Said created an orchestra where Palestinians, Syrians, Lebanese, Egyptians play in an orchestra with Israelis.

他和愛德華·薩義德創辦了一個樂團，讓巴勒斯坦人、敘利亞人、黎巴嫩人、埃及人與以色列人一同演奏。

And so I designed their 700 seat concert hall in Berlin as a gift to the orchestra.

所以我為他們設計了位於柏林、可容納 700 人的音樂廳，作為送給樂團的禮物。

So that's the music stuff, the art stuff.

所以這就是音樂的部分，還有藝術的部分。

Bilbao was a working relationship with a genius, museum director, Tom Krentz.

畢爾包是一個與一位天才、博物館館長 Tom Krentz 的合作關係。

And it's that collaboration that led to the project that we built, which was a very inexpensive building compared to museum buildings.

正是這樣的合作促成了我們建造的專案，相較於其他博物館建築，這是一棟非常經濟實惠的建築。

Bild Bough was built for $300 a square foot.

畢爾包美術館每平方英尺的建造費用是 300 美元。

And its return on investment has been beyond everybody's wildest dreams.

它的投資回報遠超乎所有人的想像。

I mean, if you start to use curves, you think it's more expensive than a box, right?

我的意思是，如果你開始使用曲線，你會覺得它比方盒子貴，對吧？

But we developed with our French friends who build airplanes with their software, we were able to demystify shapes so you could build them cheaply.

但我們與那些用軟體建造飛機的法國朋友合作，我們能夠簡化造型，讓建造變得便宜。

And we built it like a warehouse, a big warehouse.

我們把它蓋得像倉庫一樣，一個大倉庫。

Every contract has a 15% layaway for change orders.

每個合約都有 15% 的預留金用於變更項目。

If you show people exactly what to do, demystify the way you build something, they don't get the 15%.

如果你清楚地告訴大家該怎麼做，讓建造過程不再神祕，他們就不會要求那 15% 的預留金了。

所以我們在曼哈頓蓋了一棟 76 層的樓。

外觀的皮膚是彎彎曲曲、搖搖晃晃的。

Everybody would say that's too expensive.

我們蓋的時候，完全沒有任何變更項目。

So the amount of money that you saved actually went into the building instead of waste.

所以省下來的錢，實際上是花在建築本身，而不是浪費掉。

So we experiment with the feelings generated by materials in Bilbao, since it was a museum and not a lot of windows, the exterior scan became the building.

所以我們在畢爾包實驗了材料所產生的感覺，因為那是一座博物館，沒有太多窗戶，所以外觀就成了建築本身。

It's a rainy climate and so stainless steel went dead.

那裡氣候多雨，所以不鏽鋼變得暗淡無光。

Stainless steel is exciting in California because you get a lot of sunlight by accident.

在加州，不鏽鋼因為陽光充足，意外地顯得很有質感。

I had a piece of titanium and I looked at it and I put it out on a post and it rained and it turned golden and it felt right.

我有一塊鈦金屬，我看著它，把它放在柱子上，結果下起雨來，它就變成金黃色，感覺很對味。

And so I said, that's what we got to use.

所以我就說，這就是我們要用的。

When you go to Bilbao and it's cloudy skies, the thing turns golden and it's really beautiful.

當你去畢爾包，天氣陰陰的，那東西會變成金色，真的很美。

In Arles, France, we're just completing a building for a special lady, Maya Hoffman.

在法國的亞爾，我們正在為一位特別的女士 Maya Hoffman 完成一棟建築。

And it's where Van Gogh did Starry Night.

那裡是梵谷畫《星夜》的地方。

And I've always wanted to paint on a facade with natural light.

我一直都很想在自然光下的外牆作畫。

And we built blocks that are covered with stainless steel and they're set at slightly different angles.

我們蓋了幾棟覆蓋著不鏽鋼的建築，它們的角度略有不同。

And when you go there with the sun, it changes all day long.

當陽光照在上面時，它整天都在變化。