安藤忠雄新作展示深思熟慮的平靜

On the snow-covered, bitterly cold museum construction site here, word went out to the assembled crowd: The helicopter had landed.

在白雪覆蓋、冷得讓人難受的博物館施工地點，消息在聚集的人羣中傳開：直升機已經降落了。

The Japanese architect Tadao Ando was making one of his twice-yearly, 7,000-mile trips from Osaka to New York to the Berkshires for a project that had gone on longer than anyone, including Mr. Ando, had expected at the outset: the dozen-year, $145 million expansion of the Sterling and Francine Clark Art Institute, which is finally scheduled to open in July.

日本建築師安藤忠雄當時正在進行自己一年兩次、長達7000英里的旅行，從大阪飛到紐約，到伯克夏郡指導一個耗時超過所有人（包括他本人）最初預期的項目：斯特林和弗蘭錫恩·克拉克藝術博物館(Sterling and Francine Clark Art Institute)的擴建工程，它耗時12年，耗資1.45億美元，終於定於今年7月開幕。

Mr. Ando does not like to leave Japan for very long, and, initially, he didn't know where Williamstown was. He signed on because of the natural beauty of the site and what he called the masterpieces in the Clark's collection.

安藤忠雄不喜歡離開日本太久，起初他並不知道威廉斯敦在哪裏。他簽約是因爲那個地方的天然美景以及克拉克博物館收藏的傑作。

The Clark, which opened in 1955, founded by an heir to the Singer sewing fortune, is a revered jewel-box museum with a stellar group of European and American works by masters like Degas, Sargent and Monet. The original neo-Classical-style white marble building was joined by a 1970s Brutalist structure, the Manton Research Center. The New York architect Annabelle Selldorf is renovating both of the existing older structures, and the landscape firm Reed Hilderbrand is reconfiguring the grounds.

克拉克博物館1955年開放，由辛格縫紉財團的一位繼承人創立，它是一個令人敬畏的、充滿寶物的博物館，收藏有歐洲和美國的很多大師的傑作，包括德加斯(Degas)、薩金特(Sargent)和莫奈(Monet)。最早的建築是新古典主義風格的白色大理石建築，20世紀70年代加入了一個野獸派建築——曼頓研究中心(Manton Research Center)。紐約建築師安娜貝勒·塞爾道夫(Annabelle Selldorf)正在整修這兩個現存的較老的建築，景觀設計公司裏德·希爾德布蘭德(Reed Hilderbrand)正在重新佈置庭院。

The many-faceted master plan also called for a new visitor, exhibition and conference center designed by Mr. Ando, who has built very rarely in the United States, notably the Modern Art Museum of Fort Worth and the Pulitzer Foundation for the Arts in St. Louis.

這個多元化的總體規劃還包括一個新的遊客、展覽和會議中心，設計師是安藤忠雄，他在美國的設計作品很少，其中比較著名的有沃斯堡現代藝術博物館(Modern Art Museum of Fort Worth)和聖路易斯的普利策藝術基金會(Pulitzer Foundation for the Arts in St. Louis)。

And his arrivals are hotly anticipated. A winner of the Pritzker Prize, he is renowned for instilling a thoughtful air of calm in his simply arranged structures of thick-walled concrete and is treated with great reverence at the Clark, especially since he completed the widely acclaimed Stone Hill Center on a wooded hillside here in 2008. It houses two art galleries and a series of conservation labs with magnificent views of the Taconic Range and the Green Mountains.

人們熱切期待他的到來。他是普利茲克建築獎獲得者，以在構造簡單的厚壁混凝土建築中注入一絲深思的平靜而聞名，他在克拉克博物館受到了十分尊敬的對待，特別是2008年他在紐約林木繁茂的山坡上完成廣受讚譽的石山中心(Stone Hill Center)之後。石山中心有兩個畫廊和一系列保護實驗室，能看到塔科尼克山和綠山的優美景色。

Trailed by a dozen workers and museum staff members, Mr. Ando immediately made the rounds to inspect the progress on his latest Clark building, a low-slung visitor center set on a three-tiered reflecting pool that provides a focal point for the whole campus. After approving various details — in particular the lack of porousness in the concrete — he pronounced the progress a success.

安藤忠雄很快開始四處走動，察看克拉克博物館最新建築的進展，後面跟着十幾個工人和博物館員工。這個低矮的遊客中心建在一個三層倒影池上，是整個庭院的焦點。在肯定了各方面的細節——特別是混凝土不漏水——之後，他宣佈進展順利。

Then came the banter. He and Michael Conforti, the Clark's director, have been involved in an odd-couple relationship since 2001, when, after a long selection process and a long courtship, Mr. Conforti persuaded him to take on the project. In an era when huge new museum projects are par for the course, the interplay at the Clark demonstrates how the give and take between designer and client turns divergent ideas into a synthesis of bricks and mortar — or in this case, concrete and granite.

接下來是談笑時間。他和克拉克博物館的館長邁克爾·孔福爾蒂(Michael Conforti)從2001年開始了一段古怪的搭檔關係，當時在長時間的挑選和懇求之後，孔福爾蒂說服他接下了這個項目。那個年代，興建大型新博物館是常事，這個項目表明設計師和客戶之間的互動能把不同意見變成磚與泥的混合物——在這裏也許應該說成混凝土與花崗岩的混合物。

"He's a visionary," Mr. Conforti said of Mr. Ando. "We needed an architectural vocabulary that could unify the campus without copying the two styles of building we already have."

“他是個有預見力的人，”孔福爾蒂這樣評價安藤忠雄，“我們需要一個能把這個庭院統一起來的建築詞彙，而不只是模仿兩個已有建築的風格。”

But no one ever said hiring a starchitect would make life easy.

但是沒人說僱傭一位明星建築師會讓事情變得輕鬆。

"The director is very critical," Mr. Ando burst out at one point, through a translator who shadowed him on his visit. He had a large smile on his face as he continued: "He is a strong man. He has an opinion, and he sticks to it."

“館長非常挑剔，”安藤忠雄一度大笑着說。全程陪伴他的翻譯替他翻譯。他臉上充滿笑意地繼續說道：“他是個很強勢的人。有自己的主見，而且很執着。”

Mr. Conforti followed up by saying, "It's been an energetic relationship."

孔福爾蒂跟着說道，“我們的關係很積極。”

The back and forth between the proudly self-taught Mr. Ando — who was once a boxer — and Mr. Conforti, a Harvard Ph.D. who has been running the Clark for 20 years, has pushed the project to be more ambitious than it might otherwise have been.

驕傲的自學成才的建築師安藤忠雄（他曾是個拳擊運動員）和哈佛大學哲學博士孔福爾蒂（他擔任克拉克博物館館長達20年）之間的互動把這個項目變得比最初的設想更有野心。

The telling details are two walls of red granite at the entrance, as well as the tiered reflecting pools in back. The first was Mr. Conforti's idea and the second, Mr. Ando's. Neither of them was thrilled with the other's suggestion at first, but they learned to embrace both elements in the process of working together.

其中最顯眼的兩個細節是入口處的兩堵紅色花崗岩牆壁和後面的分層倒影池。第一個是孔福爾蒂的主意，第二個是安藤忠雄的想法。一開始他們都沒有爲對方的建議感到興奮，但是他們在合作過程中學會了接受這兩個元素。

Mr. Ando's close friend Kazuhito Yoshii, a New York art dealer, was trailing along during Mr. Ando's recent Clark visit and has witnessed the interplay many times.

紐約藝術商吉井和弘是安藤忠雄的密友。在他最近訪問克拉克博物館期間，吉井一直陪着他。吉井多次見證了他們的互動。

"It's a long-term relationship. It's like a marriage," Mr. Yoshii said.

“他們之間是一個長期的關係，就像婚姻，”吉井和弘說。

Since completing the Stone Hill Center, Mr. Ando has focused on creating a visitor center that can accommodate modern museum necessities like a gift shop and cafe, as well as the large temporary exhibition spaces the Clark has always lacked. It is scheduled to open on July 4 with "Make It New," a show of abstract paintings from the National Gallery of Art.

在完成石山中心的項目後，安藤忠雄把注意力放到設計這個遊客中心上來，它需要既能容納現代博物館的基本需求，比如禮品店和咖啡店，也能容納克拉克博物館一直缺乏的大型臨時展覽空間。它計劃7月4日和“讓它變新”(Make It New)展覽同時開幕，這個展覽是國家美術館的抽象畫展覽。

To emphasize the natural beauty of the Clark's 140-acre setting and to defer to the original white marble building, beloved among the Clark's patrons, both Mr. Ando and Mr. Conforti were keen on putting much of the center's mass underground, while avoiding gloom.

爲了凸顯克拉克博物館140英畝的環境的天然美景，而且與深受克拉克博物館的出資人們喜愛的最初的白色大理石建築相呼應，安藤忠雄和孔福爾蒂都渴望把遊客中心的大部分人羣轉移到地下，同時不能太陰暗。

Mr. Ando has shown an ability to suffuse rooms with light in surprising ways. One of his most famous projects is the Ibaraki Kasugaoka Church in Ibaraki, Japan, which is known as the Church of the Light because of the cruciform-shaped opening in the concrete wall behind the altar.

安藤忠雄已經表現出用令人意外的方式讓房間充滿陽光的能力。他最著名的一個項目是日本茨城縣的光之教堂，因神壇後面混凝土牆上的十字形裂縫而得名。

Bold, simplified gestures like that are his stock in trade. "I pursued simplicity to an extreme," Mr. Ando said of his visitor's center design, which is essentially two concrete and glass pavilions connected by a long gallery. "It's like a swan with its wings spread."

那種大膽、簡潔的手法是他的慣用手段。“我追求簡單到了極致，”安藤忠雄談起遊客中心的設計時說，“它像一個展翅的天鵝。”這個遊客中心本質上就是由一個長廊連接起兩個混凝土玻璃展館。

Mr. Ando's devotion to concrete is part of his architectural signature. "Using a material that is ubiquitous, that is everywhere, but still creating something that nobody else can — that's my motto," Mr. Ando said.

安藤忠雄對混凝土的鐘愛是他的建築標誌之一。“用隨處可見的材料創造出別人創造不出來的東西——這是我的座右銘，”安藤忠雄說。

But Mr. Conforti was also keen to have Minnesota red granite as an integrating element, because it is already featured on the campus, notably the cladding of the Manton building. He recalls the architect resisting for a time (though Mr. Ando now remembers otherwise). In any case, Mr. Ando agreed to use the granite for the first time in his career, for two red walls that serve as the focal point of the entrance. Visitors will walk through the point where the two walls almost meet. They also create an outdoor courtyard and help hide the building's mass upon approach.

但是孔福爾蒂也渴望把明尼蘇達州的紅色花崗岩作爲一個組成要素，因爲它已經是這個庭院的特色了，尤其是曼頓中心的外牆。他回憶說這位建築師抵制了一段時間（不過安藤忠雄的回憶不是這樣的）。不管怎樣，安藤忠雄在事業中首次同意使用花崗岩，用在兩堵紅牆上，作爲入口的焦點。遊客們將走過兩堵牆幾乎相交的地方。這兩堵牆還創造了一個室外庭院，幫助隱藏剛到達這個地方的遊客。

From the beginning, Mr. Ando felt strongly that a water feature would unify the campus. "I use water quite often in my work," he said. Mr. Conforti acknowledged that he hadn't jumped at the idea of the tiered pools at first, nor had his trustees.

從一開始，安藤忠雄就強烈感覺一個水景將把這個庭院統一起來。“我經常在作品中用水，”他說。孔福爾蒂承認自己一開始並沒有欣然接受分層水池的想法，董事會的人也沒有欣然接受。

He said: "I think some of the practical people on the board thought, ‘Why build a water feature if it's nonfunctional?' It's not a very New England thing to do." Mr. Conforti decided that humor was the best strategy when it came to convincing others. "When I first introduced the concept to the community in a slide show back in 2003, my first image of it had a Zamboni," he said. "I wanted people to think of it as a fun place to be, not as an architectural affectation."

他說：“我想董事會裏的一些注重實用性的人當時在想，‘爲什麼要建一個沒有實用功能的水景?' 它不是一個非常符合新英格蘭作風的做法。”孔福爾蒂認爲，在說服別人的時候，幽默是最好的策略。“2003年我第一次用幻燈片把這個設計介紹給董事會的時候，我的第一張圖是贊博尼磨冰機，”他說，“我想讓人們把它當成一個好玩的地方，而不是建築虛飾。”

Mr. Ando, 72, does not strike most who meet him as affected. Given the severity and serenity of his work, his personality takes some people by surprise: a cross between a Japanese philosopher king and an impish uncle, cracking jokes at news conferences and at forums for Clark patrons.

72歲的安藤忠雄給大多數見過他的人留下的印象都不是矯揉造作。鑑於他的作品莊重、寧靜，他的個性讓有些人感到意外：他是日本哲人和頑皮大叔的結合體，他在新聞發佈會上以及爲克拉克博物館的贊助人們舉辦的論壇上開玩笑。

He takes his work seriously, but not solemnly. He once named his dog Le Corbusier, after his architectural idol, and kept him around the office. "He could tell the good clients from the bad clients," Mr. Ando said. "He would have been quite alerted when he saw Michael."

他認真看待自己的作品，但並不鄭重其事。他曾經用自己的建築學偶像勒·柯布西耶(Le Corbusier)的名字給自己的狗命名，並讓狗待在辦公室裏。“他能判斷客戶的好壞，”安藤忠雄說，“他要是看到邁克爾，一定很警惕。”

The legacy of Mr. Conforti will surely rest on the expansion plan's success, and on compromises made over the decade.

孔福爾蒂的遺產無疑將是擴展計劃的成功以及這十年做出的折中方案。

He's thousands of miles away, Mr. Conforti said, "and he's an architect who is special because of his sculptural, light-filled spaces and not necessarily his devotion to museum programming."

孔福爾蒂說，他在幾千英里之外，“作爲建築師，他的特別之處在於雕塑般的、充滿陽光的空間，而不必是對博物館規劃的投入。”

"The respect we had for each other's point of view evolved over time," he added.

“我們對彼此觀點的尊重隨着時間在增長，”他補充說。

As he wrapped up his visit, Mr. Ando seemed pleased. "Ultimately, we got what we wanted," he said. "When the common goal is to have good architecture, usually the fight doesn't end as a fight. It ends as a collaboration."

在結束旅行的時候，安藤忠雄似乎很高興。“最終，我們得到了我們想要的，”他說，“如果共同目標是設計一個好建築，那通常爭論就不會以爭論結束。而是以合作結束。”