参观名称：毕尔巴鄂古根汉姆博物馆
参观日期：2007-7-28
参观地点：Bilbao, Spain 

身边一些男生对毕尔巴鄂古根汉姆博物馆有点嗤之以鼻。虽然我在瑞士和德国看过一些弗兰克·盖里的作品也觉得不太喜欢，但是对于这座博物馆，我却是一直十分十分地向往。现在真的叫梦想成真了。大一在书本上看到这座建筑的图片时，被深深吸引住了，当时想着如果我有一笔钱，我一定买飞机票专门去看它。大三上专业英语课时，老师说她做学生时觉得盖里很神奇，因为“竟然有人可以把建筑做成这样”，虽然盖里到了后来名声有点发臭了（盖里被当代学生戏称“建筑大流氓”，许多美国建筑师好象到后来名声都不佳，例如迈耶就是个最典型的例子）。这个毕尔巴鄂古根汉姆博物馆，却是他最顶峰的作品。

要描述这座博物馆，先从毕尔巴鄂（Bilbao）这座城市开始。毕尔巴鄂位于西班牙北部，靠近法国，是温润的大西洋气候。在我眼里，它有点像瑞士的巴塞尔（Basel），是典型的欧洲小型工业城市。

写游记真的是一件很麻烦的事，很多图片啊，文字也不知怎么组织。
我花了一个上午的时间，整理了Bilbao的照片，上传了99张上yupoo，地址是：
http://www.yupoo.com/albums/view?id=ff80808114f25c110114f99710911c3c
那么我就挑些典型的上来讲啦。

盖里对造型的把握能力，真的是许多建筑师难以企及的。不过我一直困惑，这样的造型是怎么样的结构支持？于是有了下面这张照片：

然后就是收拾心情准备走近这个伟大的博物馆了。

为什么说它“伟大”，众所周知的原因是它拯救了毕尔巴鄂这座城市。Rafael Moneo写的关于这座建筑与这座城市connect：

The freedom that Gehry likes to wield here becomes a symbol of a city's future. Bilbao is proud of its architecture. Reason rules in the industrial constructions long the estuary（江口）, and 19th century urban tradition is still felt in its fabric, but the city knows that the old world has gone and it is necessary to creat a new one. Gehry's work, thus, as a representation of the new spirit that a new city desires. Again architecture plays the role of mirror of society and proves that it is capable of taking on a symbolic form and representing an ambitious（雄心勃勃的） program. Hence, by virtue of its presence in the city and its character as the estuary's new navel（肚脐）, Gehry's building embodies Bilbao's optimism（乐观主义） and tries to be for its citizens a constant（不变的持续的） visible reminder（暗示） of its new goals. This would explain the shiny surfaces of titanium（金属钛） that make the building an eternal flame.

上面这几张画面，这些金属钛带来的波光粼粼的表皮效果，黄昏过后微微发暗的天空，还有傍晚的宁静，让我有着超现实的体验。我喜欢去捕捉这样的气氛，没有明媚的光影，也没有强烈的效果，一切尽在微妙变化之中，用心才能体会得到。

还有这张，早前当我还在BILBAO时就发上来的图：

Rafael Moneo说：
But the Guggenheim of Bilbao is not just about symbols. It reveals Gehry's talent as an urbanist. His contribution in the choice of the site was determinative（决定性的）. From the very start, he took the bridge as an element to incorporate in the architecture. But his keen（敏锐的） perception（感知） of urbanistic reality is most patent in the intelligent and skillful way the building literally joins form. Architecture departs from a static（静态的） reality to become a palpitating（跳跃的） body. In this way, Gehry, liberated（释放） from the repertoire（技能） of pre-existing forms, transforms himself into what he so much wanted to be, an inventor of forms. The latest Gehry, the Gehry of the Guggenheim, models his architecture with absolute freedom, He is aware that he can take all these liberties because he has a technology at his disposal（布置、安排）, that allows it. He has, little by little, acquired the capacity he makes use of the arbitrary（任意的、武断的） as a support for an architecture with a formal world that, you could say, in his own. If previously Gehry could transform a pair of binoculars（双目并用的） into an entrance, insisting once more that form is independent of function, now the forms cease（终止） to be those we know and become a direct and personal expression of the architect: the computer and the CATIA program take on the role of defining, providing the builder with the necessary information. A world of unlimited forms opens before us.

第二天早上，正式过来参观了。世界上许多人和我一样，到毕尔巴鄂来就是为了参观这座博物馆。

白天建筑周边一切看上去生机勃勃，这座建筑在不同的时段下有着不同的氛围和魅力，都是那么独特和让人愉悦。

室外的咖啡空间。
我看完建筑后，也在这儿吃了些点心。

上图这是入口，但我最后从这里出来，没有从这里进去，我从咖啡座的入口进去，是book store。

在我印象中，许多美国的建筑师，不论是迈耶、还是贝聿铭、菲利普·约翰逊，等等，都很擅长商业大空间塑造，玻璃、钢、柔和而明朗的阳光，让整个空间充满一股甜美而沁人心脾的味道。不过我相信这样的空间看多了会感到很腻烦，但对我而言，偶尔遇见，还是很兴奋。

室内不允许拍照，我就只要暂时把相机收起来了，反正想好进去后偷拍。

室内试着偷拍的第一张：塞拉（Serra）的作品，和“时间”、“记忆”有关。
但我发现，其实很多人都在偷拍。你想啊，那么多人大老远过来就为了看这个建筑，不让人家拍照留念也太不厚道了。但后来一想，这或许是唯一的方法让人自觉关掉闪光灯。想象一下啊，巴黎的卢浮宫那么多名画都未有罩保护玻璃就被人用闪光灯随意蹂躏，我们这些东方人都心痛得很哪。

进入主空间了，噢噢！！BRAVO！！我抬头看了好久，脖子都酸痛死了！
实在是很激动人心，过去书上曾评论说这个空间像芭蕾舞蹈，真的如此啊！

Rafael Moneo说：
But I would like to draw attention to other qualities of the museum. It seems to me that Gehry here is interested in many of the attributes（品质） we associate with earlier architecture. In the Guggenheim we are treated to a renewed sense of monumentality（纪念碑性） that, without resorting to direct allusions, transports us to experiences enjoyed in architecture of the past. Continuous changes of scale, leap, breaks, interruptions, spans, etc. bombard our senses and transform our visit into a chain of surprises that leaves no time for the reflection.

真是EXACTLY！！

Rafael Moneo 说：
Gehry has accumulated（聚集） experience in the course of his life, and in a work of this kind he seems to have reached his prime（精华）.

好了，在里面激动了近6、7个小时，于傍晚7点半出来了。

室外空间

绕到背后去看看。

建筑与城市的关系。
大概可以想象得出当年大家看到这个方案新鲜出炉时是多么的兴奋。

躁动之中安静的一隅。

这里看来，有一点点像詹姆斯·斯特林在斯图加特的国立美术馆。

啊……飞鱼……我觉得任何人都会感慨，天啊，竟然能把建筑做成这个样子……

Rafael Moneo评价这座建筑最后的话是：
Indeed, the Guggenheim of Bilbao has the unitary continuity we saw at Vitra（瑞士德国边境接壤的家具工厂）, with no trace（痕迹） of self-imposed（自我强加的） superstructural formal hierarchies（层次）. A feat（魔术、技艺） in itself.

夕阳下美得让我想掉眼泪呢。
我觉得看完这个建筑，我整个人，如同被系统更新了一下，焕然一新。