FRANK GEHRY: Behold! The new Springfield Concert Hall!

看哪！新的斯普林菲尔德音乐厅！

FRANK GEHRY: Get off my masterpiece, you punks! I'll call your mothers!

从我设计的作品上滚出动，你们这些混蛋！我要给你们妈妈打电话！

I didn't know they were over there, and she saw me, and she said, " Gehry, Gehry! "

我不知道他们在那里，她看到我，她说，“盖里，盖里！”

FRANK GEHRY: Yeah. Because they were a hostile culture with each other.

是的。因为他们是彼此间敌对的文化。

FRANK GEHRY: I don't know how to—it's intuitive.

我不知道怎么做——这是直觉。

FRANK GEHRY: And I was watching the bass player because I knew the bass response was the most difficult.

是的，我在看贝斯手，因为我知道贝斯声音的回响是最难的。

FRANK GEHRY: Well, they asked for that.

嗯，那是他们自找的。

FRANK GEHRY: Bilbao was not quite as bad as Detroit but almost.

毕尔巴鄂还没有底特律那么糟糕，但差不多了。

Part of its $150 million renovation was spent giving the cafeteria, originally designed by the famed architect Frank Gehry, a face lift.

在耗资1.5亿美元的翻修工程中，这座最初由著名建筑师弗兰克·盖里设计的食堂进行了外观翻新。

FRANK GEHRY: What got me excited in the beginning were the social issues.

一开始让我兴奋的是社会问题。

FRANK GEHRY: Yes, and so Bilbao—and nobody wants to believe this.

是的，还有毕尔巴鄂——没有人愿意相信这个。

FRANK GEHRY: Gravity is a constraint, but that is, to any artist, manageable.

重力是一种约束，但对任何艺术家来说，重力都是可以控制的。

FRANK GEHRY: Yeah, right at the bend, right by the bridge.

是的，就在转弯处，就在桥旁边。

They also tell the story of how Frank Gehry's meticulous architectural models helped ensure the success of the Guggenheim Museum in Bilbao.

他们还讲述了弗兰克盖里细致的建筑模型如何帮助确保毕尔巴鄂古根海姆博物馆取得成功的故事。

FRANK GEHRY: I came over the hill and saw it there, and I said, " God, what have I done to these people? "

我翻过那座山，看到了它，我说：“上帝，我对这些人做了什么？”

FRANK GEHRY: Yeah, and that they're willing to confront the budget and money as you're designing it rather than the usual thing.

是的，他们愿意面对预算和资金，因为你在设计它，而不是做通常的事情。

As the start-ups move in, some longtime Venice residents are moving out. World-renowned artist Laddie John Dill was the original owner of the Frank Gehry building now occupied by Epoxy TV.

随着初创企业的进驻，一些长期居住在威尼斯的居民正在搬离。世界著名艺术家拉迪·约翰·迪尔 (Laddie John Dill) 是弗兰克·盖里 (Frank Gehry) 大楼的原主人，该大楼现已被 Epoxy TV 占用。

FRANK GEHRY: And in L.A., when I started doing my architecture, the first few buildings, like the Danziger building, got a lot of criticism from the guys I grew up with in architecture.

在洛杉矶，当我开始设计我的建筑时，最初的几座建筑，比如丹齐格大厦，就受到了和我一起在建筑界长大的人的很多批评。

FRANK GEHRY: I cut off the tail. I cut off the head. I got rid of the eyes and everything—made it as abstract as I could—and it still worked.

我切掉了鱼尾巴。我砍下了它的头。我去掉了眼睛和所有的东西——使它尽可能抽象——但它仍然很有效果。

FRANK GEHRY: And you know, the reason is, when you're a baby, you're in your mother's arms, and you're in the fold, and there's something primitive, beautiful, and “humanity” about it, and I thought the Greeks knew how to express it.

你知道，原因是，当你还是个婴儿的时候，你在你母亲的怀抱里，你就是在她的臂弯里，这里面有一种原始的、美丽的、“人性”的东西，我认为希腊人知道如何表达它。