華裔建築師黃振捷逝世，曾設計多個洛杉磯地標
Gin Wong, Who Designed Futuristic Buildings in Los Angeles, Dies at 94
華裔建築師黃振捷逝世，曾設計多個洛杉磯地標
Gin Wong, a Chinese-born architect whose modernist designs helped define the postwar landscape of Los Angeles in structures as diverse as a gas station, CBS Television City and Los Angeles International Airport, died on Sept. 1 in Beverly Hills. He was 94.
生於中國的建築師黃振捷(Gin Wong)於9月1日在美國加利福尼亞州比佛利山逝世，享年94歲。他的現代主義設計幫助定義了洛杉磯市戰後的城市景觀，這些設計體現在不同的建築上，包括一個加油站、CBS電視城，以及洛杉磯國際機場。
His death was confirmed by his daughter Janna Wong Healy.
他的女兒珍娜·黃-希利(Janna Wong Healy)證實了他去世的消息。
Architects traditionally achieve renown with corporate headquarters, private residences, museums, concert halls and stadiums. And while Mr. Wong worked on many conventional projects, his 1960 design of a Union 76 gas station in Beverly Hills is one of his most beloved and enduring. With its red swooping canopy angling toward the sky, it wed a space-age look to the mundane task of filling up in a city devoted to car culture.
傳統上，建築師靠設計公司總部、私人住宅、博物館、音樂廳和體育場獲得聲望。雖然黃振捷做過許多常規的設計項目，但他1960年設計的比佛利山Union 76加油站是他最受喜愛且最經久不衰的作品之一。加油站的紅色天棚猶如即將升空的羽翼，在這個致力於汽車文化的城市中，給為車加油這種平淡無奇的事情增添了太空時代的色彩。
「This was always designed as a simple structure, to represent everyday life,」 Mr. Wong told Los Angeles magazine in 2015.
2015年，黃振捷曾對《洛杉磯》雜誌這樣說：「它自始至終都是作為一個簡單結構來設計的，體現的是日常生活。」
The station, which was originally to be within an airport, became a landmark that the Los Angeles Conservancy called 「one of the highest examples of Googie architecture in the world.」 (Googie refers to ultramodern, futuristic design.)
這個最初為一個待建機場設計的加油站，後來成為了一個地標性建築，洛杉磯保護協會稱之為「全世界古奇建築(Googie architecture)的最佳代表作之一」。（「古奇建築」指的是超現代的未來派設計。）
Mr. Wong designed the gas station while working for his former teacher and mentor, William L. Pereira, around the time that he was also credited with creating the startling, spider-like Theme Building at the Los Angeles airport.
設計這個加油站時，黃振捷仍在為他以前的老師和導師威廉·L·佩雷拉(William L. Pereira)工作，人們認為他在這個時期也對創造出洛杉磯機場令人震驚的蜘蛛狀主題建築有所貢獻。
Writing in The Los Angeles Times in 2010, Bob Pool called the building 「part spaceship, part flying saucer」 and said that Mr. Wong 「set out to create a futuristic building that would both reflect its relationship with aviation and stand the test of time.」
2010年，鮑勃·普勒(Bob Pool)在為《洛杉磯時報》撰寫的一篇文章中稱該建築「既像宇宙飛船，又像飛碟」，並說黃振捷「一心要創造一座既體現其與航空有關、又經得起時間考驗的未來派建築」。
Throughout his career, Mr. Wong was professionally connected to the sprawling airport. Part of the allure of helping to physically transform it to accommodate the jet age was that Mr. Wong had been a B-29 navigator in the Pacific during World War II, based on the island of Tinian.
黃振捷的整個職業生涯都與這個不斷拓展的機場有著專業上的聯繫。幫助從根本上改造洛杉磯機場，使其適應噴氣式飛機時代深深吸引著黃振捷，部分原因是，他在第二次世界大戰期間曾在太平洋戰區的B-29轟炸機上擔任領航員，駐紮在天寧島上。
He became the airport』s director of design development for a joint venture of architects in the 1950s, and three decades later, his firm supervised a redesign. He developed its satellite terminal system and its two-level roadway.
1950年代，他曾代表一個建築師合資企業成為洛杉磯機場設計開發總監，30年後，他的建築事務所指導了這座機場的重新設計工作。他創造了機場的衛星終端系統以及雙層道路。
Gin Dan Wong was born on Sept. 17, 1922, in Guangzhou, China, and moved to Los Angeles with an aunt at age 9. He was later joined by his mother, Ng Pui King, and his sister, Wong Kam Chung. His father died before Mr. Wong immigrated to the United States. As a youngster, he excelled in mathematics, science and drawing; he once said he found it easier to draw a word than spell it.
黃振捷於1922年9月17日出生於中國廣州，9歲時與一位姨媽一起移民洛杉磯，他的母親吳佩敬（Ng Pui King，音）和妹妹黃錦頌（Wong Kam Chung，音）隨後到了美國。黃振捷的父親在他移民美國之前就已去世。他少時在數學、科學和繪畫方面表現出色；他曾說，他發現畫單詞比拼寫單詞更容易。
He studied engineering at Los Angeles City College before serving in the Army Air Corps. While there, a platoon member whose father was an architect noticed Mr. Wong』s skills in math and art (he drew posters there) and suggested that he study architecture.
他曾在洛杉磯市市立學院讀工程系，後入伍陸軍航空兵團。服役期間，一位父親是建築師的同排戰士注意到了黃振捷在數學和藝術方面的才能（黃振捷為排里畫海報），建議他學習建築。
Years later, he recognized how helpful being a navigator had been to his work as an architect.
好多年後，黃振捷認識到，擔任領航員對他作為建築師的工作有多麼大的幫助。
「I had to learn how to get from here to there,」 he told The Los Angeles Times in 1974. 「I had to know how much fuel would be needed and how long the trip would take. The big message was to minimize the odds to survive.」
他曾在1974年對《洛杉磯時報》說，「我必須學習怎樣從這裡到那裡。我必須知道（每次執行轟炸任務）飛機需要多少燃料、飛行多長時間。最重要的是盡量減少（對方的）生存概率。」
After the war, he studied at the University of Illinois and graduated from the University of Southern California』s School of Architecture before working for Mr. Pereira at two firms, Pereira & Luckman and William L. Pereira & Associates. He quickly became indispensable and had a principal role in creating CBS Television City, which opened in 1952.
戰後，黃振捷在伊利諾伊大學讀書，後從南加州大學建築學院畢業，並先後在「佩雷拉和拉克曼」(Pereira & Luckma)以及「威廉·L·佩雷拉及合伙人」(William L. Pereira & Associates)這兩家建築事務所工作。他很快成為事務所不可或缺的人物，在1952年開業的CBS電視城的設計上起了主要作用。
A simple, large and practical design built in the early days of the medium, Television City housed studios, offices, a carpenter』s shop for building sets and areas to make props and service cameras, and featured exterior walls that could be removed for future expansion. It was the subject of a segment of 「See It Now,」 a CBS News program hosted by Edward R. Murrow.
電視城的設計簡單、大型、實用，該建築是在電視這種媒體的起步階段建成的，電視城包括演播室、辦公室、搭建布景所需的木工車間，以及製作道具和布置攝像機的區域，這座建築的外牆十分特別，可以在將來建築物擴建時拆除。愛德華·R·默羅(Edward R. Murrow)主持的CBS新聞節目See It Now的一個環節曾介紹過這座建築。
「He had a very refined sense of style in terms of his design aesthetic and, if you look at what he did, pre-1970s, he had a clear eye for what he wanted to see,」 said Trudi Sandmeier, the director of graduate programs in heritage conservation at the U.S.C. School of Architecture. 「The gas station was elegant and beautiful and that was his hallmark. And function was the primary driver of Television City, with its clean lines, not a lot of fuss, and a way of uniting a campus for a purpose that was coming of age.」
「從他的設計審美來看，他有著非常精緻的風格，如果你看看他1970年代以前的設計，他對他想要看到的東西有清楚的眼光，」南加州大學建築學院遺產保護研究生項目主任特魯蒂·桑德邁耶爾(Trudi Sandmeier)說。「加油站優雅美觀，那是他風格的標誌。在電視城的設計中，功能是主要的驅動力，這個設計線條清晰，沒有多少聲張的東西，把一個正在走向成熟、有著明確用途的園區連接了起來。」
Mr. Wong eventually became president of the second Pereira firm before opening Gin Wong Associates in 1973. He shuttered it two years ago upon his retirement.
黃振捷最終成為第二家佩雷拉事務所的總裁。後來，他在1973年成立了黃振捷事務所。兩年前他退休後將其關閉。
Among his many other works were commercial buildings in Singapore and Honolulu; a savings and loan branch in Rancho Mirage, Calif., with curved walls made of Mexican black lava rock; hotels, restaurants and houses; a library in South Korea; and the Midnight Mission for the homeless in downtown Los Angeles that featured landscaping with golden-leaved honey locust trees that shimmered in the breeze.
黃振捷的許多其他作品包括為新加坡和檀香山設計的商業建築；為加利福尼亞州蘭喬米拉市設計的一家儲蓄和貸款銀行，這座建築有用墨西哥黑色火山石修建的弧形牆；酒店、餐館和私人住宅；韓國的一家圖書館；以及午夜慈善(Midnight Mission)機構在洛杉磯市中心的無家可歸者收容所，其景觀設計使用了金黃色樹葉在微風中閃爍的蜜槐。
While running Mr. Pereira』s company in the late 1960s, Mr. Wong oversaw the design of the Transamerica Pyramid, the striking 853-foot-tall building that pierces the sky in San Francisco.
在1960年代後期負責佩雷拉事務所時，黃振捷曾指導設計了泛美金字塔(Transamerica Pyramid)，這座260米高的建築刺穿了舊金山的天際線。
Mr. Wong said that Jack Beckett, the chairman of Transamerica, gave him straightforward direction. 「His first statement was, 『I want to make sure that everybody in the financial world knows who we are,』」 Mr. Wong recalled in a video made by Neil Healy, his son-in-law. The general public, he added, understood that the building was making a statement.
黃振捷說，泛美公司董事長傑克·貝克特(Jack Beckett)直截了當地向他提出要求。「他的第一句話就是，『我想讓全金融界的人都知道我們是誰，』黃振捷在女婿尼爾·希利(Neil Healy)錄製的一個視頻中回憶說。他補充說，公眾知道這座建築是要表明一種態度。
In addition to his daughter, Mr. Wong is survived by his wife, the former Louise Yvonne Tom; two other daughters, Terrina Wong and Kimberlee Durst; and four grandchildren.
黃振捷的後人除了前述的女兒，還有婚前名為路易絲·伊芳·譚(Louise Yvonne Tom)的妻子、另外兩個女兒特里娜·黃(Terrina Wong)和金伯利·杜斯特(Kimberlee Durst)，以及四個孫輩。
Mr. Wong said the lessons from being a B-29 navigator that he applied to architecture gave him peace.
黃振捷說，把從給B-29當領航員時學到的東西用在建築上，讓他獲得了內心的平靜。
「I was never really close to people in the sense that I could open my heart and spill out all my problems,」 he told The Los Angeles Times in 1974. 「So I found a tranquillity within myself. I plan ahead and therefore I seldom have anything to worry about.」
「我與別人的關係從來都沒有密切到我可以向他們敞開心扉、把我所有的問題都講給他們聽的程度，」他在1974年對《洛杉磯時報》說。「所以我從自身內部找到安寧。我預先作計劃，所以很少有什麼我要擔心的事情。」
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