在1928年，一个著名的纽约公民试图为大都会歌剧院建造一个新的歌剧院。虽然洛克菲勒自己并不特别关注歌剧，但他的公民责任感和20世纪20年代末的良好经济气氛使他相信他能够支持这个项目。同年10月，他在曼哈顿中城与哥伦比亚大学签订了一份租约。不幸的是，Opera委员会成员与1929年股市崩盘之间的争斗导致了项目“死亡”，离开洛克菲勒是一个长期租约，每年花费330万美元。[1]

Industrialist and noted philanthropist John D. Rockefeller Jr. was approached in 1928 by a group of leading New York citizens seeking to build a new opera house for the Metropolitan Opera Company. Though Rockefeller himself was not particularly concerned with opera, his sense of civic duty and the favorable economic climate of the late 1920s convinced him to support the project. In October of the same year, he signed a lease with Columbia University for a parcel of land in Midtown Manhattan. Unfortunately, infighting between members of the opera committee and the Stock Market Crash of 1929 led to the project’s demise, leaving Rockefeller with a long-term lease that cost him $3.3 million a year.[1]

Industrialist and noted philanthropist John D. Rockefeller Jr. was approached in 1928 by a group of leading New York citizens seeking to build a new opera house for the Metropolitan Opera Company. Though Rockefeller himself was not particularly concerned with opera, his sense of civic duty and the favorable economic climate of the late 1920s convinced him to support the project. In October of the same year, he signed a lease with Columbia University for a parcel of land in Midtown Manhattan. Unfortunately, infighting between members of the opera committee and the Stock Market Crash of 1929 led to the project’s demise, leaving Rockefeller with a long-term lease that cost him $3.3 million a year.[1]

 Courtesy of Flickr user Roger

Flickr用户Roger提供

洛克菲勒(Rockefeller)并没有试图破坏自己的租约，而是决定建造一座质量出众的建筑群，尽管上世纪30年代初的商业环境不温不火，但它将吸引房客。然而，除了世俗的财政担忧之外，洛克菲勒还梦想创造一种能对纽约市的结构产生强大影响的东西-在大萧条(GreatDepression)的沉闷中，一个象征乐观和希望的图标-“美国梦”(AmericanDrea)。

Rather than attempt to break his lease, Rockefeller made the decision to build a complex of such exceptional quality that it would attract tenants in spite of the tepid business climate of the early 1930s. Beyond mundane fiscal concerns, however, Rockefeller dreamed of creating something that would leave a powerful impact on the fabric of New York City – an icon that would stand for optimism and hope—the “American Dream”—amid the dreariness of the Great Depression.[2]

Rather than attempt to break his lease, Rockefeller made the decision to build a complex of such exceptional quality that it would attract tenants in spite of the tepid business climate of the early 1930s. Beyond mundane fiscal concerns, however, Rockefeller dreamed of creating something that would leave a powerful impact on the fabric of New York City – an icon that would stand for optimism and hope—the “American Dream”—amid the dreariness of the Great Depression.[2]

洛克菲勒寻求租客取代大都会歌剧院公司，导致他来到美国广播公司，该公司生产收音机，并拥有国家广播公司和RKO电影制片厂。这一合作关系于1930年6月正式成立，带来了NBC的一位广播明星，S.L.Rothafel-他的听众更普遍地称之为“Roxy”。随着一连串成功的剧院开业，他离开了罗克西剧院，担任洛克菲勒中心两家剧院的主任。罗克西剧院自1927年开业以来，它的入住率是世界上最高的，而现在，罗克西又一次试图为他的最新作品赢得这个称号。

Rockefeller’s search for a tenant to replace the Metropolitan Opera Company led him to the Radio Corporation of America, which manufactured radio sets and owned both the National Broadcasting Company and the movie studio RKO. This partnership, which was made official in June of 1930, brought in one of NBC’s radio stars, S.L. Rothafel – more popularly known by his listeners as “Roxy.” With a litany of successful theater openings in his wake, he left the Roxy Theatre to take a new position as director general of the two theaters to be built at the Rockefeller Center. The Roxy Theatre had boasted the highest occupancy of any in the world upon its opening in 1927, and now Roxy once again sought to claim that title for his latest project.[3]

Rockefeller’s search for a tenant to replace the Metropolitan Opera Company led him to the Radio Corporation of America, which manufactured radio sets and owned both the National Broadcasting Company and the movie studio RKO. This partnership, which was made official in June of 1930, brought in one of NBC’s radio stars, S.L. Rothafel – more popularly known by his listeners as “Roxy.” With a litany of successful theater openings in his wake, he left the Roxy Theatre to take a new position as director general of the two theaters to be built at the Rockefeller Center. The Roxy Theatre had boasted the highest occupancy of any in the world upon its opening in 1927, and now Roxy once again sought to claim that title for his latest project.[3]

 Cutaway diagram from a 1933 edition of Popular Science. Imagevia thomwall.com

一部1933年版的通俗科学的剖面图。ImageDirectthomwall.com

虽然罗克西可能是他所在领域的明星，但选择创作音乐厅内部装饰的设计师相对来说是个未知数：唐纳德·德斯基(DonaldDeskey)。德斯基以前曾为洛克菲勒人的曼哈顿联排别墅设计房间，他是鲍豪斯理念的拥护者，认为设计不应固守过去，而应建立一种新的、永恒的古典主义。他还参加了国际艺术装饰博览会和现代工业博览会，1925年的博览会成为装饰艺术的同名。他的前瞻性设计理念非常适合洛克菲勒中心的主题：“人类的进步，他在艺术、科学和工业上的成就”[4]。

While Roxy may have been a star in his field, the designer chosen to create the Music Hall’s interiors was a relative unknown: Donald Deskey. Deskey, who had previously designed rooms for the Rockefellers’ Manhattan townhouse, was a proponent of the Bauhaus ideal that design should not cling to the past, but establish a new and timeless classicism of its own. He had also attended the Exposition Internationale des arts decoratifs et industriels modernes, the 1925 exposition that became the namesake of Art Deco. His forward-thinking design rationale was perfectly suited to the theme of the Rockefeller Center: “the Progress of Man, his achievements through the centuries in art, science, and industry.”[4]

While Roxy may have been a star in his field, the designer chosen to create the Music Hall’s interiors was a relative unknown: Donald Deskey. Deskey, who had previously designed rooms for the Rockefellers’ Manhattan townhouse, was a proponent of the Bauhaus ideal that design should not cling to the past, but establish a new and timeless classicism of its own. He had also attended the Exposition Internationale des arts decoratifs et industriels modernes, the 1925 exposition that became the namesake of Art Deco. His forward-thinking design rationale was perfectly suited to the theme of the Rockefeller Center: “the Progress of Man, his achievements through the centuries in art, science, and industry.”[4]

 via randylee.tv

通过randylee.tv

广播市政厅不是像1930年以前那样，依靠大量的装饰，而是通过一种现代的方式和一种深思熟虑的克制来创造它的标志。Deskey设计了30多个空间，包括一个大厅、几个休息室和吸烟室，每个房间都有自己独特的视觉主题。工匠贡献纺织品，栏杆和其他装饰元素，而艺术家的集合创造了几个壁画和雕塑。虽然Deskey确实使用了传统的豪华材料，如黄金和大理石，但他将它们与新的工业产品如胶木、Permatex和铝结合在一起。其结果不是典型的疯狂装饰的冲击，而是一种更加柔和、流线型的装饰艺术。

Rather than rely on profuse ornamentation, as had been typical for theaters before 1930, the Radio City Music Hall was to make its mark through a modern approach and a considered restraint. Deskey designed over thirty spaces, including a Grand Foyer, several lounges, and smoking rooms, each with its own unique individual visual motif. Craftsmen contributed textiles, balustrades, and other decorative elements, while a collection of artists created several murals and sculptures. While Deskey did make use of traditionally luxurious materials like gold and marble, he combined them with new industrial products like Bakelite, permatex, and aluminum. The result was not the typical shock of frenetic ornamentation, but a more subdued, streamlined Art Deco luxe.[5]

Rather than rely on profuse ornamentation, as had been typical for theaters before 1930, the Radio City Music Hall was to make its mark through a modern approach and a considered restraint. Deskey designed over thirty spaces, including a Grand Foyer, several lounges, and smoking rooms, each with its own unique individual visual motif. Craftsmen contributed textiles, balustrades, and other decorative elements, while a collection of artists created several murals and sculptures. While Deskey did make use of traditionally luxurious materials like gold and marble, he combined them with new industrial products like Bakelite, permatex, and aluminum. The result was not the typical shock of frenetic ornamentation, but a more subdued, streamlined Art Deco luxe.[5]

 Courtesy of Flickr user Steve Huang

Flickr用户Steve Huang提供

对于一个外部观察者来说，广播城市音乐厅的庞大规模并不是显而易见的。虽然霓虹灯广场延伸了一个完整的城市街区，门票大厅是一个相对卑微的空间。然而，一旦客人穿过门，他们就进入了大厅-一个巨大的大厅，高60英尺。这一空间以其安静的优雅而令人震惊，有光滑弯曲的青铜栏杆，全高的镜子，后面是黄金，而不是通常的银色，还有一幅巨大的壁画，与房间的其他部分一样，由褪色的红色和金色组成。这一时期的典型剧院模仿了其他文化或过去的异国风情，让人联想到一种与现实有一种奇异的分离；与此同时，德斯基的设计似乎更适合高档酒店或远洋班轮，而不是一家剧院。

To an external observer, the sheer scale of Radio City Music Hall is not readily apparent. While the neon marquee stretches a full city block, the ticket lobby is a comparatively humble space. Once guests pass through the doors, however, they enter into the Grand Foyer – a cavernous lobby standing sixty feet tall. This space was shocking in its muted elegance, with sleekly curved bronze balustrades, full-height mirrors backed with gold instead of the usual silver, and an immense mural composed of the same faded red and gold hues as the rest of the room. Typical theaters of the period mimicked exotic styles of other cultures or the past, evoking a sort of fantastical detachment from reality; Deskey’s design, meanwhile, would have seemed more suited to an upmarket hotel or ocean liner than a theater.[6]

To an external observer, the sheer scale of Radio City Music Hall is not readily apparent. While the neon marquee stretches a full city block, the ticket lobby is a comparatively humble space. Once guests pass through the doors, however, they enter into the Grand Foyer – a cavernous lobby standing sixty feet tall. This space was shocking in its muted elegance, with sleekly curved bronze balustrades, full-height mirrors backed with gold instead of the usual silver, and an immense mural composed of the same faded red and gold hues as the rest of the room. Typical theaters of the period mimicked exotic styles of other cultures or the past, evoking a sort of fantastical detachment from reality; Deskey’s design, meanwhile, would have seemed more suited to an upmarket hotel or ocean liner than a theater.[6]

 The Dancers' Medallion on the exterior of the Hall. Used under Creative Commons. ImageCourtesy of Flickr user Heather Paul

大厅外面的舞者奖章。在知识共享项下使用。Flickr用户HeatherPaul的形象礼貌

虽然大厅本身令人叹为观止，但礼堂自然是音乐厅的中心。一系列的前舞台拱门，其中最大的是一个完整的60英尺(18.3米)高，从舞台本身辐射。这一系列的拱门是罗克西的创意，他向媒体解释说，他希望通过建筑和灯光再现他在横渡大西洋时看到的日出的效果。由于每个连续的拱门背后隐藏着彩色的灯光，除了简单的日出之外，还可以获得大量的视觉效果。

Although the Grand Foyer is stunning in itself, the auditorium is naturally the centerpiece of the Music Hall. A series of proscenium arches, the largest of which is a full sixty feet (18.3 meters) tall, radiates from the stage itself. This stepped series of arches was Roxy’s brainchild; he explained to the press that he wished to recreate, through architecture and lighting, the same effect as a sunrise he had witnessed on a transatlantic crossing. Thanks to the colored lights hidden behind each successive arch, a multitude of visual effects beyond a simple sunrise can be achieved.[7]

Although the Grand Foyer is stunning in itself, the auditorium is naturally the centerpiece of the Music Hall. A series of proscenium arches, the largest of which is a full sixty feet (18.3 meters) tall, radiates from the stage itself. This stepped series of arches was Roxy’s brainchild; he explained to the press that he wished to recreate, through architecture and lighting, the same effect as a sunrise he had witnessed on a transatlantic crossing. Thanks to the colored lights hidden behind each successive arch, a multitude of visual effects beyond a simple sunrise can be achieved.[7]

 Courtesy of Flickr user Mattia Panciroli

Flickr用户Mattia Panciroli提供

弯曲的天花板在声学方面也有帮助，不过在墙上的金色格栅后面安装扩音器会使它得到加强。在这个系统中，技术和建筑是相辅相成的：覆盖拱门的石膏吸收了多余的声音混响，使得通过礼堂的扬声器播放的广播能够清晰地听到。

The curved ceiling also aided in acoustics, though it would be enhanced by the installation of loudspeakers behind golden grilles in the walls. Technology and architecture complemented each other in this system: the plaster covering the arches absorbed excess sound reverberation, allowing the broadcast through the auditorium’s speakers to be heard clearly and cleanly.[8]

The curved ceiling also aided in acoustics, though it would be enhanced by the installation of loudspeakers behind golden grilles in the walls. Technology and architecture complemented each other in this system: the plaster covering the arches absorbed excess sound reverberation, allowing the broadcast through the auditorium’s speakers to be heard clearly and cleanly.[8]

然而，最复杂的技术成就在于阶段本身。为确保音乐厅能够让观众眼花缭乱地观看各种各样的舞台演出，我们还提供了各种功能。舞台被分成三个部分，每个部分都可以独立于其邻国进行液压升降。此外，在离舞台中心近30英尺的地方可以形成一个圆，使其向任一方向旋转，这是第一次将这两种能力组合成一个单一的阶段。就连窗帘本身也是一项技术上的新鲜事，有十三台电动机驱动电缆，这使得窗帘可以采取各种不寻常的配置，而不仅仅是打开或关闭。

The most elaborate technical achievements, however, were to be found in the stage itself. Various features were included to ensure that the Music Hall would be able to dazzle audiences watching the full variety of stage productions. The stage was split into three sections, each of which could be hydraulically raised or lowered independent of its neighbors. In addition, a circle radiating almost thirty feet from the center of the stage could be made to rotate in either direction, the first time these two capabilities had been combined into a single stage. Even the curtain itself was a technological novelty, with thirteen electric motors driving cables that could allow the drapery to take on a variety of unusual configurations beyond merely being opened or closed.[9]

The most elaborate technical achievements, however, were to be found in the stage itself. Various features were included to ensure that the Music Hall would be able to dazzle audiences watching the full variety of stage productions. The stage was split into three sections, each of which could be hydraulically raised or lowered independent of its neighbors. In addition, a circle radiating almost thirty feet from the center of the stage could be made to rotate in either direction, the first time these two capabilities had been combined into a single stage. Even the curtain itself was a technological novelty, with thirteen electric motors driving cables that could allow the drapery to take on a variety of unusual configurations beyond merely being opened or closed.[9]

 The Gentlemen's Lounge. Used under Creative Commons. ImageCourtesy of Flickr user Kristina D.C. Hoeppner

绅士休息室。在知识共享项下使用。Flickr用户Kristina D.C.Hoeppner的形象礼貌

尽管1932年12月27日，广播城音乐厅的开幕节目遭到了批评人士和与会者的批评和批评，但这座建筑本身并没有收到这样的抱怨。[10]事实上，尽管对该剧的反应平淡无奇，但德斯基的高雅艺术装饰室内装饰却立刻受到了剧院观众的欢迎。第二天早上在“纽约论坛报”上发表的一篇文章宣称：“昨晚活动中最不重要的项目是演出本身…据说新音乐厅不需要表演者，它的美丽和舒适足以满足最贪婪的观众。”

Though Radio City Music Hall’s opening program on December 27, 1932 was panned by critics and attendees as long and dull, the building itself received no such complaint.[10] In fact, while the lackluster response to the show literally sent Roxy to the hospital, Deskey’s elegant Art Deco interiors were an instant hit with the theater’s visitors. An article published the following morning in the New York Tribune declared that “The least important item in last evening’s event was the show itself...it has been said of the new Music Hall that it needs no performers; that its beauty and comforts alone are sufficient to gratify the greediest of playgoers.”[11]

Though Radio City Music Hall’s opening program on December 27, 1932 was panned by critics and attendees as long and dull, the building itself received no such complaint.[10] In fact, while the lackluster response to the show literally sent Roxy to the hospital, Deskey’s elegant Art Deco interiors were an instant hit with the theater’s visitors. An article published the following morning in the New York Tribune declared that “The least important item in last evening’s event was the show itself...it has been said of the new Music Hall that it needs no performers; that its beauty and comforts alone are sufficient to gratify the greediest of playgoers.”[11]

 The Ladies' Lounge. Used under Creative Commons. ImageCourtesy of Flickr user Kristina D.C. Hoeppner

女士休息室。在知识共享项下使用。Flickr用户Kristina D.C.Hoeppner的形象礼貌

在1932年的雨季之后的几十年里，无线电城音乐厅巩固了它作为世界领先的表演场所之一的地位。在剧院开幕以来，有3亿人参加了演出和活动，在其杰出的工作生涯中，它始终表现出演员和音乐家的表演。[12]由于洛克菲勒的利益受到了仔细的维护和保护，剧院内部的内部也基本保持不变。今天在无线电城音乐厅看到一个节目的人因此走进了一个精心保存的历史，其中一个似乎已经实现了Deskey创造自己永恒的美丽的目标。[13]

In the decades following that rainy winter’s night in 1932, the Radio City Music Hall has cemented its status as one of the world’s leading performance venues. 300 million people have attended shows and events at the theater since its opening, and it has consistently seen performances by leading actors and musicians throughout its illustrious operational life.[12] The theater’s interiors are also largely unchanged from their original appearance, thanks to careful maintenance and preservation by Rockefeller interests. Those who come to see a show at Radio City Music Hall today therefore walk into a carefully-preserved piece of history, one that appears to have achieved Deskey’s goal of creating its own timeless beauty.[13]

In the decades following that rainy winter’s night in 1932, the Radio City Music Hall has cemented its status as one of the world’s leading performance venues. 300 million people have attended shows and events at the theater since its opening, and it has consistently seen performances by leading actors and musicians throughout its illustrious operational life.[12] The theater’s interiors are also largely unchanged from their original appearance, thanks to careful maintenance and preservation by Rockefeller interests. Those who come to see a show at Radio City Music Hall today therefore walk into a carefully-preserved piece of history, one that appears to have achieved Deskey’s goal of creating its own timeless beauty.[13]

参考文献[1]Francisco，Charles。无线电城市音乐厅：世界上最伟大的剧院的深情历史。纽约：Dutton，1979年。P2-3[2]“历史”。在无线电城音乐厅2016年7月19日[进入]。[3]Francisco，p3-5。[4]Francisco，p8-10。[5]“历史”，[6]Francisco，第24-27页。[7]Francisco，第15页。[8]Thompson，Emily Ann。“现代声景：建筑声学与美国倾听文化”，1909-1933。麻省理工学院出版社，2002年。第221-223页。[9]“世界上最大的舞台是机械奇迹。”科普科学，1933年2月16-17日。p16[10]Thompson，第221页。11 Francisco，第24页。[12]“历史”，[13]Francisco，第24页。

References [1] Francisco, Charles. The Radio City Music Hall: An Affectionate History of the World's Greatest Theater. New York: Dutton, 1979. p2-3. [2] "History." Radio City Music Hall. Accessed July 19, 2016. [access]. [3] Francisco, p3-5. [4] Francisco, p8-10. [5] “History.” [6] Francisco, p24-27. [7] Francisco, p15. [8] Thompson, Emily Ann. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge, MA: MIT Press, 2002. p221-223. [9] "World's Biggest Stage Is Marvel of Mechanics." Popular Science, February 1933, 16-17. p16. [10] Thompson, p221. [11] Francisco, p24. [12] “History.” [13] Francisco, p24.

References [1] Francisco, Charles. The Radio City Music Hall: An Affectionate History of the World's Greatest Theater. New York: Dutton, 1979. p2-3. [2] "History." Radio City Music Hall. Accessed July 19, 2016. [access]. [3] Francisco, p3-5. [4] Francisco, p8-10. [5] “History.” [6] Francisco, p24-27. [7] Francisco, p15. [8] Thompson, Emily Ann. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge, MA: MIT Press, 2002. p221-223. [9] "World's Biggest Stage Is Marvel of Mechanics." Popular Science, February 1933, 16-17. p16. [10] Thompson, p221. [11] Francisco, p24. [12] “History.” [13] Francisco, p24.

建筑师爱德华·杜雷尔·斯通

Architects Edward Durell Stone & Associates Location 1260 Avenue of the Americas, New York City, NY 10020 United States Architect in Charge Edward Durell Stone Interior Designer Donald Deskey Area 87120.0 ft2 Project Year 1932 Category Concert House

Architects Edward Durell Stone & Associates Location 1260 Avenue of the Americas, New York City, NY 10020 United States Architect in Charge Edward Durell Stone Interior Designer Donald Deskey Area 87120.0 ft2 Project Year 1932 Category Concert House