I draw to better understand things. Sometimes I make a lot of drawings and I still don't understand what it is I'm drawing. Those of you who are comfortable with digital stuff and even smug about that relationship might be amused to know that the guy who is best known for "The Way Things Work," while preparing for part of a panel for called Understanding, spent two days trying to get his laptop to communicate with his new CD burner. Who knew about extension managers? I've always managed my own extensions so it never even occurred to me to read the instructions, but I did finally figure it out. I had to figure it out, because along with the invitation came the frightening reminder that there would be no projector, so bringing those carousels would no longer be necessary but some alternate form of communication would.
我画画是为了把事情弄得更明白 有时候画得很多 却不明白自己究竟画的是什么。 你们中间喜欢用数码产品的 甚至是以此为豪的人,可能听了我说会吃惊: 我因为画了《傻瓜通科技》出了点名, 可是在准备这书的座谈会的时候 自己花了两天才让电脑和刻录机愿意合作。 你们谁知道什么“扩展程序管理器”? 我从来都是自己折腾这些插件 就从来没想过去读说明书 不过倒是自己摸索出来了,不然怎么行呢 因为在每次受邀参加活动的同时 都要得到一个可怕的提醒:现场可没有录像放映机 所以我的转盘带子就白带了 不得不用其他法子。
Now, I could talk about something that I'm known for, something that would be particularly appropriate for many of the more technically minded people here, or I could talk about something I really care about. I decided to go with the latter. I'm going to talk about Rome. Now, why would I care about Rome, particularly? Well, I went to Rhode Island School of Design in the second half of the '60s to study architecture. I was lucky enough to spend my last year, my fifth year, in Rome as a student. It changed my life. Not the least reason was the fact that I had spent those first four years living at home, driving into RISD everyday, driving back. I missed the '60s. I read about them; (Laughter) I understand they were pretty interesting. I missed them, but I did spend that extraordinary year in Rome, and it's a place that is never far from my mind. So, whenever given an opportunity, I try to do something in it or with it or for it.
我本可以谈谈我的成名作品 可是它看起来似乎 更适合留心科技的人们 要么我可以谈我在乎的东西 我决定选择后者。 我的话题是罗马。 为什么是罗马不是别的什么呢? 这么说吧,我在罗德岛设计学院读的建筑 那还是60年代下半段的事 够幸运的是:我临毕业那年,就是第五年 是在罗马度过的。这改变了我的一生。 挺重要的一点是改变了我上学在家两点一线的生活-- 开车去学校,再开回来。 我想念60年代。有时还读写60年代的书 那是个有趣的时代,真想念它。 在罗马的一年也是非比寻常。 是个时常让我怀念的地方。 一旦有点机会 我就要在罗马,或者为罗马做点事儿
I also make drawings to help people understand things. Things that I want them to believe I understand. And that's what I do as an illustrator, that's my job. So, I'm going to show you some pictures of Rome. I've made a lot of drawings of Rome over the years. These are just drawings of Rome. I get back as often as possible -- I need to. All different materials, all different styles, all different times, drawings from sketchbooks looking at the details of Rome. Part of the reason I'm showing you these is that it sort of helps illustrate this process I go through of trying to figure out what it is I feel about Rome and why I feel it.
我画画来帮大家理解一些东西 希望人们相信我懂那些东西。 这就是插图画家的工作。 我的本行。 所以让你们看看罗马的一些画 这些年来我画了许多罗马的画 画归画,我也尽量经常回罗马看看 必须这样。 那些不同的材料、风格、时期 画画草图,注意罗马的各种细节 我给你们看这些或许因为 它们有助于解释我的经历 表达我对罗马的感情和如此感受的原因。
These are sketches of some of the little details. Rome is a city full of surprises. I mean, we're talking about unusual perspectives, we're talking about narrow little winding streets that suddenly open into vast, sun-drenched piazzas -- never, though, piazzas that are not humanly scaled. Part of the reason for that is the fact that they grew up organically. That amazing juxtaposition of old and new, the bits of light that come down between the buildings that sort of create a map that's traveling above your head of usually blue -- especially in the summer -- compared to the map that you would normally expect to see of conventional streets.
一些小细节就这样被记录下来。 罗马是个充满惊奇的城市。 我这里指的是不寻常的观察角度 比如说蜿蜒的窄街 突然引向巨大的,满溢着阳光的广场-- 这些广场大得惊人 或许因为人们让它有机地成长。 新与旧如此奇特地并立 建筑之间漏下的几线光芒 似乎在你的脑海里产生一幅游动的地图-- 通常是蓝色的,尤其在夏天-- 比起你平时在街上看到的 是如此得不同。
And I began to think about how I could communicate this in book form. How could I share my sense of Rome, my understanding of Rome? And I'm going to show you a bunch of dead ends, basically. The primary reason for all these dead ends is when if you're not quite sure where you're going, you're certainly not going to get there with any kind of efficiency.
我寻思如何让读者身临其境。 分享我这奇异的“罗马感”, 我所体会的罗马? 这是罗马的一些死胡同 让你们知道在罗马 如果不熟悉路,恐怕很长时间 也到不了目的地
Here's a little map. And I thought of maps at the beginning; maybe I should just try and do a little atlas of my favorite streets and connections in Rome. And here's a line of text that actually evolves from the exhaust of a scooter zipping across the page. Here that same line of text wraps around a fountain in an illustration that can be turned upside down and read both ways. Maybe that line of text could be a story to help give some human aspect to this. Maybe I should get away from this map completely, and really be honest about wanting to show you my favorite bits and pieces of Rome and simply kick a soccer ball in the air -- which happens in so many of the squares in the city -- and let it bounce off of things. And I'll simply explain what each of those things is that the soccer ball hits. That seemed like a sort of a cheap shot. But even though I just started this presentation, this is not the first thing that I tried to do and I was getting sort of desperate.
这是张小地图--开始我就想到了地图。 或许该画一个小地理图 收录罗马城里我最爱的街巷 这儿的一行字我弄成了 一辆小摩托车喷出的尾气 这行字转过了一座喷泉 这幅画正过来倒过去都行。 这行字可以是一个故事 给这些图添上一些人性的温情。 或许我应该抛开地图 坦诚展示我偏爱的罗马的那些部分 就这么踢上一脚球, 就像罗马许多广场上能看到的一样 让它弹来弹去。而我来解释 球弹到的不同东西。 看起来像是个雕虫小技。 可是尽管我刚开始这么画, 这却不是我尝试的首个方案, 我有点急得饥不择食了
Eventually, I realized that I had really no content that I could count on, so I decided to move towards packaging. (Laughter) I mean, it seems to work for a lot of things. So I thought a little box set of four small books might do the trick. But one of the ideas that emerged from some of those sketches was the notion of traveling through Rome in different vehicles at different speeds in order to show the different aspects of Rome. Sort of an overview of Rome and the plan that you might see from a dirigible. Quick snapshots of things you might see from a speeding motor scooter, and very slow walking through Rome, you might be able to study in more detail some of the wonderful surfaces and whatnot that you come across.
最终我发现没有什么可依赖的内容 就决定把注意力转向包装 对于好多小东西这招还挺奏效的。 于是我想一个书箱装四本小书的设计挺巧的 但是后来产生的一个想法 是坐在不同交通工具上 用不同速度穿越罗马。 展现罗马城的各个角度 比如你在飞船上鸟瞰罗马的景象。 或者边抢拍各种东西的照片 边在摩托上疾驰,或者是慢慢地看 步行于罗马,你能更细致入微地欣赏 那些美妙的线条和难以名状的东西
Anyways, I went back to the dirigible notion. Went to Alberto Santos-Dumont. Found one of his dirigibles that had enough dimensions so I could actually use it as a scale that I would then juxtapose with some of the things in Rome. This thing would be flying over or past or be parked in front of, but it would be like having a ruler -- sort of travel through the pages without being a ruler. Not that you know how long number 11 actually is, but you would be able to compare number 11 against the Pantheon with number 11 against the Baths of Caracalla, and so on and so forth. If you were interested.
不管怎样,我回到了那个飞船的点子上 找了找航空先驱杜蒙的资料 找到了一个他设计的够大的飞行器 用它做一个标尺 和罗马城的东西放一块儿,显出它们的尺寸 飞船就飞越或者从旁边飞过 或者停在它们前面,作用就像一把尺子-- 横穿全书--尽管不是尺子。 并不是要告诉你11号飞船有多长 而是你能把它和万神殿相对照 或者和卡拉卡拉浴室对照 等等等等,如果你乐意的话。
This is Beatrix. She has a dog named Ajax, she has purchased a dirigible -- a small dirigible -- she's assembling the structure, Ajax is sniffing for holes in the balloon before they set off. She launches this thing above the Spanish Steps and sets off for an aerial tour of the city. Over the Spanish Steps we go. A nice way to show that river, that stream sort of pouring down the hill. Unfortunately, just across the road from it or quite close by is the Column of Marcus Aurelius, and the diameter of the dirigible makes an impression, as you can see, as she starts trying to read the story that spirals around the Column of Marcus Aurelius -- gets a little too close, nudges it. This gives me a chance to suggest to you the structure of the Column of Marcus Aurelius, which is really no more than a pile of quarters high -- thick quarters. Over the Piazza of Saint Ignacio, completely ruining the symmetry, but that aside a spectacular place to visit. A spectacular framework, inside of which you see, usually, extraordinary blue sky. Over the Pantheon and the 26-foot diameter Oculus. She parks her dirigible, lowers the anchor rope and climbs down for a closer look inside. The text here is right side and upside down so that you are forced to turn the book around, and you can see it from ground point of view and from her point of view -- looking in the hole, getting a different kind of perspective, moving you around the space. Particularly appropriate in a building that can contain perfectly a sphere dimensions of the diameter being the same as the distance from the center of the floor to the center of the Oculus.
这位是碧翠丝,她有只狗叫阿贾克斯。 她买了一艘飞船,小型飞船 她正在组装各部件。 阿贾克斯钻进气球用鼻子检查有没有漏洞 她在西班牙阶梯上起飞 开始空中的环城旅行 我们就飞越了西班牙阶梯 这样展示山丘上淌下的河流小溪真好。 不走运的是,路对面刚好就是 马可·奥略留记功柱 你现在知道飞船的直径有多大了 正如你所见,她开始阅读记功柱上环绕的故事 靠得有点太近了,就碰了它一下 这个场景让我能画出 马可·奥略留记功柱的结构 其实不比那一堆房子高 又高又密的房子,在圣依那爵广场上空看来-- 整个毁了对称感,可是除了这点-- 是个超棒的地方。 广场是个超棒的画框,透过那里面,通常来说 你看到特别蔚蓝的天。 在万神殿和它直径26英尺的天孔上方 她停下飞船,放下缆绳 爬下来近距离地观察。 文字从右起,又是上下颠倒的,你就不得不 把书倒过来,于是你能从地面的角度 和她的角度,望向天孔 这倒是种别样的视角。 这让你在空间中移动。而尤其适合 在一幢正好包含着球体的建筑里, 直径的尺度都和 从地面的中心到天孔的中心的距离相等。
Unfortunately for her, the anchor line gets tangled around the feet of some Boy Scouts who are visiting the Pantheon, and they are immediately yanked out and given an extraordinary but terrifying tour of some of the domes of Rome, which would, from their point of view, naturally be hanging upside down. They bail out as soon as they get to the top of Saint Ivo, that little spiral structure you see there. She continues on her way over Piazza Navona. Notices a lot of activity at the Tre Scalini restaurant, is reminded that it is lunchtime and she's hungry. They keep on motoring towards the Campo de' Fiori, which they soon reach. Ajax the dog is put in a basket and lowered with a list of food into the marketplace, which flourishes there until about one in the afternoon, and then is completely removed and doesn't appear again until six or seven the following morning. Anyway, the pooch gets back to the dirigible with the stuff. Unfortunately, when she goes to unwrap the prosciutto, Ajax makes a lunge for it. She's managed to save the prosciutto, but in the process she loses the tablecloth, which you can see flying away in the upper left-hand corner. They continue without their tablecloth, looking for a place to land this thing so that they can actually have lunch. They eventually discover a huge wall that's filled with small holes, ideal for docking a dirigible because you've got a place to tie up. Turns out to be the exterior wall -- that part of it that remains -- of the Coliseum, so they park themselves there and have a terrific lunch and have a spectacular view.
有点不妙,缆绳缠在了 一些正在参观万神殿的童军的脚上 他们立刻就被拽了出去 开始一段特别又惊险的观光旅程 从他们的角度看来罗马城的石拱 自然而然就是上下颠倒的 他们一到达圣依华教堂就下船了, 就是那个螺旋形的结构。 她则继续游览到了那佛那广场 在Tres Palini饭店看到一大群人 这提醒她该吃午饭了,她也饿了 他们继续驶向鲜花广场, 很快就到了。小狗阿贾克斯被放在篮子里 吊下来,随身带了张食品采购清单就进了市场 直到下午一点,市场都生意红火 接着一溜烟地就收摊了 到第二天六七点才会回来。 还别说,小狗还真把东西带回了飞船。 不幸的是当她撕开火腿包装的时候, 阿贾克斯扑了上来。 最终火腿倒是得救了, 可是搏斗过程中桌布掉了下去 你看它飘到左上角去了。 他们决定干脆就不要桌布吧, 于是想找个地方降落吃午饭。 最后发现了一堵巨墙 上面都是小洞,用来停泊飞船挺理想的 因为你好系绳子。 回头发现那居然是 大竞技场残留的外墙。 他们就在此停船,饱餐一顿 顺便欣赏美景。
At the end of lunch, they untie the anchor, they set off through the Baths of Caracalla and over the walls of the city and then an abandoned gatehouse and decide to take one more look at the Pyramid of Cestius, which has this lightning rod on top. Unfortunately, that's a problem: they get a little too close, and when you're in a dirigible you have to be very careful about spikes. So that sort of brings her little story to a conclusion. Marcello, on the other hand, is sort of a lazy guy, but he's not due at work until about noon. So, the alarm goes off and it's five to 12 or so. He gets up, leaps onto his scooter, races through the city past the church of Santa Maria della Pace, down the alleys, through the streets that tourists may be wandering through, disturbing the quiet backstreet life of Rome at every turn. That speed with which he is moving, I hope I have suggested in this little image, which, again, can be turned around and read from both sides because there's text on the bottom and text on the top, one of which is upside down in this image.
吃过了饭,他们又起锚出发了 穿过卡拉卡拉浴室,飞越了城墙 从一个废弃的门楼里面横贯而过。 接着又要去看一眼赛斯提乌斯的金字塔 它顶上插了杆避雷针。 这时麻烦来了:他们靠得有点儿太近了-- 开飞船的时候 切记要小心尖头物体。 她的小故事看来要告一段落了。 另一个人,马尔切洛大概是个懒汉, 不过他中午才需要去上班。 闹钟响的时候已经12点缺5分了。 他就起床,上车,扬长而去 驶过和平圣母教堂, 过街穿巷 从游人身边掠过。 每次上班都把罗马静谧的后街生活完全打乱。 我希望这幅图能表现这家伙的速度-- 又是一张正着倒着都能看的图, 因为下面上面都有字 而有一边的字是倒着印的。
So, he keeps on moving, approaching an unsuspecting waiter who is trying to deliver two plates of linguine in a delicate white wine clam sauce to diners who are sitting at a table just outside of a restaurant in the street. Waiter catches on, but it's too late. And Marcello keeps moving in his scooter. Everything he sees from this point on is slightly affected by the linguine, but keeps on moving because this guy's got a job to do. Removes some scaffolding. One of the reasons Rome remains the extraordinary place it is that because of scaffolding and the determination to maintain the fabric, it is a city that continues to grow and adapt to the needs of the particular time in which it finds itself, or we find it. Right through the Piazza della Rotonda, in front of the Pantheon -- again wreaking havoc -- and finally getting to work. Marcello, as it turns out, is the driver of the number 64 bus, and if you've been on the number 64 bus, you know that it's driven with the same kind of exuberance as Marcello demonstrated on his scooter.
他一路向前,接近了一个毫不知情的侍者 正端着两碟子扁面条 浇了种精致的白葡萄酒蛤蜊酱汁 他正走向酒店街边座位上的客人。 侍者反应过来了,不过为时已晚。 马尔切洛一往无前。 从现在起他看到的一切都跟面条扯上了点小关系。 不过还得继续走,上班要紧。 一路上拆了些脚手架--它们是 罗马依然保留着独特风韵的原因: 人们的修葺施工以及保护 城市规划结构的决心。罗马持续成长 来适应不同时代的需要 它自觉地如此,我们也加以推动。 你看他横穿罗通达广场, 在万神殿前弄得一阵鸡飞狗跳,终于到了。 我们发现马尔切洛 是64路公交车的司机。 如果你坐过64路车你就知道 这车开得 跟马尔切洛的摩托一个德性。
And finally Carletto. You see his apartment in the upper left-hand corner. He's looking at his table; he's planning to propose this evening to his girlfriend of 40 years, (Laughter) and he wants it to be perfect. He's got candles out, he's got flowers in the middle and he's trying to figure out where to put the plates and the glasses. But he's not happy; something's wrong. The phone rings anyway, he's called to the palazzo. He saunters -- he saunters at a good clip, but as compared to all the traveling we've just seen, he's sauntering. Everybody knows Carletto, because he's in entertainment, actually; he's in television. He's actually in television repair, which is why people know him. So they all have his number. He arrives at the palazzo, arrives at the big front door. Enters the courtyard and talks to the custodian, who tells him that there's been a disaster in the palazzo; nobody's TVs are working and there's a big soccer game coming up, and the crowd is getting a little restless and a little nervous.
最后是卡尔莱托--他的公寓在左上角 他正凝视着桌子。 今晚要向他谈了40年的女友求婚 他希望一切都做得尽善尽美 他摆开了蜡烛,放好了鲜花 正想着该把杯盘放在哪儿。 可是他并不开心--还缺点什么。 电话响了--叫他去palazzo。 他快步走去 不过跟马尔切洛相比,他简直在晃荡。 卡尔莱托真是无人不晓:他是娱乐界的-- 准确地说,是搞电视的。 大家都认识他是因为他负责修电视。 每个人都有他的电话。 终于到了,他来到大门那儿 走进院子,和看门人聊了起来 看门人说楼里出大事儿了 电视机坏了个遍 可是即将有一场足球大赛 大家都耐不住了,怕错过比赛。
He goes down to the basement and starts to check the wiring, and then gradually works his way up to the top of the building, apartment by apartment, checking every television, checking every connection, hoping to find out what this problem is. He works his way up, finally, the grand staircase and then a smaller staircase until he reaches the attic. He opens the window of the attic, of course, and there's a tablecloth wrapped around the building's television antenna. He removes it, the problems are solved, everybody in the palazzo is happy. And of course, he also solves his own problem. All he has to do now, with a perfect table, is wait for her to arrive.
于是他下到地下室检查电线 从那儿一路忙到楼顶, 挨家挨户地检查每一台电视 一台台地查 想找出问题所在 他一直往上查,终于到了主楼梯 又一个小些的楼梯,到了阁楼。 打开窗户,当然当然,有张桌布 挂在整楼的电视天线上。 他把它拿掉,问题就解决了 楼里的大伙儿都很开心。 并且他也解决了自己的问题。 桌子布置停当,他现在要做的 就是等她出现。
That was the first attempt, but it didn't seem substantial enough to convey whatever it was I wanted to convey about Rome. So I thought, well, I'll just do piazzas, and I'll get inside and underneath and I'll show these things growing and show why they're shaped the way they are and so on. And then I thought, that's too complicated. No, I'll just take my favorite bits and pieces and I'll put them inside the Pantheon but keep the scale, so you can see the top of Sant'Ivo and the Pyramid of Cestius and the Tempietto of Bramante all side by side in this amazing space. Now that's one drawing, so I thought maybe it's time for Piranesi to meet Escher. (Laughter)
这是我的第一个尝试,不过好像分量还不够 传达我想表达的对罗马的理解 所以我想,好吧,我就先画广场, 然后钻进去、挖下去 展示那些深层中发展着的 塑造了这座城市的力量。 后来我又觉得太复杂了。不行。 我权且用我最喜欢的那些地方 把它们画到万神殿里去,保持原尺寸 你就能看到圣依沃堂和赛斯提乌斯金字塔 还有布拉曼特的小礼拜堂的尖顶,都在这里并列。 这又是一幅画。 呵呵,我想或许是时候让皮拉内西见见埃舍尔了。
You see that I'm beginning to really lose control here and also hope. There's a very thin blue line of exhaust that sort of runs through this thing that would be kind of the trail that holds it all together. Then I thought, "Wait a minute, what am I doing?" A book is not only a neat way of collecting and storing information, it's a series of layers. I mean, you always peel one layer off another; we think of them as pages, doing it a certain way. But think of them as layers. I mean, Rome is a place of layers -- horizontal layers, vertical layers -- and I thought, well just peeling off a page would allow me to -- if I got you thinking about it the right way -- would allow me to sort of show you the depth of layers. The stucco on the walls of most of the buildings in Rome covers the scars; the scars of centuries of change as these structures have been adapted rather than being torn down. If I do a foldout page on the left-hand side and let you just unfold it, you see behind it what I mean by scar tissue. You can see that in 1635, it became essential to make smaller windows because the bad guys were coming or whatever. Adaptations all get buried under the stucco. I could peel out a page of this palazzo to show you what's going on inside of it. But more importantly, I could also show you what it looks like at the corner of one of those magnificent buildings with all the massive stone blocks, or the fake stone blocks done with brick and stucco, which is more often the case.
其实你看我有点控制不住作品的走向了, 信心也随之减退。 而有一缕蓝色的烟气 仿佛是贯穿整书的线索,把一切系在一起了。 我突然意识到:等等,我在干嘛呢? 书不光是积存信息的便捷工具 它还是一系列的层次。 你总是一层层地剥开来-- 一页页书,某种程度上是在“剥”。 想象那些层次。罗马是个有层次的地方-- 横向的层次,纵向的层次。 而我想,如果“剥”开一页书就能-- 如果你跟着我的思路-- 就能展示出这些层次的深度就好了 罗马大多数建筑用墙面的灰泥 把许多个世纪的伤痕遮掩了 这些建筑一直在改变用途 而不是被拆掉 如果我在左半页做一个折叠页, 你把它打开,就看见了所谓伤口下面的组织。 比如说在1635年的一层,你就能看到 把窗户改小的重要性 因为坏人们要来了,或者是别的什么原因。 这些变化都埋藏在了表面的灰泥之下。 我只要剥掉这幢楼的一层你就知道里面发生了什么 可是更重要的是,这还能告诉你 那些雄伟建筑的角落里都有些什么 这么些巨大的石块-- 以及砖头和灰泥冒充的假石块, 它们可更加常见。
So it becomes slightly three-dimensional. I could take you down one of those narrow little streets into one of those surprising piazzas by using a double gate fold -- double foldout page -- which, if you were like me reading a pop-up book as a child, you hopefully stick your head into. You wrap the pages around your head and are in that piazza for that brief period of time. And I've really not done anything much more complicated than make foldout pages. But then I thought, maybe I could be simpler here. Let's look at the Pantheon and the Piazza della Rotonda in front of it. Here's a book completely wide open. OK, if I don't open the book the whole way, if I just open it 90 degrees, we're looking down the front of the Pantheon, and we're looking sort of at the top, more or less down on the square. And if I turn the book the other way, we're looking across the square at the front of the Pantheon. No foldouts, no tricks -- just a book that isn't open the whole way. That seemed promising. I thought, maybe I'll do it inside and I can even combine the foldouts with the only partially opened book. So we get inside the Pantheon and it grows and so on and so forth. And I thought, maybe I'm on the right track, but it sort of lost its human quality.
所以这书就有一点点3D了。 我能把你从一条窄街上 送进一个豁然开朗的广场,用个双扇折叠就行。 双扇折叠页--如果你和我一样 小时候喜欢读这种立体书--你恐怕想把头伸进去 把头埋在书里 那一刻你就置身于广场上了。 我实在没有做什么更复杂的东西了 折叠页已经是最复杂的了 不过接着我想,我或许可以简单一点儿 我们来看看万神殿和前面的罗通达广场 这是完全摊开的一本书。 要不是我把书整个打开, 要是我只翻开九十度,我们就在俯视万神殿的正面。 仿佛是在天上往下看广场。 如果我把书换一个方向 我们的视线就穿过广场看到万神殿的正面 没有折叠,没什么把戏-- 只是本没完全打开的书。 我觉得这个不错,值得一试 甚至可以和折叠页结合起来用。 于是我们进了万神殿内部 书就这么扩展着,延续着。 我猜我可能走对路了, 只是原来的人情味儿丢了
So I went back to the notion of story, which is always a good thing to have if you're trying to get people to pay attention to a book and pick up information along the way. "Pigeon's Progress" struck me as a catchy title. If it was a homing pigeon, it would be called "Homer's Odyssey." But it was the journey of the ... (Laughter) I mean, if a title works, use it. But it would be a journey that went through Rome and showed all the things that I like about Rome. It's a pigeon sitting on top of a church. Goes off during the day and does normal pigeon stuff. Comes back, the whole place is covered with scaffolding and green netting and there's no way this pigeon can get home. So it's a homeless pigeon now and it's going to have to find another place to live, and that allows me to go through my catalog of favorite things, and we start with the tall ones and so on. Maybe it has to go back and live with family members; that's not always a good thing, but it does sort of bring pigeons together again. And I thought, that's sort of interesting, but maybe there's a person who should be involved in this in some way.
所以我回到故事的表现方式 要是想让别人集中注意 读你的书,同时又能学到东西,讲故事这个方法不错。 突然想到《鸽子之旅》是个好标题 如果这是一只回家的鸽子 书名应该叫荷马的《奥德修纪》的 不过这是它的旅行--(笑) --题目管用的话,就是它了。这将会是一次穿越罗马之旅 把我喜爱的罗马的一切展示出来。 就是这只教堂顶上的鸽子 白天飞走,做做鸽子该做的事,再飞回来-- 脚手架和绿色防护网把家封死了。 没辙,回不了家了 成了流浪鸽。 于是它必须找个新家。 这给了我机会画出我钟爱的那些地标。 我们从较高的那些开始 不过有可能它还是得回去和家人团聚-- 不过这不一定是好事。 这样鸽子们又在一块儿了。 我就想:这有点儿意思 可是应该有个人也来参与一下。
So I kind of came up with this old guy who spends his life looking after sick pigeons. He'll go anywhere to get them -- dangerous places and whatnot -- and they become really friends with this guy, and learn to do tricks for him and entertain him at lunchtime and stuff like that. There's a real bond that develops between this old man and these pigeons. But unfortunately he gets sick. He gets really sick at the end of the story. He's taught them to spell his name, which is Aldo. They show up one day after three or four days of not seeing him -- he lives in this little garret -- and they spell his name and fly around. And he finally gets enough strength together to climb up the ladder onto the roof, and all the pigeons, a la Red Balloon, are there waiting for him and they carry him off over the walls of the city. And I forgot to mention this: whenever he lost a pigeon, he would take that pigeon out beyond the walls of the city. In the old Roman custom, the dead were never buried within the walls. And I thought that's a really cheery story. (Laughter). That's really going to go a long way.
我就虚构了这个老家伙 一辈子都用来照顾生病的鸽子 他访遍全城寻找它们。危险的地方也在所不辞。 鸽子和他交上了朋友, 也学会了在午饭的时候做些把戏逗他玩。 渐渐就产生了真挚的感情 人与鸽的友谊。 不幸的是老人病了,病得很重。 他曾经教鸽子们拼他的名字Aldo 它们在三四天没见着他之后就去找他。 他住在一个小阁楼上。 鸽子们绕着圈子拼出他的名字。 他也终于有了点精神 爬梯子到房顶上 所有的鸽子在那儿等着他,就像《红气球》里拍的一样 它们带着他飞走了,飞过城墙。 过去他每次--这点我忘了说了 每次死了一只鸽子的时候,他就把它 送到城墙外面去。 在罗马的老传统里,去世的人 从来不埋在城墙之内。 这真是个让人高兴的故事。 (笑)现在这本书进展不少了
So anyway, I went through ... And again, if packaging doesn't work and if the stories aren't going anywhere, I just come up with titles and hope that a title will sort of kick me off in the right direction. And sometimes it does focus me enough and I'll even do a title page. So, these are all title pages that eventually led me to the solution I settled on, which is the story of a young woman who sends a message on a homing pigeon -- she lives outside the walls of the city of Rome -- to someone in the city. And the pigeon is flying down above the Appian Way here. You can see the tombs and pines and so on and so forth along the way. If you see the red line, you are seeing the trail of the pigeon; if you don't see the red line, you are the pigeon. And it becomes necessary and possible, at this point, to try to convey what that sense would be like of flying over the city without actually moving. Past the Pyramid of Cestius -- these will seem very familiar to you, even if you haven't been to Rome recently -- past the gatehouse. This is something that's a little bit unusual. This pigeon does something that most homing pigeons do not do: it takes the scenic route, (Laughter) which was a device that I felt was necessary to actually extend this book beyond about four pages.
不管怎么说,我总算是想通了。如果说包装并不起作用 而讲故事才是正道 书名也该有点效果。 我希望书的标题能来一个完美开局 而它也真的让我花不少功夫 我还得设计一个标题页。 这一页页零碎的画最终把我 引向了答案:这是一个年轻女人的故事 她用回巢的信鸽送了一封信-- 她住在罗马城外--要把信捎给城内的一个人。 信鸽沿着阿庇安公路上空飞过。 你能看到古墓、松柏和其他的林林总总。 如果你看见那条红线, 那就是鸽子的飞行轨迹 你看不见红线的时候,你就是那只鸽子。 此时让读者身临其境 既是必须的又很可行 像这样足不离地就飞越城市。 过了塞斯提乌斯金字塔-- 哪怕你最近没去过罗马这些都会很熟悉。 过了门楼 有一点倒是挺奇怪的 这只鸽子做了一件其他鸽子归巢时不做的事: 它选择了一条观光路线。这个设计 用来把书延长个四页 再好不过了。
So, we circle around the Coliseum, past the Church of Santa Maria in Cosmedin and the Temple of Hercules towards the river. We almost collide with the cornice of the Palazzo Farnese -- designed by Michelangelo, built of stone taken from the Coliseum -- narrow escape. We swoop down over the Campo de' Fiori. This is one of those things I show to my students because it's a complete bastardization -- a denial of any rules of perspective. The only rule of perspective that I think matters is if it looks believable, you've succeeded. But you try and figure out where the vanishing points meet here; a couple are on Mars and a couple of others in Cremona. But into the piazza in front of Santa Maria della Pace, where invariably a soccer game is going on, and we're hit by a soccer ball. Now this is a terrible illustration of being hit by a soccer ball. I have all the pieces: there's Santa Maria della Pace, there's a soccer ball, there's a little bit of a bird's wing -- nothing's happening, so I had to rethink it. And if you do want to see Santa Maria della Pace, these books are really flexible, incredibly interactive -- just turn it around and look at it the other way.
于是我们环绕大竞技场一周,飞过希腊圣母堂 和海格力斯神殿,向台伯河飞去 差点撞上法尼榭宫的飞檐 这是米开朗基罗的大作, 是用大竞技场拆下来的石头建的。好险啊! 然后我们俯瞰鲜花广场 我很乐意把这个给我的学生看 因为这完全是瞎胡闹-- 把所有的透视法都抛在脑后 而我认为唯一重要的透视法就是 只要看上去可信,你就成功了。 不过你要是硬要找消失点在哪儿 有些恐怕在火星上,还有别的-- 别的几个--跑到克雷莫纳地区了。 鸽子进入广场,飞到和平圣母堂前面 这儿任何时候都有球赛上演 我们就不幸中弹 这个是我被足球击中的景象,画得很烂 我画上了它的各个部分。 和平圣母堂,足球, 鸟翅膀的一小部分。没感觉 得重新来。 如果你想看清楚和平圣母堂-- 像这样的书很灵活,很方便互动-- 只要把它掉个个,从另一面看
Through the alley, we can see the impact is captured in the red line. And then bird manages to pull itself together past this medieval tower -- one of the few remaining medieval towers -- towards the church of Sant'Agnese and around the dome looking down into Piazza Navona -- which we've already mentioned and seen and flown over a couple of times; there's the Bernini statue of the Four Rivers -- and then past the wonderful Borromini Sant'Ivo, stopping just long enough on the 26-foot diameter Oculus of the Pantheon to catch our breath. And then we can swoop inside and around; and because we're flying, we don't really have to worry about gravity at this particular moment in time, so this drawing can be oriented in any way on the page.
穿过巷子,你能看见撞击的效果体现在红线上。 然后鸽子在中世纪的塔楼上空调整了过来-- 为数不多现存的中世纪塔楼了-- 然后它飞向了--名字怎么忘了--圣依搦斯蒙难堂 转过俯瞰那佛那广场的圆顶 我们已经见过这儿了。 这是皮拉内西的四条河流的雕塑。 接着是博罗米诺绝妙的圣依华堂。 在万神殿直径26英尺的天孔上停下休息 刚够穿上口气来。 我们可以在殿内盘旋,因为是在飞 此时就不用担心重力了, 这幅图的朝向可以随心所欲。
We get a little exuberant as we pass Gesu; it's not surprising to sort of mimic the architecture in this way. Past the wonderful wall filled with the juxtaposition that I was talking about; beautiful carvings set into the walls above the neon "Ristorante" sign, and so on. And eventually, we arrive at the courtyard of the palazzo, which is our destination. Straight up through the courtyard into a little window into the attic, where somebody is working at the drawing board. He removes the message from the leg of the bird; this is what it says. As we look at the drawing board, we see what he's working on is, in fact, a map of the journey that the pigeon has just taken, and the red line extends through all the sights. And if you want the information, so that we complete this cycle of understanding, all you have to do is read these paragraphs. Thank you very much.
飞过耶稣堂的时候鸽子开心起来-- 它如此模仿这个建筑并不令人奇怪。 飞过一堵墙,它充满着我前面提到的“古今并立”的风味 霓虹灯的“饭店”招牌上方就是些漂亮的雕刻。 最终我们来到了palazzo的前庭 也就是目的地。 鸽子穿过庭院, 飞进窗户,飞上阁楼 有个人正在画板上画画。 他从鸽子腿上把纸条拆下来。纸条是这么写的 我们看到了那个画板 上面画着的其实就是 鸽子飞行的轨迹图, 红线串联起沿途的地标。 如果你想了解更多,给你的虚拟旅途 画上句号 只需要读读书后的这些段落 。 非常感谢。