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.
我畫畫,是為了更好的了解事物 有時我畫了很多 卻還是不知道我到底畫了些什麼 在座諸位熟悉數碼產品 又引以為傲的人,知道這件事情可能會覺得有趣 因為以《機械大百科》成名的我 在準備這次關於"理解"的簡報時 花了兩天的時間才把新的CD燒錄器和電腦接起來 誰曉得裝置管理員是什麼啊? 我一向都是自己動手 也沒想過去翻說明書 不過我還是搞定它了,我非這麼作不可 因為當我受邀來演講時 他們提醒我這裡沒有幻燈機,我嚇到了 再也不用帶幻燈片轉盤 但一些其他的溝通媒介是可以的
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.
好啦,我本來可以談談自己的成名作品 不過這些似乎比較適合 留給在座更熟悉科技的各位 或者,我可以談談自己真正關注的事情 我選擇了後者 今天我要來談談羅馬 爲什麽我對羅馬有特殊情感呢? 嗯,我在羅德島設計學院(RISD)念建築時 大約是六零年代後期 幸運的是,我當學生的最後一年,也就是第五年 是在羅馬度過的,這改變了我的一生 不是因為前四年我都住在家裡 每天開車去學校,然後又開回家 我錯過了整個六零年代,但我從書上讀到它 才知道那是個很有趣的年代,但我錯過了 不過我在羅馬度過了極為精彩的一年 它一直在我腦海裡,久久不能忘懷 只要有機會 我就會試著在那裡做些什麼,或為羅馬做點事情
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.
我也用繪畫來讓大家更了解事物本質 讓大家相信我所裡解的事物 是我身為一個插畫家所要作的 這是我的工作 所以接下來我要讓大家看看幾張羅馬的圖片 這些年來,我畫了很多關於羅馬的圖 像這些,我盡可能常常回到那裡 我需要回去 不同的材質、風格、時代… 在速寫簿上塗鴉,觀察羅馬的一切細節 我讓大家看這些,有一部分的原因是 畫出我所見到的部份能夠幫助我 試著去理清我對羅馬的感覺,以及為什麼我會有這種感覺
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.
這些速寫是一些細節 羅馬是充滿驚奇的城市 我是說,從一個不同的角度來看的話 狹窄曲折的街道 接到空曠而充滿陽光的廣場,一切豁然開朗 這些廣場大得驚人 或許因為人們讓它有機地成長 新与舊如此奇特地並立 建筑之間漏下的幾綫光芒 似乎在你的腦海里產生一幅游動的地圖-- 通常是藍色的,尤其是在夏天 比起你平時在街上看到的 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.
我尋思如何讓讀者身臨其境 分享我這奇異的“羅馬感” 我所體會的羅馬? 這些羅馬的一些死胡同 讓你們知道在羅馬 如果不熟悉路,恐怕很長時間 也找不到目的地
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.
這是一張小地圖--開始我就想到了地圖。 或許應該畫一張小地圖 搜錄羅馬城里我最喜愛的街巷 這裏的一行字我弄成了 一輛小摩托車噴出的尾氣 這行字轉過了一座噴泉 這幅畫正過來倒過去都可以 這行字可以是一個故事 給這些圖添上一些人性的溫情 或許我應該拋開地圖 坦誠地展示我偏愛羅馬地哪些部分 就這麽踢一腳球 就像羅馬許多廣場上能看到的一樣 讓它彈來彈去。而我來解釋 球彈到的不同東西。 看起來像是個彫蟲小技。 可是儘管我剛剛開始這麽畫, 這卻不是我嘗試的首個方案, 我有點急得饑不擇食了
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.
最終我發現沒有什麽可以依賴的內容 就決定把注意力轉向包裝 對於許多小東西這招還是很管用的。 於是我想一個書箱裝四本小書的設計挺巧的 但是後來產生的一個想法 是坐在不同的交通工具上 用不同的速度穿越羅馬。 展現羅馬城的各個角度 比如你在飛船上鳥瞰羅馬的景象 或者邊搶拍各種東西的照片 邊在摩托車上飛馳,或者是慢慢看 步行于羅馬,你能更為細緻入微地欣賞 那些美妙的和難以用語言表達的東西
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.
無論怎麽樣,我回到了那個飛船的點子上 找了找航空先驅杜蒙的資料 找到了一個他設計的夠大的飛行器 用它做一個標尺 和羅馬城的東西放在一起,對比出它們的尺寸 飛船或者飛越或者從旁邊飛過 或者停在它們前面,作用就像一把尺子 橫穿全書--儘管不是尺子。 并不是要告訴你11號飛船有多長 而是你能把它和萬神殿進行比較 或者和卡拉卡拉浴場進行比較 等等,如果你樂意的話。
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.
這位是碧翠絲,他有只狗叫阿賈克斯。 她買了一艘飛船,小型飛船 她正在組裝各個部件。 阿贾克斯鑽進氣球用鼻子檢查有沒有漏洞 她在西班牙階梯上起飛 開始空中的環羅馬旅行 我們就飛越了西班牙階梯 這樣展示山丘上流淌下的河流、小溪真好 不幸的是,路對面恰好就是 馬可·奧里略圓柱 你現在知道飛船的直徑有多大了 正如你所見,她開始閱讀圓柱上環繞的故事 靠得有點太近了,就碰了它一下 這個場景讓我能畫出 馬可·奧里略圓柱的結構 其實不比一堆25美分的硬幣高 又高又厚的硬幣,在圣依那爵廣場上空看來-- 整個毀了對稱感,可是除了這點-- 是個非常棒的地方。 廣場是個非常棒的畫框,透過那里面,通常來說 你看到特別藍的天。 在萬神殿和它直徑為26英尺的天孔上方 她停下飛船,放下纜繩 爬下來近距離地觀察。 文字從右起,又是上下顛倒的,你不得不 把書倒過來,於是你能從地面的角度 和她的角度,望向天孔 這倒是种別樣的視角。 這讓你在空間中移動。而尤其適合 在一棟正好包含着球體的建築里, 直徑和尺度都和 從地面的中心到天孔的中心的距離相等。
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.
有點不妙,纜繩纏在了 一些正在參觀萬神殿的小孩子們的腳上 他們就立刻被拽了出去 開始一段特別又驚險的觀光旅行 從他們的角度看來羅馬城的石拱 自然而然就是上下顛倒的 他們一到達圣依華教堂就下船了, 就是那個螺旋形的結構 她則繼續遊覽到了那佛那廣場 在Tres Palini飯館看到一大群人 這提醒她該吃午飯了,她也餓了 他們繼續向鮮花廣場行駛 很快就到了。小狗阿賈克斯被放在籃子里 吊下來,隨身帶了張食品採購清單就進入了市場 市場一直紅火到下午一點 隨後就一溜煙地收攤了 直到第二天六、七點才會回來。 還別說,小狗還真把東西帶回了飛船。 不幸的是當她撕開火腿包裝的時候, 阿賈克斯撲了上來 最終火腿倒是得救了, 可是搏斗過程中桌布掉了下去 你看它飄到左上角去了。 他們決定乾脆就不要桌布了吧。 於是想要找個地方降落吃午飯 最后發現了一堵巨墻 上面都是小洞,用來停泊非常挺理想的 因為你有地方繫繩子 回頭發現那居然是 羅馬競技場殘留的外牆。 他們就在此停船,飽餐一頓 順便欣賞美景。
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.
吃過了飯,他們又起錨出發了 穿過卡拉卡拉浴場,飛越了城墻 從一個廢棄的樓門裏面橫貫而過。 接著又要去看一眼賽斯提烏斯的金字塔 它頂上插了桿避雷針。 這時麻煩來了:他們靠得有點太近了-- 開飛船的時候 切記要小心尖頭物體。 她的小故事看來要告一段落了。 另一個人,馬爾切洛大概是個懶漢, 不過他中午才需要去上班。 鬧鐘響的時候已經11點55分左右了。 他就起床,上車,揚長而去 駛過和平聖母教堂, 過街穿巷 從遊人身邊掠過。 每次上班都把羅馬靜謐的後街生活完全打亂。 我希望這幅圖能表現這個傢伙的速度-- 又是一張正著倒著都能看的圖, 因為下面上面都有字 而有一邊的字是倒著印刷的。
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,接近了一個毫不知情的侍者 他正端著兩碟子扁麵條 澆了种精緻的白葡萄酒蛤蜊醬汁 他正走向酒店靠近街邊座位上的客人。 侍者反應過來了,不過為時已晚。 馬爾切洛一往無前。 從現在起他看到的一切都跟麵條搭上了點小關系。 不過還得繼續走,上班要緊。 一路上拆了些腳手架--它們是 羅馬依然保留著獨特風韻的原因: 人們的修繕施工以及保護 城市規劃結構的決心。羅馬繼續成長 來適應不同時代的需要 它自覺地如此,我們也加以推動。 你看他橫穿羅通達廣場, 在萬神殿前弄得一陣雞飛狗跳,終於到了。 我們發現馬爾切洛 是64路巴士的司機。 如果你坐過64路巴士你就會知道 這巴士開得 跟馬爾切洛的摩托車一個德性。
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.
最后是卡爾萊託--他的公寓在左上角 他正凝視著桌子。 今晚要向他談了40年的女友求婚 他希望一切都做得盡善盡美 他擺開了蠟燭,放好了鮮花 正想著該把杯盤放在哪裡。 可是他並不開心--還缺點什麽。 電話響了--叫他去palazzo。 他快步走去 不過跟馬爾切洛相比,他簡直是在晃蕩。 卡爾萊託真是無人不曉:他是娛樂界的-- 準確地説,是搞電視的。 大家都認識他是因為他負責修電視。 每個人都有他的電話號碼。 終於到了,他來到大門那裏 走進院子,和看門人聊了起來 看門人説樓裏出了大事 電視機全都壞了 可是即將有一場足球大賽 大家都按耐不住,怕錯過了比賽。
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.
於是他下到地下室檢查電線 從那兒一路檢查到樓頂, 挨家挨戶地檢查每一台電視機 一台一台地檢查 想找出問題的所在 他一直往上查,終於到了主樓梯 然後爬上了一個小些的樓梯,來到了閣樓 打開閣樓的窗戶,居然,有張桌布 掛在整個樓的電視信號接收天線上。 他把桌布拿掉,問題就解決了 樓裏的每個人都很開心。 並且他也解決了自己的問題。 桌子布置好了以後,他現在要做的 就是等她出現。
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)
這是我的第一個嘗試,不過好像份量還不夠 傳達我想表達的對羅馬的理解 所以我想,好吧,我就先畫廣場, 然後鑽進去、挖下去 展示那些深層中發展著的 塑造了這座城市的力量。 後來我又覺得太復雜了。不行。 我暫且用我最喜歡的那些地方 把它們畫到萬神殿裡去,保持原有尺寸 你就能看到圣依沃堂和賽斯提烏斯金字塔 還有布拉曼特的小禮拜堂的尖頂,都在這裏並列。 這又是一幅畫。 呵呵,我想也許是時候讓皮拉內西見見埃爾舍了。
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.
其實你看我有點控制不住作品的走向了, 信心也隨之減退。 而有一縷藍色的煙氣 仿佛是貫穿整書的線索,把一切串在了一起。 我突然意識到:等等,我在幹嘛呢? 書不光是積存信息的便捷工具 它還是一系列的層次。 你總是一層層地剝開來-- 一頁頁書,某種程度上是在“剝”。 想象那些層次。羅馬是個有層次地地方-- 橫向地層次,縱向地層次。 而我想,如果“剝”開一頁書就能-- 如果你跟著我地思路-- 就能展示出這些層次地深度就好了 羅馬的大多數建築用牆面的灰泥 把許多個世紀的傷痕遮掩了 這些建築一直在改變用途 而不是被拆掉 如果我在左半頁做一個摺疊頁, 你把它打開,就看見了所謂傷口下面的組織。 比如說在1635年的一層,你就能看到 把窗戶改小的重要性 因為壞人們要來了,或者是別的什麽原因。 這些變化都埋藏在了表面的灰泥之下。 我只要剝掉這棟樓的一層你就知道裏面發生了什麽 可是更重要的是,這還能告訴你 那些雄偉建築的角落裡都有些什麽 這麽些巨大的石塊-- 以及磚頭和灰泥冒充的假石塊, 它們可是更加常見。
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.
所以這書就有點3D了。 我能把你從一條窄街上 送進一個豁然開朗的廣場,用個雙扇摺疊就可以了。 雙扇摺疊頁--如果你和我一樣 小時候喜歡讀這種立體書--你恐怕想把頭伸進去 把頭埋在書裡 那一刻你就置身於廣場上了。 我實在沒有做什麽更複雜的東西了 摺疊頁已經是最複雜的了 不過接著我想,我或許可以簡單一點 我們來看看萬神殿和前面的羅通達廣場 這是完全攤開的一本書。 要不是我把書整個打開, 要是我只翻開九十度,我們就在俯視萬神殿的正面。 仿佛是從天上往下看廣場。 如果我把書換一個方嚮 我們的視線就穿過廣場看到萬神殿的正面 沒有摺疊,沒有什麽把戲-- 只是本沒完全打開的書。 我覺得這個不錯,值得試一試 甚至可以和摺疊頁結合起來使用。 於是我們進入了萬神殿內部 書就這麽擴展著,延續著。 我猜我可能走對路了, 只是原來的人情味丟了
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現方式 要是想讓別人集中注意 讀你的書,同時又能學到東西,講故事這個方法不錯。 突然想到《鴿子之旅》是個好標題 如果這是一隻回家的鴿子 書名應該叫《荷馬的奧德修紀》 不過這是它的旅行--(笑) 題目管用的話,就是它了。這將會是一次穿越羅馬之旅 把我喜愛的羅馬的一些展示出來。 就是這隻教堂頂上的鴿子 白天飛走,做做鴿子該做的事,再飛回來-- 腳手架和綠色防護網把家封死了。 沒轍,回不了家了 成了流浪鴿。 於是它必須找個新家。 這給了我機會畫出我鍾愛的那些地標。 我們從較高的那些開始 不過有可能它還是得回家和家人團聚-- 不過這不一定是好事。 這樣鴿子們又在一起了。 我就想:這有點意思 可是應該有個人也來參與一下。
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.
我就虛構了這個老傢伙 一輩子都用來照顧生病的鴿子 他訪遍各個角落尋找病鴿子。危險的地方也在所不辭。 鴿子們和他成了朋友, 也學會了在午飯的時候做些把戲逗他玩。 漸漸就產生了真摯的感情 人与鴿子的友誼。 不幸的是老人病了,病的很重。 他曾經教鴿子們拼他的名字Aldo 它們在三四天沒見著他之後就去找他。 他住在一個小閣樓上。 鴿子們繞著圈子拼出他的名字。 他也終於有了點精神 順著梯子爬到了房頂上 所有的鴿子都在那兒等著他,就像《紅氣球》里拍的一樣 它們帶著他飛走了,飛過城墻。 過去他每次--這點我忘記說了 每次死了一隻鴿子的時候,他就把它 送到城墻外面去。 在羅馬的老傳統里,去世的人 從來不埋在城墻之內。 這真是個讓人高興的故事。 (笑)現在這本書進展了不少
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.
不管怎麼說,我總算是想通了。如果説包裝並不起作用 而講故事才是正道 書名也該有點效果。 我希望書的標題能來一個完美的開局 而它也真的讓我花了不少功夫 我還得設計一個標題頁。 這一頁頁零碎的畫面最終把我 引向了答案:這是一個年輕女人的故事 她用回巢的信鴿送了一封信-- 她住在羅馬城外--要把信稍給城里的一個人。 信鴿沿著阿庇安公路上空飛過。 你能看到古墓、松柏和其它的林林總總。 如果你看見那條紅線, 那就是鴿子的飛行軌跡 你看不見紅線的時候,你就是那隻鴿子。 此時讓讀者身臨其境 既是必須的又很可行 像這樣足不離地就能飛越城市。 過了賽斯提烏斯金字塔-- 哪怕你最近沒去過羅馬這些都會很熟悉。 過了門樓 有一點倒是挺奇怪的 這隻鴿子做了一件其它鴿子歸巢時不做的事: 它選擇了一條觀光路線。這個設計 用來把書延長四頁 再好不過額。
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.
於是我們環繞羅馬競技場一周,飛過希臘聖母堂 和海格力斯神殿,向台伯河飛去 差點撞上法尼榭宮的飛簷 這是米開朗基羅的大作, 是用羅馬競技場拆下來的石頭建的。好險啊! 然後我們俯瞰鮮花廣場 我很樂意地把這個給我的學生們看 因為這完全是瞎胡鬧-- 把所有地透視法都拋在腦後 而我認為唯一重要的透視法就是 只要看上去可信,你就成功了。 不過你要是硬要找消失點在哪兒 有些恐怕在火星上,還有別的-- 別的幾個--跑到克雷莫納地區了。 鴿子進入廣場,飛到和平聖母堂前面 這兒任何時候都有球賽上演 我們就不幸中彈 這個是我被足球擊中的景象,畫得很差 我畫上了它的各個部分。 和平聖母堂,足球, 鳥翅膀的一小部分。沒感覺 得重新來。 如果你想看清楚很平聖母堂-- 像這樣的書很靈活,很方面互動-- 只要把它掉個個,從另一面看
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.
穿過巷子,你能看見撞擊的效果體現在紅線上。 然後鴿子在中世紀的塔樓上空調整了過來-- 為數不多現存的中世紀塔樓了-- 然後它飛向了--名字怎麽忘了--聖依諾斯蒙難堂 轉過俯瞰那佛那廣場的圓頂 我們已經見過這裏了。 這是皮拉內西的四條河流的彫塑。 接著是博羅米諾絕妙的聖依華堂。 在萬神殿直徑為26英尺的天孔上停下休息 剛好能喘口氣來休息一下。 接著,我們在殿內盤旋,因為是在飛 此時就不用擔心重力了, 這幅圖的朝向可以隨心所欲。
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.
飛過耶穌堂的時候讓人開心起來-- 它如此模仿這個建築並不令人奇怪。 飛過一堵牆,它充滿著我前面提到的“古今並力”的風味 霓虹燈的“飯館”招牌上方就是些漂亮雕刻。 終於我們來到了palazzo的前庭 也就是目的地。 鴿子穿過庭院, 飛進窗戶,飛上閣樓 有個人正在畫板上畫畫。 他從鴿子腿上把紙條拆下來。紙條是這麽寫的 我們看到了那個畫板 上面畫著的其實就是 鴿子飛行的軌跡圖, 紅線串聯起沿途的地標。 如果你想了解更多,給你的虛擬旅途畫上句號 只需要讀讀書後面的這些段落。 非常感謝。