Architecture is a profession with many rules, some written, some not, some relevant and others not. As architects, we're constantly gravitating between following these rules by the book or making a space for imagination -- for experimentation. This is a difficult balance. Especially through architecture, you're trying to challenge preconceptions and push boundaries and innovate, even if just using what we have around and we overlook all the time. And this is what I've been doing along with my team, Ensamble Studio, and from our very early works that happened in strict historic contexts, like the city of Santiago de Compostela.
建築這個行業有許多規則, 有些是明文規定,有些沒有, 有些規則有相關性,有些則沒有。 作為建築師,我們常常在兩方角力, 是要遵守手冊的規則, 還是要創造出想像空間—— 做些實驗性的嘗試。 在這兩者間,取得平衡並不容易。 尤其在建築設計過程中, 你得嘗試挑戰先入之見 並打破界線力求創新, 即使只是使用一些隨手可得 卻被我們忽略的素材。 而這就是我和我的團隊, 「全效工作室」 一直在做的事。 打從我們非常早期的作品開始, 有些作品有著 嚴格的歷史環境背景, 比如聖地亞哥-德孔波斯特拉市。
Here we built the General Society of Authors and Editors, a cultural building. And on top of all the regulations, we had to use stone by code and our experience was limited, but we had incredible references to learn from, some coming from the city itself or from nearby landscapes or other remote places that had impacted our education as architects, and maybe you recognize here. But somehow the finished products that industry made available for us as architects to use in our buildings seemed to have lost their soul. And so we decided to go to the nearby quarries to better understand the process that transforms a mountain into a perfectly square tile that you buy from a supplier. And we were taken by the monumental scale of the material and the actions to extract it. And looking carefully, we noticed hundreds of irregular blocks piling up everywhere. They are the leftovers of an extraction sequence: the ugly parts that nobody wants. But we wanted them. We were inspired. And it was a win-win situation where we could get this residual material of great quality, doomed to be crushed, at a very low cost.
在這裡,我們建造了 「作家與編輯綜合協會」, 它是一棟文化建物。 除了各式各樣的規定, 根據法規,我們必須採用石材, 我們的經驗有限, 但有很棒的參考資料供我們學習。 有些來自該城市本身, 或是附近的地景, 或是其它偏遠的地區, 這些一直以來,對我們的建築教育 有著深遠的影響, 也許你們認得出這些地方。 但,不知怎麼的, 工業製造出來的合規建材, 應用在建築物上, 對我們建築師來說, 似乎少了點靈魂。 所以,我們決定去附近的採石場, 看看能不能進一步了解 這些由供應商賣給我們的 一塊塊完美方正瓷磚, 是如何製造出來的。 我們被這些巨大的建材 及其生產的過程所震攝到。 仔細觀察就能發現, 到處堆滿了不規則的石塊。 這些石材是在採集過程中 遺留下來的邊角料 : 太醜陋而沒有人想要的部分。 但我們想要。 我們有靈感。 而且那是個雙贏的局面, 我們能取得這些本來注定 要被碾碎的高品質殘餘材料, 且不用多少錢就買到。
Now, we had to convince our clients that this was a good idea; but foremost, we had to come up with a design process to reuse these randomly shaped rocks, and we had not done this before. Today everything would be much easier because we would go to the quarry with our smartphones equipped with 3-D scanners and we would document each rock, turn that into a digital model -- highly engineer the whole process. But more than a decade ago, we had to embrace uncertainty and put on our boots, roll up our sleeves and move to the quarry for a hands-on experience. And we also had to become the contractors because we failed at finding somebody willing to share the risk with us. Now, luckily, we convinced the quarry team to help us build a few prototypes to resolve some of the technical details. And we agreed on a few mock-ups, but we got excited, and one stone led to another until we succeeded to build an 18-meter-long by eight-meter-high structure that recycled all the amorphous material of the quarry, just supported by gravity -- no mortar and no ties. And once built and tested, moving it to the final site in the city center to unite it with the rest of the building was a piece of cake, because by having isolated uncertainty and managed risk in the controlled environment of the quarry, we were able to complete the whole building in time and on budget, even if using nonconventional means and methods. And I still get goosebumps when I see this big chunk of the industrial landscape in the city, in a building, experienced by the visitors and the neighbors. This building gave us quite a few headaches, and so it could have well been an exception in our work, but instead it started to inform a modus operandi where every project becomes this opportunity to test the limits of a discipline we believe has to be urgently reimagined.
當然,我們得要說服我們的客戶, 讓他們相信這是個好點子; 但,首先,我們得要 想出一個設計過程, 利用這些不規則的石塊重新設計, 但我們以前沒有這麼做過。 如今,所有事情都簡單多了, 因為我們可以到採石場, 用智慧手機上配置的 3D 掃描儀, 將每一塊石塊歸檔掃描, 並把它們轉換成數位的模型—— 整個過程高度工程化。 但,十多年以前, 我們得要接受不確定性, 穿上靴子,捲起袖子, 走到採石場親身操作實踐。 我們也必須變成承包商, 因為我們找不到其它願意 和我們分攤風險的廠商。 幸運的是,我們說服了一個採石 團隊協助我們建造出幾個原型, 來解決一些技術細節。 我們原來同意只做幾個模型原型, 但我們太興奮了, 一個石頭接著一個石頭, 直到我們成功打造出 十八公尺長、八公尺高的結構, 從採石場回收 所有不規則形狀的石材, 只靠重力支撐, 完全不用水泥沙漿和綁紮。 等到建造和測試都完成後, 將它搬移到市中心的 最終目的地, 與大樓的其它部分整合起來, 這樣變得容易多了, 因為我們已經 在採石場的可控制環境中 將不確定性隔離開來, 並將風險管理做好, 我們就能成功準時地 完成整個建案, 預算也沒超支, 即使用的是非傳統的手段和方法。 當我在城市中、建築中, 看到旅客、附近鄰居 在這些龐大的城市地景穿梭時, 內心仍然會感到洶湧澎湃。 有幾次這個建築物讓我們煩惱不已, 隨然它和我們過往的作品完全不同, 但這反而開啟了另一種建築操作模式, 令每個項目都有挑戰界限的機會, 我們相信每個案子 都需要急中生智的想像力。
So what you see here are four homes that we have designed, built and inhabited. Four manifestos where we are using the small scale to ask ourselves big questions. And we are trying to discover the architectures that result from unconventional applications of pretty mundane materials and technologies, like concrete in different forms in the top row, or steel and foam in the bottom row. Take, for instance, these precast concrete beams. You have probably seen them building bridges, highways, water channels -- we found them on one of our visits to a precast concrete factory. And they might not seem especially homey or beautiful, but we decided to use them to build our first house. And this was an incredible moment because we got to be architects as always, builders once more and, for the first time, we could be our own clients.
各位可以看到,這裡有四間 由我們設計、建造和居住的房子。 它們代表四種宣言, 說明我們如何使用小規模 來問我們自己大問題。 我們也在嘗試探索 運用極平凡建材及非傳統建築技術 來設計建築物, 例如,用不同形式的混凝土 做天花板的頂部設計, 或利用鋼材和海綿 做天花板底部的造型。 又比如,這些預鑄混凝土樑柱。 各位可能看過它們被用來 建造橋樑、高速公路、水道。 有一次我們造訪預鑄混凝土 工廠時發現了它們。 它們的外觀也許沒那麼居家或美觀, 但我們決定用它們 來建造我們的第一間房子。 這是個很了不起的時刻, 因為我們和以往一樣要扮演建築師, 也扮演建造者, 還有,這是頭一次, 我們要扮演自己的客戶。
So, here we are trying to figure out how we can take these huge catalogue beams of about 20 tons each and stack them progressively around a courtyard space ... the heart of the house. And due to the dimensions and their material quality, these big parts are the structure that carry the loads to the ground, but they are much more than that. They are the swimming pool; they are the walls that divide interior from exterior; they are the windows that frame the views; they are the finishes; they are the very spirit of this house. A house that is for us a laboratory where we are testing how we can use standard elements in nonstandard ways. And we are observing that the results are intriguing. And we are learning by doing that prefabrication can be much more than stacking boxes or that heavy parts can be airy and transparent. And on top of designing and building this house, we get invaluable feedback, sharing it with our family and our friends because this is our life and our work in progress.
所以,我們在事務所裡, 試著找尋方法來吊起這些 每條重 20 公噸的巨大橫樑, 然後把它們,沿著庭園空間、 屋子的中心, 逐步漸進地堆疊起來。 因為建材的大小及品質夠好, 使得這些大組件結構體 能將負重傳達到地面。 但它們遠不止於此, 它們可以用來建造游泳池、 可以是隔離室內和室外的牆壁、 可以是框起風景的窗框、 裝飾面層; 它們是這間房子的精神。 對我們而言, 這房子是我們的實驗場, 在這裡,我們可以運用制式建材 但以非制式方式來建造房子。 我們發現結果令人振奮。 在邊做邊學的過程中,我們了解到, 預鑄的建材不僅可以 像堆疊盒子那樣簡單, 厚重的組件也可以透過設計 變得更通風及透光。 除了設計和建造這間房子, 在和我們的家人及朋友分享時, 我們也得到了無價的回饋。 因為這就是我們的生活 以及正在進行中的工作。
The lessons that we learn here get translated into other projects and other programs and other scales as well, and they inspire new work. Here again we are looking at very standard products: galvanized steel studs that can be easily cut and screwed, insulating foams, cement boards -- all materials that you can find hidden in partition walls and that we are exposing; and we are using them to build a very lightweight construction system that can be built almost by anyone. And we are doing it ourselves with our hands in our shop, and we are architects. We're not professional builders but we want to make sure it's possible. And it's so nice that Antón can move it with his hands and Javier can put it in a container, and we can ship it like you would ship your belongings if you were moving abroad ... which is what we did five years ago.
我們把學習到的, 再次應用到其它工程、 其它專案、計劃, 不論規模大小。 這些都能為新作品帶來靈感。 這裡,各位看到, 同樣是非常標準的產品: 很容易切割並用螺絲 固定的鍍鋅鋼立柱、 絕緣發泡材料、水泥板—— 看得到的建材原料都藏在分隔牆裡。 這是我們正在用 環氧樹脂做膠合的動作; 我們用它們來建立 非常輕量的建築系統, 幾乎任何人都可以自行組建。 我們在店內親自動手做, 我們是建築師, 不是專業的建築工人, 但我們想要確保這是可行的。 很棒的是,安東可以 用他的雙手來移動它, 哈維爾可以把它放到貨櫃中, 我們就能運送它, 就像你搬到國外時 運送你的個人物品一樣…… 這也是我們五年前所做的事。
We moved our gravity center from Madrid and the house of the concrete beams to Brookline. And we found the ugly duckling of a very nice neighborhood: a one-story garage and the only thing we could afford. But it was OK because we wanted to transform it into a swan, installing on top our just-delivered kit of parts, once more becoming the scientists and the guinea pigs. So this is a house that uses some of the cheapest and most normal materials that you can find in the market that applies the ubiquitous four-by-eight modulation that governs the construction industry. And yet a different organization of the spaces and a different assembly of the parts is able to transform an economically built home into a luxurious space. And now, we're dreaming and we're actively working with developers, with builders, with communities to try to make this a reality for many more homes and many more families. And you see, the world around us is an infinite source of inspiration if we are curious enough to see beneath the surface of things.
我們把馬德里的重力中心 及那間混凝土樑柱做的 房子搬到布魯克林。 我們在一個非常棒的 鄰里找到了醜小鴨: 一間我們付擔得起的一樓車庫, 但沒關係,因為我們 想要把它變成天鵝, 我們把剛運來的部件加裝在上面, 我們再次成為科學家兼白老鼠。 這間房子用上了市場上 最便宜且最普通的材料, 都是建築業中普遍用在 四乘八模組上的主流材料。 然而,在空間上做不同的安排, 把部件做不同的組裝, 就能夠把經濟實惠型的家 轉變成奢華感的空間。 現在,我們在造夢, 我們主動和開發商、 建商和社區合作, 試圖為更多的家庭 實現家的夢想。 你看,周遭的世界 能提供我們無限的靈感, 只要我們有足夠的好奇心 去探究事物表面下的內在價值。
Now I'm going to take you to the other side of the moon: to the sublime landscape of Montana, where a few years ago we joined Cathy and Peter Halstead to imagine Tippet Rise Art Center on a 10,000-acre working ranch. And when we first visited the site, we realized that all we knew about what an art center is was absolutely pointless for that client, for that community, for that landscape. The kind of white-box museum type had no fit here. So we decided to explode the center into a constellation of fragments, of spaces spread across the vast territory that would immerse the visitors into the wilderness of this amazing place. So back in the office, we are thinking through making, using the land both as support and as material, learning from its geological processes of sedimentation, erosion, fragmentation, crystallization -- explosion -- to discover architectures that are born from the land, that are visceral extensions of the landscape, like this bridge that crosses Murphy Canyon. Or this fountain. Like this space topping a hill ... or this theatre that brings to us the space of the mountains and its sound. And in order to realize this idea, construction cannot be perfectly planned. We need to embrace the drastic weather and the local craft. We need to control just those aspects that are critical, like the structural, the thermal, the acoustical properties embedded in the form. But otherwise, improvisation is welcome and is provoked. And the moment of construction is still a moment of design and a moment of celebration where different hands, hearts, minds come together to perform a final dance.
現在我要帶各位到月球的另一面: 風光極美的蒙大拿州。 幾年前,我們連同 凱西與彼得·哈爾斯戴德 一起想像在一萬英畝的大農場 建立提佩特高地藝術中心。 當我們初次造訪那個地點時, 我們發現我們對於 藝術中心所知的一切, 對那個客戶、對那個社區、 對那個景觀而言,毫無用處。 白色箱型的博物館設計 完全不適合那裡。 所以我們決定將藝術中心 分解成零星的建築, 分散在廣大的原野中, 讓訪客能夠沉浸在 這個神奇之地的荒野當中。 所以,回到辦公室後, 我們邊做邊思考, 利用土地,作為支撐及原物料, 學習它的各種地質過程, 包括沉積、侵蝕、 碎片化、結晶化、 爆炸—— 去發掘這片土地原生的建築, 這些自然景觀的內在延伸, 像是這座跨越墨菲峽谷的橋。 或這片泉水。 像山丘上的這個空間… 或這像這個帶給我們山丘空間 和聲音的劇院。 為了要實現這個想法, 我們不能做完美的建設規劃。 我們必須要擁抱 極端的天氣及當地的工藝。 我們只需要控制關鍵的面向, 比如結構、溫度面向、 這些地形地貌的聲學特性。 除此之外,我們歡迎即興創作 並激勵大家這麼做。 建設的時刻仍然是設計的時刻, 以及慶祝的時刻。 大家身心靈合一, 一起演出最後一支舞。
And the result then cannot be anticipated. It comes as a surprise. And we unwrap architecture like you would unwrap a birthday gift. Architecture isn't uncovered: it's discovered. It's extracted from the guts of the earth to build a shelter, one of the most basic human needs. Architecture, art, landscape, archaeology, geology -- all made one. And by using the resources at our disposal in radical ways, by making a space for experimentation, we are able to bring to light architectures that find the beauty latent in the raw and imperfect things that surround us, that elevate them and let them speak their own language.
結果是無法預想的。 它是個驚喜。 建築物的揭曉就如 打開生日禮物一樣。 建築並不會主動出現: 而是需要你去探索挖掘的。 一個遮風擋雨的地方, 是從土壤的內在本質所萃取出來的, 它是人類最根本的需求之一。 建築、藝術、地景、 考古學、地質學——全都匯聚一體。 以極端的方式處理手邊的資源, 創造實驗性的空間, 能夠為建築帶來光明, 在我們的生活周遭 挖掘原始、不完美事物的美感, 並將它們提升, 讓它們以自己的語言 來呈現給我們。
Thank you.
謝謝。
(Applause)
(掌聲)