I'm going to go right into the slides. And all I'm going to try and prove to you with these slides is that I do just very straight stuff. And my ideas are -- in my head, anyway -- they're very logical and relate to what's going on and problem solving for clients. I either convince clients at the end that I solve their problems, or I really do solve their problems, because usually they seem to like it.
我直接开始放幻灯片好了 我通过这些幻灯所要证明的就是 我做的事都是很直接明白的(盖里以其复杂扭曲的建筑闻名) 我的想法 至少在我脑子里的,都是很有逻辑性 都是与现实相关,为顾客解决问题的 要么是我说服顾客我最终帮他们解决了问题 要么是我真的帮他们解决了问题 因为他们通常看上去挺满意
Let me go right into the slides. Can you turn off the light? Down. I like to be in the dark. I don't want you to see what I'm doing up here.
来看看幻灯片 能帮灯关掉吗? 我喜欢待在黑暗中 我可不想让你们看到我在这儿做什么
(Laughter)
(笑声)
Anyway, I did this house in Santa Monica, and it got a lot of notoriety. In fact, it appeared in a porno comic book, which is the slide on the right.
好了,我在圣莫妮卡建了这个房子 后来变得臭名昭著 事实上,它后来出现在了一本色情漫画里 正是右边的幻灯片
(Laughter)
笑声
This is in Venice. I just show it because I want you to know I'm concerned about context. On the left-hand side, I had the context of those little houses, and I tried to build a building that fit into that context. When people take pictures of these buildings out of that context they look really weird, and my premise is that they make a lot more sense when they're photographed or seen in that space. And then, once I deal with the context, I then try to make a place that's comfortable and private and fairly serene, as I hope you'll find that slide on the right.
这是在威尼斯 我展示这个是想让你们知道 我对周围环境是有考虑的 在左边的幻灯片上 是由这些小型建筑组成的城市背景 而我试图建造一个适合这个背景的建筑物 当人们在这个场景的之外拍这些建筑物时 它们看起来非常古怪 我的理论是它们更适合于 从那个空间的内部来欣赏和拍摄 一旦我搞定了周围的环境 我就要开始创造一个舒适,私密和宁静的空间, 正如右边的幻灯所显示的。
And then I did a law school for Loyola in downtown L.A. I was concerned about making a place for the study of law. And we continue to work with this client. The building on the right at the top is now under construction. The garage on the right -- the gray structure -- will be torn down, finally, and several small classrooms will be placed along this avenue that we've created, this campus. And it all related to the clients and the students from the very first meeting saying they felt denied a place. They wanted a sense of place. And so the whole idea here was to create that kind of space in downtown, in a neighborhood that was difficult to fit into. And it was my theory, or my point of view, that one didn't upstage the neighborhood -- one made accommodations. I tried to be inclusive, to include the buildings in the neighborhood, whether they were buildings I liked or not.
接下来是我为Loyola大学在洛杉矶市中心设计的法学院 我关注的是如何为法律学习设计合适的空间 我们现在也在继续与这个客户合作 在右上方的那个建筑现在正在建造 右边那个车库--灰色结构--最终会被扯掉 最后,一些小教室 会分布在我们设计的这条街道上,就是这个校园 这些都与客户和学生的意见相关 他们第一次见面就说他们感到空间被剥夺了 他们渴望对空间的感知 所以我们全部的想法就是创造那样一种空间感 在市中心这样一个难以协调的环境里 我的理论,或者说观点是 不与周围环境抢风头 而要适应环境 我试着去包容,把周围的建筑都容纳在内 不管我喜不喜欢那些建筑
In the '60s I started working with paper furniture and made a bunch of stuff that was very successful in Bloomingdale's. We even made flooring, walls and everything, out of cardboard. And the success of it threw me for a loop. I couldn't deal with the success of furniture -- I wasn't secure enough as an architect -- and so I closed it all up and made furniture that nobody would like.
在60年代,我开始设计纸质家具 我制作的一些玩意儿在Bloomingdale's 卖得非常好 我们甚至用硬纸板制作地板,墙面和其它东西 家具的成功让我大吃一惊 我难以接受这样的成功 这让作为建筑师的我感到没有安全感 所以我干脆罢手,开始制造没人会喜欢的家具
(Laughter)
(笑声)
So, nobody would like this. And it was in this, preliminary to these pieces of furniture, that Ricky and I worked on furniture by the slice. And after we failed, I just kept failing.
所以,没有人会喜欢这个 就是这样,在这些家具之前 Ricky和我做的“切片家具” 在我们失败后,我又屡战屡败
(Laughter)
笑声
The piece on the left -- and that ultimately led to the piece on the right -- happened when the kid that was working on this took one of those long strings of stuff and folded it up to put it in the wastebasket. And I put a piece of tape around it, as you see there, and realized you could sit on it, and it had a lot of resilience and strength and so on. So, it was an accidental discovery.
左边的那个家具 最终演变成为右边的那个 当时有个帮我们做事的孩子 他把一个长条堆叠到一起 要扔到垃圾箱里 我用胶带把四周粘了一圈 如你所见,我意识到那是可以坐的 而且它又有弹性又结实 所以,这是一个偶然的发现
I got into fish.
我也对鱼有过兴趣
(Laughter)
笑声
I mean, the story I tell is that I got mad at postmodernism -- at po-mo -- and said that fish were 500 million years earlier than man, and if you're going to go back, we might as well go back to the beginning. And so I started making these funny things. And they started to have a life of their own and got bigger -- as the one glass at the Walker. And then, I sliced off the head and the tail and everything and tried to translate what I was learning about the form of the fish and the movement. And a lot of my architectural ideas that came from it -- accidental, again -- it was an intuitive kind of thing, and I just kept going with it, and made this proposal for a building, which was only a proposal.
我想说是,我对后现代主义极为恼火 我说,鱼比人类早了5亿年 如果你想追根溯源,那就干脆回到最初 所以我开始制作这些搞笑的东西 结果它们逐渐演化, 越搞越大 就象Walker艺术中心里的那个玻璃鱼雕塑 然后我把它的头尾之类的全部切掉 试图转化我在鱼身上学到的 关于形态和运动的知识 以及由此产生的许多建筑理念 又一个偶然事件 -- 这就是所谓的直觉,我也跟着直觉走 我提交了关于一个建筑的方案,只是一个方案
I did this building in Japan. I was taken out to dinner after the contract for this little restaurant was signed. And I love sake and Kobe and all that stuff. And after I got -- I was really drunk -- I was asked to do some sketches on napkins.
我在日本设计了这座建筑 在签约后有人带我出去吃饭 我们刚刚和一个小餐馆签了合同 我喜欢日本清酒和神户牛肉那些东西 在我醉了之后 -- 我喝得烂醉 -- 有人让我在餐巾纸上画草图
(Laughter)
笑声
And I made some sketches on napkins -- little boxes and Morandi-like things that I used to do. And the client said, "Why no fish?" And so I made a drawing with a fish, and I left Japan. Three weeks later, I received a complete set of drawings saying we'd won the competition.
于是我就在餐巾纸上画了一些草图 我常画的盒状物体和Morandi风格的东西 客户就问:“为什么不画鱼?” 所以我就画了条鱼,然后离开了日本 3个星期之后,我收到了一套完整的图纸 说“我们赢得了竞标”
(Laughter)
笑声
Now, it's hard to do. It's hard to translate a fish form, because they're so beautiful -- perfect -- into a building or object like this. And Oldenburg, who I work with a little once in a while, told me I couldn't do it, and so that made it even more exciting. But he was right -- I couldn't do the tail. I started to get the head OK, but the tail I couldn't do. It was pretty hard. The thing on the right is a snake form, a ziggurat. And I put them together, and you walk between them. It was a dialog with the context again. Now, if you saw a picture of this as it was published in Architectural Record -- they didn't show the context, so you would think, "God, what a pushy guy this is." But a friend of mine spent four hours wandering around here looking for this restaurant. Couldn't find it. So ...
现在难题就来了。鱼的形状是很难转化 因为他们太漂亮--太完美了--- 难于在建筑或类似的物体中表现出来的 Oldenburg,偶尔和我合作的一个同事 告诉我那是不可行的,于是这事就更让我激动了 不过他是对的--我不知道怎么处理尾巴 我一开始把头做得不错,但是尾巴我就不知道怎么办了 确实是个难题 右边的那个是个蛇状物体,一个金字塔 我把他们放在一起,人可以在中间走动 这又是和背景的一种对话 如果你看到这幅照片 刊登在《建筑记录》上的这幅 它们没有显示背景,所以你会觉得 “天啊,这家伙真会出风头。” 但是我的一个朋友在那儿转了四个小时 寻找那个饭店 还是没有找到 所以(暗示饭店与环境融合得还不错)
(Laughter)
笑声
As for craft and technology and all those things that you've all been talking about, I was thrown for a complete loop. This was built in six months. The way we sent drawings to Japan: we used the magic computer in Michigan that does carved models, and we used to make foam models, which that thing scanned. We made the drawings of the fish and the scales. And when I got there, everything was perfect -- except the tail. So, I decided to cut off the head and the tail.
至于工艺和技术之类 你们都在谈论的那些东西,着实让我大吃一惊 这个东西在六个月内就建成了 我们把草图送给客户的方法是 -- 我们使用密歇根制作雕塑模型的神奇的计算机 以前我们制作一些泡沫模型,再用它来扫描 我们画了鱼和鱼鳞的草图 我们到那儿的时候,一切都很顺利 除了尾巴 所以我决定去掉头和尾巴
And I made the object on the left for my show at the Walker. And it's one of the nicest pieces I've ever made, I think. And then Jay Chiat, a friend and client, asked me to do his headquarters building in L.A. For reasons we don't want to talk about, it got delayed. Toxic waste, I guess, is the key clue to that one. And so we built a temporary building -- I'm getting good at temporary -- and we put a conference room in that's a fish.
我做了左边这个东西,放到我在Walker 艺术中心的展览上 我认为这是我做过的最漂亮的一件作品之一 然后,Jay Chiat,我的一个朋友兼客户 邀请我去设计他在洛杉矶总部的大楼 由于一些我不想说的原因,这件事拖延了 有毒废料,我猜,应该是主要原因 所以我们建造了一个临时建筑--我越来越擅长临时的东西 在鱼肚子里放了一个会议室
And, finally, Jay dragged me to my hometown, Toronto, Canada. And there is a story -- it's a real story -- about my grandmother buying a carp on Thursday, bringing it home, putting it in the bathtub when I was a kid. I played with it in the evening. When I went to sleep, the next day it wasn't there. And the next night, we had gefilte fish.
最后Jay把我拽到我自己的故乡,加拿大多伦多 这儿有个故事--真实的故事--关于我的祖母 有个星期四,她买了条鲤鱼带回家 把它放到浴缸里,我还是个孩子 我晚上和鱼玩耍 然后睡觉,第二天醒来的时候鱼已经不见了 到了第三天晚上,我们吃了鱼丸子
(Laughter)
笑声
And so I set up this interior for Jay's offices and I made a pedestal for a sculpture. And he didn't buy a sculpture, so I made one. I went around Toronto and found a bathtub like my grandmother's, and I put the fish in. It was a joke.
这是我为jay的办公室做的内部装修 又给雕像做了个基座 他没有买雕塑,所以我就做了一个 我在多伦多找到了一个跟我祖母家一样的浴缸 然后把这鱼放了进去 这是个笑话
(Laughter)
笑声
I play with funny people like [Claes] Oldenburg. We've been friends for a long time. And we've started to work on things. A few years ago, we did a performance piece in Venice, Italy, called "Il Corso del Coltello" -- the Swiss Army knife. And most of the imagery is --
我和Oldenburg这样风趣的家伙一起玩 我们是老朋友了 我们一起合作做些事情 几年前,我们在意大利威尼斯搞了一场行为艺术 叫“Il Corso del Coltello”--瑞士军刀 大部分的形象是
(Laughter)
笑声
Claes', but those two little boys are my sons, and they were Claes' assistants in the play. He was the Swiss Army knife. He was a souvenir salesman who always wanted to be a painter, and I was Frankie P. Toronto. P for Palladio. Dressed up like the AT&T building by Claes --
Claes,但那两个小孩是我的儿子 在演出里他们是Claes的助手 他就是瑞士军刀 他是个卖纪念品的商人,却一心想当个画家 我则是Frankie P. Toronto P代表 Palladio 打扮起来像Cleas设计的AT&T大楼
(Laughter)
笑声
with a fish hat. The highlight of the performance was at the end. This beautiful object, the Swiss Army knife, which I get credit for participating in. And I can tell you -- it's totally an Oldenburg. I had nothing to do with it. The only thing I did was, I made it possible for them to turn those blades so you could sail this thing in the canal, because I love sailing.
戴一个渔夫帽 演出的亮点在最后 这个漂亮的东西,瑞士军刀 我也因为参与建造而获得好评 我可以告诉你--这全是Oldenburg搞的 跟我没有任何关系 我唯一做的就是, 我让刀片可以转向,使它能在运河里航行 我爱开船
(Laughter)
笑声
We made it into a sailing craft.
我们把它做成水上工艺品
I've been known to mess with things like chain link fencing. I do it because it's a curious thing in the culture, when things are made in such great quantities, absorbed in such great quantities, and there's so much denial about them. People hate it. And I'm fascinated with that, which, like the paper furniture -- it's one of those materials. And I'm always drawn to that. And so I did a lot of dirty things with chain link, which nobody will forgive me for. But Claes made homage to it in the Loyola Law School. And that chain link is really expensive. It's in perspective and everything.
大家知道我运用过铁丝网之类的材料 我选这个是因为文化上的好奇 当一件东西如此大量的生产出来 如此大量的被运用 又有如此多的抗拒 人们恨铁丝网 我着迷于这个现象,像纸质家具一样-- 铁丝网就是这样一种材料 我经常被其吸引 所以我用链条做了很多坏事 坏到没人会原谅我 但是Claes 允许把它用在Loyola律师学校上 那链条很贵 这合情合理也是需要的全部
And then we did a camp together for children with cancer. And you can see, we started making a building together. Of course, the milk can is his. But we were trying to collide our ideas, to put objects next to each other. Like a Morandi -- like the little bottles -- composing them like a still life. And it seemed to work as a way to put he and I together.
然后我们一起设计了一个给癌症儿童的学校 你可以看到,我们开始一起设计 当然,牛奶罐是他搞的 但是我们的想法互相碰撞 把建筑挨在一起 像Morandi--像一张静物画一样排列这些瓶瓶罐罐 看上去我们能这样一起合作
Then Jay Chiat asked me to do this building on this funny lot in Venice, and I started with this three-piece thing, and you entered in the middle. And Jay asked me what I was going to do with the piece in the middle. And he pushed that. And one day I had a -- oh, well, the other way. I had the binoculars from Claes, and I put them there, and I could never get rid of them after that. Oldenburg made the binoculars incredible when he sent me the first model of the real proposal. It made my building look sick. And it was this interaction between that kind of, up-the-ante stuff that became pretty interesting. It led to the building on the left. And I still think the Time magazine picture will be of the binoculars, you know, leaving out the -- what the hell.
然后Jay Chiat 要我设计这个建筑 在维纳斯的这个搞笑的地方,我开始设计这三个东西 你进到中间 Jay问我我准备怎么处理中间的建筑 他逼了我一下 有一天我有了个点子-好吧-另一个点子 我把Cleas那儿的双筒望远镜放在那里 以后我就再也拿不走他们了 Oldenburg让这个望远镜难以置信 当他给我这个方案的第一个模型时 这让我的建筑看着很衰 就是这个相互促进的过程 使得整个事情更加有趣 成就了左边的这个建筑 我仍然认为时代杂志的照片会是这个望远镜 省去--“这是什么鬼东西”
I use a lot of metal in my work, and I have a hard time connecting with the craft. The whole thing about my house, the whole use of rough carpentry and everything, was the frustration with the crafts available. I said, "If I can't get the craft that I want, I'll use the craft I can get." There were plenty of models for that, in Rauschenberg and Jasper Johns, and many artists who were making beautiful art and sculpture with junk materials. I went into the metal because it was a way of building a building that was a sculpture. And it was all of one material, and the metal could go on the roof as well as the walls. The metalworkers, for the most part, do ducts behind the ceilings and stuff. I was given an opportunity to design an exhibit for the metalworkers' unions of America and Canada in Washington, and I did it on the condition that they become my partners in the future and help me with all future metal buildings, etc. etc. And it's working very well to have these people, these craftsmen, interested in it. I just tell the stories. It's a way of connecting, at least, with some of those people that are so important to the realization of architecture.
我在工作中用到大量金属 连接工艺品让我大费苦心 关于我的房子 使用的粗糙的木器,还有各种玩意 让我对现有工艺感到沮丧 我说:“我不能得到我想要的工艺 我要用我能得到的” 在这方面有很多楷模 Rauschenberg 和 Jasper Johns,很多艺术家 用废旧材料制作了美丽的艺术品和雕塑 我深究金属是因为它是用来 把建筑建造成雕塑的材料 它是一种统一的材料 金属可以做屋顶也可以做墙 而金属工人,大部分时候 在天花板后面做通风管道等等 我有个机会去设计一个展览 是给美加金属工人工会做的,在华盛顿 我做这个是在这样的条件下:他们成为我未来的伙伴 并且帮助我做未来所有的金属建筑等等 ,等等 这个手段效果不错,让这些手艺人 对用金属建造建筑感兴趣 我讲这个故事 是一种沟通,至少是与一部分人 一部分对于实现建筑很重要的人的沟通
The metal continued into a building -- Herman Miller, in Sacramento. And it's just a complex of factory buildings. And Herman Miller has this philosophy of having a place -- a people place. I mean, it's kind of a trite thing to say, but it is real that they wanted to have a central place where the cafeteria would be, where the people would come and where the people working would interact. So it's out in the middle of nowhere, and you approach it. It's copper and galvanize. I used the galvanize and copper in a very light gauge, so it would buckle. I spent a lot of time undoing Richard Meier's aesthetic. Everybody's trying to get the panels perfect, and I always try to get them sloppy and fuzzy. And they end up looking like stone. This is the central area. There's a ramp.
金属继续用在建筑中-- Herman Miller,萨克拉门托 这是一个厂房区 Herman Miller 有这样一个选址的哲学 一个有人的地点 这说起来很老套 但是他们想要一个中心地段 有个有人气的自助餐厅 工作的人产生互动 所以这个项目前不着村后不着店,你靠近一看 是电镀铜 我使用的电镀铜 规格很小,这样便于弯曲 我花了很多时间颠覆 Richard Meier的审美观 每个人都想把面板做的完美 而我则试着把他们做得污浊和模糊 结果看来像个石头 这里就是中心区域 有一个斜坡
And that little dome in there is a building by Stanley Tigerman. Stanley was instrumental in my getting this job. And when I was awarded the contract I, at the very beginning, asked the client if they would let Stanley do a cameo piece with me. Because these were ideas that we were talking about, building things next to each other, making -- it's all about [a] metaphor for a city, maybe. And so Stanley did the little dome thing. And we did it over the phone and by fax. He would send me a fax and show me something. He'd made a building with a dome and he had a little tower. I told him, "No, no, that's too ongepotchket. I don't want the tower." So he came back with a simpler building, but he put some funny details on it, and he moved it closer to my building. And so I decided to put him in a depression. I put him in a hole and made a kind of a hole that he sits in. And so then he put two bridges -- this all happened on the fax, going back and forth over a couple of weeks' period. And he put these two bridges with pink guardrails on it. And so then I put this big billboard behind it. And I call it, "David and Goliath." And that's my cafeteria.
那个小的穹顶是由Stanley Tigerman设计的 Stanley 帮我搞到了这份工作 在我得到工作的一开始 我要求客户让Stanley跟我一起做这个地景 因为这正是我们谈论的想法 设计相邻的建筑 也许这是对城市的一个比喻 于是Stanley设计了这个小穹顶 我们通过电话和传真联系 他给传真他的设计 他做了一个有穹顶的建筑,还有一座小塔 我告诉他“不行不行,这太复杂了 我不想要那座塔” 于是他把建筑改得更简单 但是他设计了些搞笑的细节 并把他的建筑靠近了我的建筑 所以我决定给他点颜色瞧 我设计了一个洞给他的建筑 于是他设计了两座桥 -- 这都是在传真上发生的 在几个星期的时间里改来改去 于是他设计了两座有粉红色护栏的桥 然后我把这个大招牌放在了后面 我给它命名为“David and Goliath" 这张是我设计的餐厅
In Boston, we had that old building on the left. It was a very prominent building off the freeway, and we added a floor and cleaned it up and fixed it up and used the kind of -- I thought -- the language of the neighborhood, which had these cornices, projecting cornices. Mine got a little exuberant, but I used lead copper, which is a beautiful material, and it turns green in 100 years. Instead of, like, copper in 10 or 15. We redid the side of the building and re-proportioned the windows so it sort of fit into the space. And it surprised both Boston and myself that we got it approved, because they have very strict kind of design guideline, and they wouldn't normally think I would fit them. The detailing was very careful with the lead copper and making panels and fitting it tightly into the fabric of the existing building.
左手边,是波士顿的老建筑 这是高速公路下的一座著名的建筑 我们增建了一层楼,清理并修复它 并且运用了某种 -- 我当时认为 -- 与周围融合的建筑语言 就是这些檐口,出挑的檐口 我的设计有点放肆,但我用了铅铜 这种美丽的材料会在一百年里变绿 而不像纯铜,在10到15年里变色 我们改建了建筑的这一面 重新设计了窗户尺寸以基本适应里面的空间 这个设计能通过审批让波士顿和我们自己都很吃惊 因为波士顿的设计导则非常之严格 而他们通常认为我的设计没法满足导则的要求 我们在处理铅铜的细节上十分仔细 制造面板,然后把他们紧密的 装配在现有建筑的结构上
In Barcelona, on Las Ramblas for some film festival, I did the Hollywood sign going and coming, made a building out of it, and they built it. I flew in one night and took this picture. But they made it a third smaller than my model without telling me.
在巴塞罗那的的兰布拉斯大道上 我为一个电影节设计了一个好莱坞标志“无处可逃” 然后设计成了一个建筑,他们修建了这个建筑 有天晚上我坐飞机过去照了这张照片 但是他们擅自把尺寸缩小到了我的模型的三分之一
And then more metal and some chain link in Santa Monica -- a little shopping center.
接下来还是金属和链条,这是在美国圣莫尼卡 一个小购物中心
And this is a laser laboratory at the University of Iowa, in which the fish comes back as an abstraction in the back. It's the support labs, which, by some coincidence, required no windows. And the shape fit perfectly. I just joined the points. In the curved part there's all the mechanical equipment. That solid wall behind it is a pipe chase -- a pipe canyon -- and so it was an opportunity that I seized, because I didn't have to have any protruding ducts or vents or things in this form. It gave me an opportunity to make a sculpture out of it.
这是爱荷华大学的一个激光实验室 这个项目里再度出现了鱼的抽象形象,在建筑背后 这个供应实验室碰巧不需要开窗 鱼的形状吻合得天衣无缝 我只需要把几个点连起来 在曲线的部分是所有的机械设备 后面的实墙是一个管道槽 -- 管道峡谷 所以我抓住了这个机会 因为这个形式不需要任何突出的管子或者开口 这给了我把它做成一个雕塑的机会
This is a small house somewhere. They've been building it so long I don't remember where it is. It's in the West Valley. And we started with the stream and built the house along the stream -- dammed it up to make a lake. These are the models. The reality, with the lake -- the workmanship is pretty bad. And it reminded me why I play defensively in things like my house. When you have to do something really cheaply, it's hard to get perfect corners and stuff. That big metal thing is a passage, and in it is -- you go downstairs into the living room and then down into the bedroom, which is on the right. It's kind of like a whole built town.
这是一个小房子,在某个地方 他们修了太久了我都忘了是在哪里 是在犹他州的西谷市 我们从溪流着手 沿着溪流修建房子 -- 修建堤坝来造湖 这是模型照片 事实是,有了这个湖 建筑工艺其实很差 这也提醒我为什么在类似房子这样的事上我很谨慎 当你不得不用些便宜货 你很难得到完美的转角之类的东西 这个金属大家伙是条通道 你从里面下到起居室再下到卧室 就是右手边的图片 有点像是个完整的小镇
I was asked to do a hospital for schizophrenic adolescents at Yale. I thought it was fitting for me to be doing that.
我被要求为耶鲁大学设计一座精神分裂青少年医院 我觉得让我来做这个项目还挺合适的
This is a house next to a Philip Johnson house in Minnesota. The owners had a dilemma -- they asked Philip to do it. He was too busy. He didn't recommend me, by the way.
这个是在明尼苏达的菲利普约翰逊住宅旁的的房子 房主们有个矛盾 -- 他们让菲利普来做设计 但是菲利普太忙了 顺便一说,他也没推荐我
(Laughter)
(笑)
We ended up having to make it a sculpture, because the dilemma was, how do you build a building that doesn't look like the language? Is it going to look like this beautiful estate is sub-divided? Etc. etc. You've got the idea. And so we finally ended up making it. These people are art collectors. And we finally made it so it appears very sculptural from the main house and all the windows are on the other side. And the building is very sculptural as you walk around it. It's made of metal and the brown stuff is Fin-Ply -- it's that formed lumber from Finland. We used it at Loyola on the chapel, and it didn't work. I keep trying to make it work. In this case we learned how to detail it.
我们最终得把它做得很有雕塑感,因为房主们的矛盾是 你要如何建造一栋看上去不像建筑的建筑? 否则这片美丽的庄园岂不是看上去像被建筑所分割? 诸如此类 你们懂的 所以最后我们把它设计成这样 房主们是艺术收藏家 最后我们成功的让它 在主屋的方向显得十分雕塑化,所有的开窗都在侧面 当你绕着建筑走时它显得十分雕塑化 外墙是金属制成的,棕色的构件是胶合木 由自芬兰的木材加工而成 我们再Loyola大学的教堂用过,行不通 所以我不停尝试 在这个项目里我们明白了如何处理这种材料的细节
In Cleveland, there's Burnham Mall, on the left. It's never been finished. Going out to the lake, you can see all those new buildings we built. And we had the opportunity to build a building on this site. There's a railroad track. This is the city hall over here somewhere, and the courthouse. And the centerline of the mall goes out. Burnham had designed a railroad station that was never built, and so we followed. Sohio is on the axis here, and we followed the axis, and they're two kind of goalposts. And this is our building, which is a corporate headquarters for an insurance company. We collaborated with Oldenburg and put the newspaper on top, folded. The health club is fastened to the garage with a C-clamp, for Cleveland.
这是在克利夫兰,在左手边是Burnham购物中心 一直没有竣工 知道湖边,你可以看到我们建的这些新建筑 而我们有机会在这块场地上修建一个建筑 在这里有条铁路 这边某处是市政厅,而这边是法院 购物中心的中心线一直延伸出去 Burnham设计的火车站没能建成 但是我们延续了这个思路 Sohio公司的大楼在这条轴线上 我们延续了这条轴线,这个建筑有点像球门 而这个就是我们设计的建筑 一家保险公司的公司总部 我们与Oldenburg合作,把折叠的报纸放在楼顶上 健身俱乐部通过一个C形的坡道相连 象征Cleveland
(Laughter)
(笑)
You drive down. So it's about a 10-story C-clamp. And all this stuff at the bottom is a museum, and an idea for a very fancy automobile entry. This owner has a pet peeve about bad automobile entries. And this would be a hotel. So, the centerline of this thing -- we'd preserve it, and it would start to work with the scale of the new buildings by Pelli and Kohn Pederson Fox, etc., that are underway. It's hard to do high-rise. I feel much more comfortable down here.
你沿着坡道往下开 所以这是一座10层楼的C形坡道 底部的空间都是博物馆 以及一个华丽的车行入口 业主对于糟糕的车行入口意见很大 而这是一座酒店 所以我们保留了原来设想的中轴线 而这些新建筑的尺度可以让它开始发挥作用 修建中的建筑有Pelli,Kohn Pederson Fox等事务所设计设计的 做高层可不容易 在这个项目里我舒服多了
This is a piece of property in Brentwood. And a long time ago, about '82 or something, after my house -- I designed a house for myself that would be a village of several pavilions around a courtyard -- and the owner of this lot worked for me and built that actual model on the left. And she came back, I guess wealthier or something -- something happened -- and asked me to design a house for her on this site. And following that basic idea of the village, we changed it as we got into it. I locked the house into the site by cutting the back end -- here you see on the photographs of the site -- slicing into it and putting all the bathrooms and dressing rooms like a retaining wall, creating a lower level zone for the master bedroom, which I designed like a kind of a barge, looking like a boat. And that's it, built. The dome was a request from the client. She wanted a dome somewhere in the house. She didn't care where. When you sleep in this bedroom, I hope -- I mean, I haven't slept in it yet. I've offered to marry her so I could sleep there, but she said I didn't have to do that. But when you're in that room, you feel like you're on a kind of barge on some kind of lake. And it's very private. The landscape is being built around to create a private garden. And then up above there's a garden on this side of the living room, and one on the other side.
这是在Brentwood的一块地 这是很老的项目了,大概是82年的样子 在我给自己设计的住宅之后设计的一座住宅 由一个庭院和它周围的几个阁楼组成的村子 这片土地的业主曾为我工作 制作了左边的这个实物模型 后来她找到我 我猜是发财了还是怎么的 然后她让我给这片地设计一座住宅 我们延续了村落的基本概念 并在深入的过程中作了改变 通过切削背(左)面的体量,我把整个建筑卡在场地里 你在这张照片里看到的 场地穿插进建筑里,然后把浴室和化妆间布置在里面 起挡土墙的作用,在底层给主卧室创造了一个分区 设计得像艘货船 像艘船 就是这样,建成了 穹顶是客户的要求 她要住宅里某处有个穹顶 她才不管在哪处 如果你在这卧室里睡觉,我希望 我的意思是,我没在里面睡过 我为了在那睡一觉向她提过亲 但她说我不用这样 但是当你在那个卧室里 你感觉多少有点像在一艘湖上的船里 很私密的空间 周围布置了景观来营造一个私家花园 而在上面,起居室的这边有一个花园 还有一个在另一面
These aren't focused very well. I don't know how to do it from here. Focus the one on the right. It's up there. Left -- it's my right.
这幻灯焦距没对好 我不知道怎么解决 请注意右边的幻灯 在这 左边 -- 我的右手边
Anyway, you enter into a garden with a beautiful grove of trees. That's the living room. Servants' quarters. A guest bedroom, which has this dome with marble on it. And then you enter into the living room and then so on. This is the bedroom. You come down from this level along the stairway, and you enter the bedroom here, going into the lake. And the bed is back in this space, with windows looking out onto the lake. These Stonehenge things were designed to give foreground and to create a greater depth in this shallow lot. The material is lead copper, like in the building in Boston. And so it was an intent to make this small piece of land -- it's 100 by 250 -- into a kind of an estate by separating these areas and making the living room and dining room into this pavilion with a high space in it. And this happened by accident that I got this right on axis with the dining room table. It looks like I got a Baldessari painting for free. But the idea is, the windows are all placed so you see pieces of the house outside. Eventually this will be screened -- these trees will come up -- and it will be very private. And you feel like you're in your own kind of village.
好了,你进入一个有美丽树丛的花园 这是起居室 佣人的房间 一个客房,有大理石吊顶的穹顶 然后你进入起居室,诸如此类 这是卧室 你从这层经由楼梯下来 然后你进入卧室,然后是湖 而床在这个空间后面 有向湖的窗子 这些像石门一样的东西被设计成前景 并在这个进深不大的场地里创造更好的进深感 用的材料是铅铜,和之前波士顿的建筑相似 所以我们的意图是让这一小片土地 100英尺宽250英尺长,变成一个大庄园 方法就是分割区域 以及将卧室和餐厅放进空间较高的阁楼里 我无意地把开窗 与餐桌放在了一条轴线上 看出去像是我搞到了一幅免费的Baldessari油画 我的概念是,开窗的布置 让你可以看到外面住宅的一部分 最终形成框景 -- 树会长高 而形成一个很私密的空间 你觉得有点像在你自己的村落里
This is for Michael Eisner -- Disney. We're doing some work for him.
这是给Michael Eisner设计的 -- 迪士尼 我们为他工作过
And this is in Anaheim, California, and it's a freeway building. You go under this bridge at about 65 miles an hour, and there's another bridge here. And you're through this room in a split second, and the building will sort of reflect that. On the backside, it's much more humane -- entrance, dining hall, etc. And then this thing here -- I'm hoping as you drive by you'll hear the picket fence effect of the sound hitting it. Kind of a fun thing to do.
在加州的Anaheim,这是高速公路上的建筑 你从这座桥下面以65英里的时速开过去 这里是另一座桥 你飞快的穿过这些房间 而这个建筑反映这个运动 在建筑的背面就人性得多 入口,餐厅,诸如此类 而这个东西 -- 希望你开车经过能听到 声音在这些构件上反射产生的栅栏效应 有点意思
I'm doing a building in Switzerland, Basel, which is an office building for a furniture company. And we struggled with the image. These are the early studies, but they have to sell furniture to normal people, so if I did the building and it was too fancy, then people might say, "Well, the furniture looks OK in his thing, but no, it ain't going to look good in my normal building." So we've made a kind of pragmatic slab in the second phase here, and we've taken the conference facilities and made a villa out of them so that the communal space is very sculptural and separate. And you're looking at it from the offices and you create a kind of interaction between these pieces.
这是我正在瑞士的巴塞尔做的项目 一个家具公司的办公楼 我们为建筑形象很头疼 这些是早期的一些尝试,问题是他们卖家具给普通人 所以如果我的建筑设计得太华丽 人们会说,他们的家具在他们的房子里看上去还行 但在我的普通房子里看上去肯定不行 于是在第二阶段建筑设计成朴实的板状 然后我们把会议场所设计成了一座别墅 于是公共空间可以分隔开来做的很有雕塑感 从办公室看过去 不同片段之间的互动被创造出来了
This is in Paris, along the Seine. Palais des Sports, the Gare de Lyon over here. The Minister of Finance -- the guy that moved from the Louvre -- goes in here. There's a new library across the river. And back in here, in this already treed park, we're doing a very dense building called the American Center, which has a theater, apartments, dance school, an art museum, restaurants and all kinds of -- it's a very dense program -- bookstores, etc. In a very tight, small -- this is the ground level. And the French have this extraordinary way of screwing things up by taking a beautiful site and cutting the corner off. They call it the plan coupe. And I struggled with that thing -- how to get around the corner.
这是在巴黎,塞纳河边 Palais des Sports场馆群和Gare de Lyon火车站在这边 参政部长 -- 从卢浮宫迁出来 -- 搬进了这里 河对面有一座新建的图书馆 在这后面,已经经过绿化的公园里 我们设计了一座密度很高的美国中心 里面有一座剧场,公寓,舞蹈学校和一个艺术博物馆 还有餐厅之类的 -- 总之密度很高 书店,诸如此类 用地很小,很紧张 这是地面层 法国人在搞砸事情上很有一套 比如把这块漂亮的场地砍掉一角 他们乘作平面切角 这东西让我很挣扎 如何回避这个角
These are the models for it. I showed you the other model, the one -- this is the way I organized myself so I could make the drawing -- so I understood the problem. I was trying to get around this plan coupe -- how do you do it? Apartments, etc. And these are the kind of study models we did. And the one on the left is pretty awful. You can see why I was ready to commit suicide when this one was built. But out of it came finally this resolution, where the elevator piece worked frontally to this, parallel to this street, and also parallel to here. And then this kind of twist, with this balcony and the skirt, kind of like a ballerina lifting her skirt to let you into the foyer. The restaurants here -- the apartments and the theater, etc. So it would all be built in stone, in French limestone, except for this metal piece. And it faces into a park. And the idea was to make this express the energy of this. On the side facing the street it's much more normal, except I slipped a few mansards down, so that coming on the point, these housing units made a gesture to the corner. And this will be some kind of high-tech billboard. If any of you guys have any ideas for it, please contact me. I don't know what to do.
这些为这个做的模型 我刚刚放的另一个模型,这个 -- 这是我自我整理来画出图纸的方法 以便我了解问题所在 我试着避开这个切角 -- 怎么做呢 公寓之类的 这些是我做的研究模型 左边这个相当糟糕 你可以发现为什么这个方案被建成时我想自杀了 但是从这个方案里终于出现了解决办法 电梯在前面,与街道平行 同时和这边平行 而这个曲面,设置了阳台和裙楼 像个芭蕾舞演员撩起她的裙子让我进到门厅里 餐厅在这边 -- 公寓和剧场,诸如此类 这些都会有石材建成,法国石灰石 除了这一片采用金属 而它向着公园一面 我的概念是由此来表现建筑的活力 在向着街道的一边建筑要正常得多 除了我把一些折屋顶移下来 这些住宅单元对转角做出某种姿态 而这边将会是某种高科技广告牌 如果你们任何人有设计它的点子 请联系我,我不知道该怎么办
Jay Chiat is a glutton for punishment, and he hired me to do a house for him in the Hamptons. And it's got a fish. And I keep thinking, "This is going to be the last fish." It's like a drug addict. I say, "I'm not going to do it anymore -- I don't want to do it anymore -- I'm not going to do it." And then I do it.
Jay Chiat是个喜欢受罚的人,于是他雇佣了我 给他设计这个在Hamptons的住宅 这个设计也有条鱼 我总是告诉自己,这是最后一条鱼了 这有点像毒瘾 我说我不会再做这个了 -- 我也不想再做了 我不做了 然后我又做了
(Laughter)
(笑)
There it is. But it's the living room. And this piece here is -- I don't know what it is. I just added it so that we'd have enough money in the budget so we could take something out.
就是这个 但是这个是起居室 这边这个是 -- 我不知道这是什么 我加上这个只是因为这样我们才有足够的预算 然后我就能去除某些东西
(Applause)
(鼓掌)
This is Euro Disney, and I've worked with all of the guys that presented to you earlier. We've had a lot of fun working together. I think I'm from Mars for them, and they are for me, but somehow we all manage to work together, and I think, productively. So far. This is a shopping thing. You come into the Magic Kingdom and the hotel that Tony Baxter's group is doing out here. And then this is a kind of a shopping mall, with a rodeo and restaurants. And another restaurant. What I did -- because of the Paris skies being quite dull, I made a light grid that's perpendicular to the train station, to the route of the train. It looks like it's kind of been there, and then crashed all these simpler forms into it. The light grid will have a light, be lit up at night and give a kind of light ceiling. In Switzerland -- Germany, actually -- on the Rhine across from Basel, we did a furniture factory and a furniture museum.
这是欧洲迪士尼,我和之前做展示的所有人 都一起合作过 我们一起做了很多有意思的工作 我觉得对于他们我是火星人,对于我他们也是 但是不知为什么我们可以在一起合作 而且很有效率,我觉得 目前为止 这是一个消费场所 你进入魔法王国 Tony Baxter集团做的酒店在那 这是一个购物中心 有一个骑术表演场和一些餐厅 这还有一个餐厅 我所做的 -- 因为巴黎的天空比较枯燥 我设计了一个垂直于火车站的灯光网格 垂直于火车的路线 看上去有点像它之前就在那儿了 然后闯入这些更简但的形体里 这个光网会在晚上点亮 形成某种灯光屋顶 在瑞士 -- 实际上是德国 -- 在巴塞尔对面的莱茵河 我们设计了一个家具厂和一个家具博物馆
And I tried to -- there's a Nick Grimshaw building over here, there's an Oldenburg sculpture over here -- I tried to make a relationship urbanistically. And I don't gave good slides to show -- it's just been completed -- but this piece here is this building, and these pieces here and here. And as you pass by it's always part -- you see it as all of these pieces accrue and become part of an overall neighborhood. It's plaster and just zinc. And you wonder, if this is a museum, what it's going to be like inside? If it's going to be so busy and crazy that you wouldn't show anything, and just wait. I'm so cunning and clever -- I made it quiet and wonderful. But on the outside it does scream out at you a bit. It's actually basically three square rooms with a couple of skylights and stuff. And from the building in the back, you see it as an iceberg floating by in the hills. I know I'm over time. See, that skylight goes down and becomes that one. So it's pretty quiet inside.
我尝试着 -- 这有座Nick Grimshaw设计的建筑 还有一座Oldenburg的雕塑 我试着建立一种城市化的关系 我没有很好的幻灯来展示 -- 这个项目刚完成 -- 但是这个建筑,以及这些片段 当你从中穿过的时候 -- 你看到的这些片段 仿佛自然生长然后成为整个周围环境的一部分 材料是石膏和锌板 你会好奇,如果这是个博物馆 那内部会是什么样子 如果这设计看上去这么喧哗疯狂你都不展示什么图片 稍等 我是很狡猾又聪明的 -- 我把内部设计得很宁静美好 从外部它是有点咄咄逼人 它实际基本上就是三个方形房间 以及一些天窗之类的 从建筑背后,看上去 就像是山脉上漂浮的冰山 我发现我超时了 看,右边这个天窗洒下的光成了左边这张图片 所以它的内部是很安静的
This is the Disney Hall -- the concert hall. It's a complicated project. It has a chamber hall. It's related to an existing Chandler Pavilion that was built with a lot of love and tears and caring. And it's not a great building, but I approached it optimistically, that we would make a compositional relationship between us that would strengthen both of us. And the plan of this -- it's a concert hall. This is the foyer, which is kind of a garden structure. There's commercial at the ground floor. These are offices, which, really, in the competition, we didn't have to design. But finally, there's a hotel there. These were the kind of relationships made to the Chandler, composing these elevations together and relating them to the buildings that existed -- to MOCA, etc.
这是迪士尼音乐厅 这个项目很复杂 有个会议厅 它回应了用爱和泪和关注 建成的Chandler Pavilion 那不是一个太好的建筑,但是我以乐观的姿态去接近它 以营造一个我们之间的构成关系 来强化我们彼此 而平面上 -- 这是个音乐厅 这是门厅,类似一个花园 在地面层上设置了广告 这是办公室,事实上在竞赛阶段 我们真的不用设计 最后,这里是一座酒店 这些都和Chandler的建筑构成某种关系 把他们的立面组成一种构成关系 并且和加州艺术博物馆之类的相互关联起来
The acoustician in the competition gave us criteria, which led to this compartmentalized scheme, which we found out after the competition would not work at all. But everybody liked these forms and liked the space, and so that's one of the problems of a competition. You have to then try and get that back in some way. And we studied many models. This was our original model. These were the three buildings that were the ideal -- the Concertgebouw, Boston and Berlin. Everybody liked the surround. Actually, this is the smallest hall in size, and it has more seats than any of these because it has double balconies. Our client doesn't want balconies, so -- and when we met our new acoustician, he told us this was the right shape or this was the right shape. And we tried many shapes, trying to get the energy of the original design within an acoustical, acceptable format. We finally settled on a shape that was the proportion of the Concertgebouw with the sloping outside walls, which the acoustician said were crucial to this and later decided they weren't, but now we have them.
我们根据声学专家给我们列出标准 设计了这个分割体量的方案 赢得竞赛之后我们发现这个方案根本行不通 但是大家都喜欢这个形式和它的空间 这就是竞赛的麻烦 你非得想办法让你的方案实现 我们做了很多研究模型 这是我们最初的模型 这是声学上比较理想的三个建筑 阿姆斯特丹的Concertgebouw音乐厅,波士顿音乐厅和柏林音乐厅 大家都喜欢里面的环绕音效 实际上这是尺度最小的一个音乐厅 但是它设置的作为比其他几个都多 因为它设置了双层看台 我们的客户不喜欢看台 而当我们和新的升学专家碰头时他告诉我 这个形状很合适,那个形状很合适 我们尝试了很多形状,想把最初方案的精神 通过一个声学上可以接受的形式来实现 最终我们决定了这个形状 采用Concertgebouw音乐厅的比例 设置倾斜的外墙,声学专家说这个至关重要 后来又说其实无关紧要 但反正我们是做了
(Laughter)
(笑)
And our idea is to make the seating carriage very sculptural and out of wood and like a big boat sitting in this plaster room. That's the idea. And the corners would have skylights and these columns would be structural. And the nice thing about introducing columns is they give you a kind of sense of proscenium from wherever you sit, and create intimacy. Now, this is not a final design -- these are just on the way to being -- and so I wouldn't take it literally, except the feeling of the space. We studied the acoustics with laser stuff, and they bounce them off this and see where it all works. But you get the sense of the hall in section. Most halls come straight down into a proscenium. In this case we're opening it back up and getting skylights in the four corners. And so it will be quite a different shape.
我们的概念是把坐席的结构做得充满雕塑感 使用木质材料,就像停在石膏房间里的一艘大船 这是我们的概念 然后在角落设置天窗 这些柱子是承重的 设置柱子的好处是,不管你坐在哪里 他们都给你一种置身舞台的感觉 从而创造一种亲密感 这个,这不是最终设计 -- 这还在不断修改中 所以除了这个空间的感受,其他的具体情况都不那么重要 我们用一些激光设备研究了声学条件 他们反射激光来观察设计如何达到声学要求 但是你从剖面可以了解音乐厅的大致感受 大部分音乐厅就是一个起坡坐席放在舞台前面 在这个设计里我们把整个舞台敞开 在四角设置了天窗 于是形成了一个很不同的形体
(Laughter)
(笑)
The original building, because it was frog-like, fit nicely on the site and cranked itself well. When you get into a box, it's harder to do it -- and here we are, struggling with how to put the hotel in. And this is a teapot I designed for Alessi. I just stuck it on there. But this is how I do work. I do take pieces and bits and look at it and struggle with it and cut it away. And of course it's not going to look like that, but it is the crazy way I tend to work.
最开始的设计,因为它有点像青蛙 所以线条流畅,和场地契合得很好 当你把它放进一个方盒子,情况就更困难了 -- 如你所见 如何放置酒店让我们很挣扎 这是我给Alessi酒店设计的茶壶 我直接把它粘在模型上 但是这就是我工作的方式,我选些片段 把玩他们然后进行一些切削 当然它最后不会像这个样子 但是这就是我疯狂的工作方式
And then finally, in L.A. I was asked to do a sculpture at the foot of Interstate Bank Tower, the highest building in L.A. Larry Halprin is doing the stairs. And I was asked to do a fish, and so I did a snake.
最后,这是在洛杉矶,我被邀请设计一个雕塑 是在洛杉矶最高的建筑Interstate Bank Tower下面 Larry Halprin设计了这些阶梯 他们让我设计一条鱼于是我设计了一条蛇
(Laughter)
(笑)
It's a public space, and I made it kind of a garden structure, and you can go in it. It's a kiva, and Larry's putting some water in there, and it works much better than a fish.
这是一个公共空间,我做了一个类似花园的建筑 你可以进去 这是个半地下会堂,Larry在这边设计了一些水体 这个比一条鱼好用多了
In Barcelona I was asked to do a fish, and we're working on that, at the foot of a Ritz-Carlton Tower being done by Skidmore, Owings and Merrill. And the Ritz-Carlton Tower is being designed with exposed steel, non-fire proof, much like those old gas tanks. And so we took the language of this exposed steel and used it, perverted it, into the form of the fish, and created a kind of a 19th-century contraption that looks like, that will sit -- this is the beach and the harbor out in front, and this is really a shopping center with department stores. And we split these bridges. Originally, this was all solid with a hole in it. We cut them loose and made several bridges and created a kind of a foreground for this hotel. We showed this to the hotel people the other day, and they were terrified and said that nobody would come to the Ritz-Carlton anymore, because of this fish.
在巴塞罗那也有人叫我设计一条鱼,我们正在设计中 这是在SOM设计的 Ritz_Carlton Tower下面 Ritz_Carlton Tower的设计采用了外露钢结构 没有防火涂层,很像老式的汽油管 所以我们采用了这个外露钢结构的建筑语言 然后颠覆它,把它转化成一条鱼 创造了这个有点像19世纪的机械玩意的东西,坐落在 -- 这是海岸,往前是港口 这实际上是个设置了百货的购物中心 我们把这些连桥打散 最开始这是一个开洞的实体 后来我们把它分割成多个连桥 为酒店创造了某种前景 我们前一阵把这个展示给酒店的人看 他们都吓坏了,说因为这条鱼 不会再有人愿意来Ritz Carlton酒店了
(Laughter)
(笑)
And finally, I just threw these in -- Lou Danziger. I didn't expect Lou Danziger to be here, but this is a building I did for him in 1964, I think. A little studio -- and it's sadly for sale. Time goes on.
最后的最后,我把这个设计丢给了Lou Danziger 我不指望Lou Danziger会在这儿 但这是我在大概1964年的时候给他设计的建筑 一个小工作室,遗憾的是这个建筑正被出售 时过境迁
And this is my son working with me on a small fast-food thing. He designed the robot as the cashier, and the head moves, and I did the rest of it. And the food wasn't as good as the stuff, and so it failed. It should have been the other way around -- the food should have been good first. It didn't work.
这是我和我儿子做的快餐厅 他设计了这个头可以动的机器人当做收银员 其他的是我做的 食物还不如这些东西,所以餐馆算是失败了 本应该是这些东西不如食物的 首先必须是食物要好 总之是不成
Thank you very much.
非常感谢