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.
我就直接開始放投影片 我想透過這些幻燈片對你們說的是 我做的事情都是很直接的(法蘭克‧蓋瑞的風格以複雜扭曲聞名) 我的想法是 至少在我腦海裡,都是很有邏輯性的 而且與現實相關,為客戶解決問題的 要不就是我說服客戶,最終幫他們解決了問題 要不就是我真的幫他們解決了問題 因為他們似乎也挺滿意我為他們做的
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.
我們現在來看幻燈片 能幫忙把燈關掉嗎? 我喜歡待在黑暗中 我不想讓你們看到我在這裡做什麼
(Laughter)
(笑聲)
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.
這是我在聖塔莫妮卡建的房子 這棟房子得到許多糟糕的評價 事實上,它後來出現在一本色情漫畫裡 就是右邊這張幻燈片
(Laughter)
(笑聲)
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.
這是在加州的威尼斯 我展示這張照片是想讓你們知道 我很注重建築物周圍的環境 在左邊這張幻燈片中 周圍的環境裡有很多小型的建築物 我試圖要建造一個可以融入這樣環境的建築 當人們在拍攝這些建築物的時候 會發現這些建築物看起來很古怪 而我認為這些建築物更適合 從建築物本身的內部空間來欣賞和拍攝 然後,當我搞定了周遭的環境後 我就想創造一個舒適,隱密和寧靜的空間 就像右邊幻燈片上的那樣
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.
接下來是我為Loyola大學在洛杉磯市中心設計的法學院 我注重的是如何創造一個適合學習法律的空間 我們現在也還持續的與這個客戶合作 在右上方的那棟建築現在還在建造中 右邊的車庫,灰色的那棟,最後也會拆掉 最後,一些小的教室 會分佈在這個校園中我們所設計的這條街道 這些都與第一次與客戶和學生見面所得知的意見相關 他們說感覺與這個地方格格不入 他們希望能有個獨特的空間 所以整體的想法就是在市中心,這樣難以協調的環境裡 創造出那樣的空間 我的理論,或者說是我的觀點是 不去和周圍的環境搶風頭 而是可以融入那樣的環境裡 不管我喜不喜歡那些建築,我試著去包容 把鄰近的建築物都包含在內
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,我開始設計紙傢俱 我做出來的一些成品在Bloomingdales百貨公司非常受歡迎 我們甚至有用硬紙板做成的地板、牆和其他的東西 紙傢俱的成功讓我大吃一驚 我難以接受因為紙傢俱而帶來的成功 這讓身為建築師的我覺得沒有安全感 於是我放棄了這個事業,開始製作沒人會喜歡的傢俱
(Laughter)
(笑聲)
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,沒有人會喜歡這樣 就是這樣在做這些傢俱之前 Ricky和我開始做"薄片傢俱" 我們失敗後,我又屢戰屢敗
(Laughter)
(笑聲)
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.
左邊的那個傢俱 最後變成右邊的樣子 當時有個幫我們做事的孩子 他把其中一長串紙捲摺疊起來 要丟進垃圾桶裡 我用膠帶在周圍黏了一圈 就像你們現在看到的樣子,我發現人可以坐在上頭 它的彈性和強度等等的都很好 所以,這算是個意外的發現
I got into fish.
我對魚也很有興趣
(Laughter)
(笑聲)
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.
我的意思是,我對後現代主義開始產生興趣 我說,魚比人類早了五億年出現 如果你想追本溯源,那就乾脆回到最初 所以我開始創作這些很好笑的東西 結果他們開始有自己的生命,而且轉變越來越大 就像Walker藝術中心裡的那只玻璃魚雕塑作品 然後我把它的頭和尾巴之類的的部分切掉 試著轉化我從魚身上學到的 關於魚的形體和游動的樣子 我有很多建築的想法都是從魚身上得到的 這又是另一個意外的發現 這就是一種直覺,我也一直跟著直覺走 然後我提交了一個建案,那只是一個提案
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.
我在日本設計了這棟房子 在簽約後有人帶我出去吃飯 合約是關於這間小餐館 我喜愛日本清酒和神戶牛肉那些東西 在我喝醉後,我真的喝醉了 有人要我在餐巾紙上畫些草圖
(Laughter)
(笑聲)
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.
所以我就在餐巾紙上畫了些我以前曾經做過的草圖 一些方塊狀的物體和Morandi風格的東西(Morandi是極簡主義繪畫大師) 然後我的客戶說:「為什麼不畫魚?」 所以我就畫了條魚,後來我離開了日本 三個星期後我收到一套完整的設計圖 說我們贏得了競標
(Laughter)
(笑聲)
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 ...
現在問題來了,魚的形體是很難轉化的 因為他們是如此漂亮完美 這很難在建築或是類似的物品中展現出來 Oldenburg,一位我曾經合作過的同事 告訴我那是不可能的,所以這使得我更加的興奮 但他是對的,我不知道怎麼處理尾巴的部分 一開始我把頭的部分做得不錯,但尾巴我就不知道怎麼辦了 這的確非常的困難 右邊的那棟建築有蛇的樣子,也有巴比倫塔的樣子 我把這兩個元素放在一起,你走在這兩棟建築之間 這又是一種和周遭環境的對話 如果你看過這張刊登在 Architectural Record的雜誌上的照片 他們沒有把背景環境一併展現出來,所以你會覺得 "天啊,這真是個愛出風頭的傢伙" 但是我有一位朋友花了四個小時在那附近閒逛 就為了找那間餐館 但始終找不著 所以(暗示餐館和環境融合得很完美)
(Laughter)
(笑聲)
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.
至於工藝和科技和其他等等 你們一直都在談論的那些東西,也的確讓我大吃一驚 這棟建築在六個月內就完成了 我們把設計圖送給客戶的方式是 使用在密西根一台可以製作雕塑模型的神奇電腦 以前我們會做一些泡沫模型,再用它來掃描 我們畫了魚和魚鱗的草圖 當我到那裡的時候,一切都很順利 除了尾巴以外 所以我決定去掉頭和尾巴
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.
我做了左邊這個東西放在我在Walker藝術中心的展覽裡 我覺得這是我做過最漂亮的作品之一 然後Jay Chiat,我的一位朋友,同時也是我的客戶 他邀請我去設計他在洛杉磯總公司的大樓 因為某些我們不想談的原因,這件事後來延宕了 有毒廢料,我想,應該是主要的原因 所以我們蓋了一棟臨時建築,我越來越善於做些臨時的東西 我在魚肚子裡放了一個會議室
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.
最後 Jay 把我拉回到我的故鄉加拿大多倫多 這兒有個故事,是個真實故事,是關於我祖母 有一個星期四,當我還是個孩子的時候 她買了條鯉魚回來,把牠放在浴缸裡 我晚上的時候和那條魚玩耍 然後我去睡覺,隔天,魚卻不見了 到了第三天晚上,我們吃了魚丸子
(Laughter)
(笑聲)
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.
這是我為Jay的辦公室做的室內設計 我也給這魚雕像做了個基座 他沒有買雕像,所以我就做了一個給他 我在多倫多找到一個跟我祖母家的浴缸很像的浴缸 然後我把這魚雕像給放了進去 這是個笑話
(Laughter)
(笑聲)
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Oldenbury這樣風趣的傢伙一起鬼混 我們是老朋友了 我們一起合作做過一些事情 幾年前,我們在義大利威尼斯做了一項表演 叫"Il Corso del Coltello" 意思是瑞士軍刀 大部分的照片是Claes的
(Laughter)
(笑聲)
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 --
那兩個小男孩是我的兒子 他們算是Claes的表演助理 他扮演的就是瑞士軍刀 他是個賣紀念品的商人,但他一心想成為一位畫家 我則是Frankie P. Toronto. P代表了Palladio(Palladio是西方建築史上的義大利建築師) 我被Claes打扮得像像個AT&T大樓
(Laughter)
(笑聲)
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.
我也戴了一頂魚形狀的帽子 表演的高潮是在最後 這個漂亮的東西,瑞士軍刀 我也因為參與建造而獲得好評 但我可以跟你說,這全是Oldenburg做的 我沒有付出些什麼 我唯一所做的是 我讓刀片可以轉動,所以可以讓它在運河裡航行 因為我喜愛航行
(Laughter)
(笑聲)
We made it into a sailing craft.
我們把它做成水上工藝品
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.
大家都知道我會用鐵絲網之類的材料 我會用鐵絲網是出自於我對文化的好奇 當一樣東西被如此大量的生產出來 也如此廣泛的被運用 卻又被大眾所抗拒 人們討厭它 而我對此非常的著迷,就像我對紙傢俱一樣 鐵絲網是其中一種材料 我總是會被吸引 所以我用鏈條做了許多壞事 壞到沒人會想原諒我 但是Claes准許我把這樣的材料用在Loyola的法學院上 那鍊條可是非常昂貴的 這符合所有我們的預期
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.
後來我們設計了一個給癌症病童的營地 你可以看到,我們開始一起設計 當然,那牛奶罐的想法是他的 不過我們試著去抵觸彼此的想法 把不同形式的建築放在一起 就像Morandi的畫,那些瓶瓶罐罐排列起起構成一幅靜物畫 我們似乎能夠以這樣的方式一起合作
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.
後來Jay Chiat 要我在威泥司這個有趣的地方 設計這棟建築,所以我由你所看到的這三個東西開始 你由中間的這個進去 Jay問我準備如何處理中間這棟建築 他催促了我一下 有一天我有了個點子,好吧,是另一個點子 我把Claes的雙筒望遠鏡放在那裏 後來我反而沒辦法把望遠鏡給移走 Oldenburg把這雙筒望遠鏡變得令人難以置信 當他給我真正提案的第一個模型時 這讓我的建築看起來令人作嘔 不過這是一個互動的過程 這讓整個事情變得更加有趣 也就成就了左邊這棟建築 我仍然認為時代雜誌的照片會是跟雙筒望遠鏡有關,你們知道的 但是是省略掉...,隨便啦
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.
我在我的作品中使用了大量的金屬 與工藝材料上的整合上也讓我費了許多苦心 關於我的房子 是使用粗糙的木材還有一些其他的東西 這讓我對現有的工藝材料感到沮喪 我說 "如果我不能的到我想要的材料 我要用我能得到的" 在這方面有很多先例 像是Rauschenberg還有Jasper Johns,還有其他的一些藝術家 他們使用一些廢棄的材料製作出美麗的藝術品和雕塑 我喜歡金屬是因為金屬可以讓建築物 同時也是一個雕塑品 金屬也是一種多用途的材料 它可以做成屋頂也能做成牆壁 而金屬工人,在大部分的時候 在天花板後面做通風管道等等的時候會使用到它 我有一個機會去設計一個展覽館 是為美加的金屬工人工會做的,是在華盛頓 我之所以接受,是有個條件,希望他們能成為我未來的夥伴 並且能幫助我往後去建造這些金屬的建築物等等 這進行的挺順利的 讓這些做金屬工藝的人對這感興趣 我說這些故事 是要說明這是一種溝通,至少是與一部分的人溝通 這溝通對實現建築是相當重要的
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.
我也持續把金屬使用在建築上 -- 這是Herman Miller,在沙加緬度 這是一座複合式的廠房 而Herman Miller 有其哲學想法,想要有一個 屬於人的地方 我的意思是,這雖然說起來很老套 但是真的,他們想要有個中心點 會是餐廳的所在地,人們可以前往用餐 在裡頭工作的人也能夠在那產生互動 所以這就出現在周圍什麼都沒有的地方,靠近一點看的話 這是銅和電鍍鋅 我使用少量的電鍍鋅和銅 這樣能夠方便彎曲 我花了很多時間想顛覆Richard Meier的審美觀 每個人都希望能把面板做的完美 我卻想要把面板做的模糊不清 最後它們看起來像石頭 這裡就是中心區域 這裡有一個斜坡
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.
那裏有一個小圓頂是由Stanley Tigerman所設計的 Stanley是讓我得到這份工作的人 在我得到這份合約一開始的時候 我要求客戶讓Stanley和我一起做這個浮雕作品 因為這是我們所談論的想法 設計相鄰的建築 也許這是對城市的一個比喻 所以Stanley設計了這樣一個小圓頂 我們透過電話和傳真連繫 他會傳真給我看他的設計 他設計了一棟有圓頂的建築,也設計了一座小塔 我告訴他:「不行不行,這樣太複雜了, 我不要那座塔。」 於是他把設計改得比較簡單 但加了一些有趣的東西在上面 而且把他的建築移得更靠近了我的建築 所以我決定給他點顏色瞧瞧 我把他的建築放在一個洞上頭 然後他又設計了兩座橋,這些全都在傳真上發生的 在幾個星期的時間裡改來改去 他設計了兩座有粉紅色護欄的橋 然後我把這個大的看板放在後面 我把他命名為 "David and Goliath" 現在看到的這張是我設計的餐廳
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.
在波士頓,在左手邊我們有這棟老建築 這是高速公路下的一座有名的建築 我們增建了一層樓,也把大樓清理乾淨還有修善完成 並且運用某種,我認為,是這個社區的風格 就是這些屋簷,突出的屋簷 我設計的稍微華麗了些,不過我用的是鉛銅合金 那是一種很漂亮的材料,而且一百年後才會變成綠色 不像純銅,十到十五年就變成綠色了 我們改建了這棟建築的這一面牆 也重新設計了窗戶的尺寸以適應內部的空間 這樣的設計能通過審核,讓波士頓和我自己都感到驚訝 因為波士頓的建築設計法規是非常嚴格的 他們通常認為我的設計沒辦法達到法定的標準 我們很仔細的處理鉛銅合金的面板 並使面板和配件能夠緊密的 固定在現有的建築物上
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.
在巴塞隆納的Las Ramblas大道上的某個影展 我替他們設計了一個好萊塢的標誌"無處可逃" 然後設計成了一個建築,然後他們去建造 有天晚上,我坐飛機過去照了這張照片 但他們擅自把尺寸縮小了三分之一
And then more metal and some chain link in Santa Monica -- a little shopping center.
接下來是在聖塔莫妮卡,一些我用金屬和鍊條所做的設計 這是一個小型的購物中心
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.
而這是在愛荷華大學的雷射實驗室 在這裡我再次運用魚的抽象概念在建築物的後方做了設計 這個實驗室碰巧不需要設計窗戶,剛好讓我能夠做這樣的設計 魚的形狀和這地方相當的吻合 我只需要把幾個點連起來就行了 曲線的部分是所有的機械設備 而後面的實心牆面則是管線設備,就是管路溝槽 所以我把握了這個良好的機會 因為在這種情況下,我不需要設計突出的管道或通風口或其他東西 這讓我有機會把這部分做成雕塑的樣子
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.
這是在某個地方的一間小房子 他們修建了太久,以致於我記不得是哪裡 不過世在猶他州的西谷市 我們從溪流的部分開始著手 沿著溪流建造房子,修建堤壩來造湖 這些是模型的照片 事實上,這個湖 這棟房子做工其實很差 但這也提醒我為什麼要像在蓋自己的房子時一樣謹慎小心 當你必須要很廉價的去做某件事時 在轉角處和一些地方是很難做到完美的 那個大的金屬的部分是條通道 你可以從裡面往下走到起居室還有臥室 就是右邊的部分 這有點像是整體造鎮的感覺
I was asked to do a hospital for schizophrenic adolescents at Yale. I thought it was fitting for me to be doing that.
這是我受邀為耶魯大學設計的一所治療青少年精神分裂症的醫院 我覺得這工作挺適合我的
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.
這是在明尼蘇達州,Philip Johnson房子旁的一間房子 這屋主遇到一個兩難的狀況,他們原先是拜託Philip幫忙做設計 但他太忙了 順便提一下,他當時並沒有推薦我
(Laughter)
(笑聲)
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.
我們最後把房子做得像個雕塑,因為我們遇到的問題是 你要如何去蓋一棟不像房子的房子? 這座美麗的莊園會不會看起來像是被建築物給分割開? 諸如此類的 我想你們懂的 所以最後我們把它設計成這樣 屋主們是藝術收藏家 最後我們成功地讓這棟房子從主屋的方向 看起來像座雕像,所有的窗戶都設計在另一面牆 當你順著屋子走的話,房子看起來會非常像是座雕塑作品 外牆是由金屬做成的,褐色的部分則是木造合板 這些合板是來自於芬蘭 我們在Loyola大學的教堂使用過,但沒有成功 我一直不斷的嘗試 而在這個案子裡,我們現在知道如何細部處理它
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.
這是在克里夫蘭,左手邊的是Burnham購物中心 一直沒有完工 往湖邊走去,你們可以看到我們建造的這些新建築 我們有機會可以在這個區域蓋一棟建築 這裡有一條鐵軌 這邊的某處是市政府,還有法院 從購物中心的中心線延伸出去 Burnham所規劃的火車站雖一直沒能建成 但我們延續了這個想法 Sohio公司的大樓在這條軸線上 我們順著這條軸線,使這兩棟建築有點像球門那樣 這棟就是我們蓋的建築物 是一家保險公司的總部 我們和Oldenburg合作,把折疊的報紙放在大樓的樓頂 健身俱樂部透過一個C型的坡道和停車場相連 C型則象徵著克里夫蘭(Cleveland的首字母為C)
(Laughter)
(笑聲)
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.
沿著坡道往下走 這是一座十層樓的C型坡道 在這底部則是博物館 還有一個華麗的汽車行車入口 這個案子的客戶對於汽車的行車入口特別有意見 而這邊會是一座酒店 所以我們保留了原來規劃的中心軸線 讓這個軸線可以使由Pelli和Kohn Pederson Fox等事務所 所負責設計的正在建構中的建築物與之配合無疑 要在這做高層建築並不容易 我在低處點覺得比較舒服
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.
這是在Brentwoo的一塊地 很久以前,大概在82年左右吧 在我給自己設計一棟住宅後 這是一個由幾棟圍繞著庭院的房子所組成的小型聚落 這塊地的主人曾為我工作過 幫我製作了左邊的這個實物模型 後來她又回來了 我猜大概是發財了還是怎樣 然後她請我為她在這個地方設計一棟住宅 我們延續了村落的基本概念 並在過程中做了些改變 我利用降低房子後方的高度把房子固定在這個區塊裡 像你們在這張照片中所看到的 然後把浴室和更衣室規劃在這裡頭 像是面擋土牆,我創造出一個較低的平面區域並規劃成主臥室 把它規劃得像是一艘大型的平底船 看起來像是艘船 蓋好的樣子就像這樣 這圓頂是按客戶的要求設計的 她希望屋子裡能有個圓頂 她不介意規劃在哪一個地方 如果你睡在這臥室裡,我希望 我的意思是,我沒有在那裡面睡覺過 我曾為了能在那睡一晚向她求婚過 但她說我不需要這樣 但當你在那間臥室裡 你能感覺到自己像是在湖上的一艘船裡 而且是個很私密的空間 這周遭的景觀設計都是為了要創造出一個隱密的私人花園 在上面,起居室的這邊則有一座花園 還有另一座花園在另外一邊
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.
這幻燈片的焦距沒弄好 我不知道怎麼調整 請把右邊幻燈片的焦距調整好 在這邊 (觀眾:左邊的) 你們的左邊,我的右邊
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.
總之,我們會進入一個有美麗樹叢的花園 這邊是起居室 傭人的房間 一間有大理石掛頂圓頂的客房 然後會進入起居室,諸如此類 這裡是臥室 從這層樓經由樓梯下來 會進入臥室,然後就是湖 而床則在這個空間的後方 且有個面向湖的窗戶 這些類似巨石陣的東西是為了做成前景 要在這個深度不大的地方創造出空間感出來 這邊使用的材料是鉛銅合金,和在波士頓建造房子時使用的一樣 目的是要讓這一塊寬100英呎長250英呎的小土地 透過分割區塊並把起居室和餐廳 放進有挑高空間的方式 使之變成一座美麗的莊園 我碰巧把窗戶跟餐廳 開在相同的軸線上 這看起來像是免費得到一幅Baldessari的風景畫(Baldessari為現代概念藝術教父) 不過我的用意是,窗戶設計的位置 是要讓人可以看到房子外頭的景色 最終這些都會被掩蓋住 - 樹會長高 然後會形成一個隱密的空間 然後你會覺得你在自己的村落中
This is for Michael Eisner -- Disney. We're doing some work for him.
這是為Michael Eisner所設計的,迪士尼 我們幫他設計一個建築
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.
這是在加州的Anaheim,高速公路旁的建築 你在這座橋下以65英哩的時速開過去 這是另一座橋 你以飛快的速度通過這個空間 而這棟建築能反映出這樣的移動 這棟建築的背面就顯得人性許多,有入口 餐廳等等的設施 而這樣的東西,我希望人們開車經過時能聽到 聲音撞擊在結構上產生的柵欄效應 這挺有趣的
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.
這是我在瑞士Basel這地方設計的建築 是一間傢俱公司的辦公大樓 我們在設計上掙扎過一番 這些是比較早的設計,問題是他們賣傢俱的對象 是一般人,所以如果我設計的建築太過華麗 那一般人可能會說 "這些傢俱在這個建築物裡看起來還不錯, 但在我自己的房子裡看起來應該不行" 因此,我們在第二階段,把它做得比較實用性 然後我們規劃了會議的場所,還有一個獨立的別墅空間 所以公共空間的部分可以很有雕塑感,也可以被獨立出來 如果從辦公室的方向看過去,還能夠有 不同的區塊間的一種互動感
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.
這是在巴黎塞納河邊 這邊是體育館,里昂火車站在這邊 從羅浮宮升官當上財政部長的那個人會在這裡 河的對面有座新建的圖書館 在這後面,在這個經過綠化後的公園 我們要在這裡蓋一座密度很高的建築,叫做美國文化中心 裡面有電影院,公寓,舞蹈學校,藝術博物館 還有餐廳,書點等之類的 這是個密度很高的設計案 全都在這個既狹小又密度很高的地方 這是第一層樓的部分 法國人對搞砸事情很厲害 像是把這塊漂亮完整的區域砍掉一角 他們稱這為平面切角 想辦法要如何克服這個問題 著實讓我苦惱了一陣子
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.
這些都是為這個案子所做的模型 我讓你們看看另一個模型 這是我整理出來好讓我可以畫出設計圖 以便了解問題所在 我試著要避開這個切角,但該怎麼做呢? 還有公寓之類的 而這些是我們做出來可以解決問題的模型 然後左邊的這個非常的嚇人 你可以理解如果這個模型被建造出來,為什麼我會想自殺了 但是從這個模型我們終於找出解決方法 電梯在前面,和這條街道平行 同時也和這裡平行 然後這個部分,規劃了陽台和檔版在前面 就像是芭蕾舞女演員撩起她的裙子讓我進到前廳裡 餐廳在這邊,公寓和電影院等等則在這邊 這些全都會以石材建造,採用法國的石灰石 除了這一片會採用金屬外 而這座建築會面像一個公園 我的想法是要讓這座建築表現出建築的活力 在面相著街道的這一面看起來正常多了 除了我把幾個折線形屋頂給拆掉, 這會讓這些住宅單位像是對這個轉角有示意的動作 這裡會有個高科技的看板 如果你們有任何人有其他的想法,請和我聯絡 我目前還不知道該怎麼做
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是個肯吃苦耐勞的人,而他雇用我 替他在Hamptons設計一間住宅 這個設計裡也有魚 我總是告訴自己"這是最後一條魚了" 但這像是毒癮一樣 我說我不會再做這個了,我也不想再做了 我不會去做 但我還是又做了
(Laughter)
(笑聲)
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.
就是這個 這是起居室 而這邊這個 我也不知道這是什麼 我加這個東西上去是希望我們可以有足夠的預算 然後我可以拿一點出來
(Applause)
(鼓掌聲)
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.
這是歐洲迪士尼,我和所有稍早我提過的那些人 都合作過 我們一起工作得非常愉快 我想我對他們來說是火星人,他們對來說我亦是如此 但不知道為什麼我們卻可以合作無間 而且相當有效率 至少到目前為止是這樣 這裡是一個購物中心 你進到魔法王國 Tony Baxter集團的酒店在那裏 然後這是一座購物中心 裡面有騎術表演和餐廳 這裡還有另一間餐廳 因為在巴黎的天空相當陰暗 所以我設計了與火車站相垂直的燈光網格 也直立於火車的路線上 看上去有點像是這東西早就存在已久 只是插入在這些簡單的架構上 這個光網會在晚上點亮 樣子會像是明亮的天花板一樣 在瑞士,其實是在德國,在Basel對面的萊茵河 我們設計了一座傢俱工廠和一間傢俱博物館
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.
我試著要...這裡有座Nick Grimshaw所設計的建築 還有一座Oldenburg的雕像在這邊 我試著要建構出一種都市化的關係 我沒有好的幻燈片可以給你們看,這個案子才剛完成 但是這一塊是這棟建築,這個部分跟這個部分 當你從旁邊走過的時後,你會看到每個獨立的部分,但每一個部分 卻可以拼湊起來,然後成為整體環境的一部分 這是石膏和鋅。 而你們可能會猜也許這是間博物館 那麼內部會是什麼樣子? 如果這建築物的外觀看起來這麼熱鬧瘋狂,怎麼我不讓你們看內部的照片 稍等一下 我是很機靈聰明的,我把內部設計得很寧靜美好 雖然從外觀看起來的確有點咄咄逼人 但實際上內部有三個方型的空間 有一些天窗之類的東西 從建築的背面看起來 就像是山上漂浮的冰山 我知道我已經講超過時間了 看,右邊這個天窗灑下的光會變成左邊這張圖片 所以內部其實是挺安祥寧靜的
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.
這是迪士尼音樂廳 這是個複雜的案子 它有一個室內音樂廳 這和現有的Chandler大廳相連 Chandler大廳是以愛和淚水和關懷的名義所建造的 這不是一棟很好的建築,但我樂觀的接了這個案子 我們希望能在這兩座建築間建立一個群體的關係 這會同時強化兩棟建築物 這個案子的計畫是,這裡是音樂廳 這邊是前廳,有點像是個花園的架構 一樓會有廣告的設施 這邊是辦公室,這邊事實上還在競標 所以我們不用去設計 最後這邊會有間飯店 這些都會和Chandler大廳相連結 在立面高度上與其他現在的建築物構成某種關係 像是加州藝術博物館等等的
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.
在競標的過程中,聲學家們給了我們有關音樂廳的標準條件 使我們能設計出分割空間區塊的方案 但在競標結束後,我們發現這個方案根本行不通 但是大家都喜歡這樣的設計,也喜歡這樣的空間規劃 這也就是競賽帶來的問題之一 我們必須想辦法讓原先的方案實現 所以我們嘗試了許多的模型 這個是我們原先的設計 這三個則是比較理想完美的建築 分別是阿姆斯特丹音樂廳,波士頓音樂廳,和柏林音樂廳 大家都喜歡這裡面的環繞音效 實際上,這座是空間最小的音樂廳 但它卻擁有最多的座位 因為它有雙層的看台 但是我們的客戶不想要有看台,所以 我們又找了新的聲學專家,他告訴我們 這個模型的型式和這個都很合適 我們也嘗試許多不同的造型 希望可以把最初設計的理念,以在聲學上可以接受的方式來實現 最後我們決定採用這個設計 我們採用了阿姆斯特丹音樂廳的比例 設計了傾斜的外牆,聲學專家說 這非常的重要,但後來發現其實不然 但反正我們也做了
(Laughter)
(笑聲)
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.
我們的想法是要把座椅的結構設計得非常有雕塑感 而且使用木頭材料,就像一艘大船停在這水泥的房間裡 這是我們的想法 然後在角落的地方我們設計了天窗 這些柱子是結構上需要的 設置柱子的好處是,他們能給你一種 不論你坐在哪個位置,都能感受到對舞台的臨場感 並提高對舞台的親近度 這個不是最終的版本,但可以算是最終設計的前身 所以可能還會有所改變,除了空間的感覺外 我們用了一些雷射器材去研究聲學條件 利用雷射的反射來觀察要這些是怎麼運作的 但你們可以透過這個立體剖面圖了解音樂廳大致上的樣子 大部分的音樂廳從觀眾席到舞台的方式就像個斜坡 但在這個案子裡,我們把舞台設計成開放式的 然後在四個角落都設計了天窗 所以就變成了一個相當不同的造型
(Laughter)
(笑聲)
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.
原先的建築,因為它的樣子像隻青蛙 與這個區塊和整體都相當的契合 但當你把它放進一個盒子裡,就變得不是很容易,就像這樣 如何把飯店規劃進去也讓我們相當苦惱 這是我為Alessi所設計的茶壺 我直接把它黏在模型上 這是我做事的方式,我會使用零零碎碎的東西,看著他們 試著做一些嘗試,然後再把某些部分切掉 當然成品不會變成這樣子 雖然有點瘋狂,但這就是我做事的方式
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.
最後,在洛杉磯,我受邀去做一座雕塑 在洛杉磯最高的大樓Interstate Bank Tower的下面 Larry Halprin設計了這些階梯 他們拜託我設計一條魚,所以我設計了一條蛇
(Laughter)
(笑聲)
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.
這是一個公共空間,我把它做成像個花園的結構 人可以走進去 這是地下禮堂,Larry設計了一些水景設施在裡頭 這要比設計一條魚好太多了
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.
在巴塞隆納也有人拜託我設計魚造型的建築,我們正在設計中 而且是要設計在這Ritz-CarltonTower底下 Ritz-Carlton Tower是由Skidmore,Owings還有Merrill所設計的 Ritz-Carlton Tower在設計上採用外露鋼骨的結構 沒有防火塗層,就像是舊的瓦斯桶 所以我們沿用了外露鋼骨的這個風格 然後把它轉化成魚的型式,創造出一種 看起來像一個 19世紀的機械,這東西將座落在... 這是海邊,前面一點是港口 這實際上是個有百貨公司的購物中心 然後我們把這幾座橋分開來 這裡原先是一道上面有孔洞的實體結構 我們把它切開,做了幾道橋在上面 為酒店創造出一個前台的感覺 幾天後我們把這樣的設計拿去給飯店的人看 他們都嚇到了,然後說 因為這條魚,不會有客人想再來Ritz-Carlton
(Laughter)
(笑聲)
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.
最後,我把這個設計丟給了Lou Danziger 我不指望Lou Danziger會出現在這兒 但這棟建築是我大概在1964年為他設計的 一間小工作室,很遺憾這將要出售出去 時過境遷
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.
這是我和我兒子設計的快餐店 他設計了一具頭可以動的機器人當收銀員 其他的是我做的 但食物卻比不上店裡的這些裝潢擺飾,所以餐館算是失敗了 應該是要相反才對 首先,好的應該要是店裡的食物才對 總之最後是失敗了
Thank you very much.
謝謝大家