Dre Urhahn: This theater is built on Copacabana, which is the most famous beach in the world, but 25 kilometers away from here in the North Zone of Rio lies a community called Vila Cruzeiro, and roughly 60,000 people live there. Now, the people here in Rio mostly know Vila Cruzeiro from the news, and unfortunately, news from Vila Cruzeiro often is not good news. But Vila Cruzeiro is also the place where our story begins.
德瑞·尤漢:這個電影院 是建在卡巴卡巴那, 這裡有世界上最美麗的沙灘, 距離這裡有 25 公里的 里約熱內盧北部 有一個叫做維拉克魯塞羅的社區, 大約有 60,000 人住在那裡。 里約熱內盧的人,大都只在新聞裡 得知維拉克魯塞羅這個地方, 不幸的是,來自維拉克魯塞羅的新聞 通常不是好消息。 不過維拉克魯塞羅是 我們故事開始的地方。
Jeroen Koolhaas: Ten years ago, we first came to Rio to shoot a documentary about life in the favelas. Now, we learned that favelas are informal communities. They emerged over the years when immigrants from the countryside came to the cities looking for work, like cities within the cities, known for problems like crime, poverty, and the violent drug war between police and the drug gangs. So what struck us was that these were communities that the people who lived there had built with their own hands, without a master plan and like a giant work in progress. Where we're from, in Holland, everything is planned. We even have rules for how to follow the rules. (Laughter)
耶容·庫哈斯:10 年前, 我們第一次到里約熱內盧 來拍攝關於貧民窟生活的記錄片, 我們得知貧民窟是非正式社區。 他們過去幾年來慢慢出現, 是由於鄉村的居民遷移 到城裡找工作, 有如城市裡的城市, 貧民窟以犯罪問題、貧窮, 還有警察與毒梟之間的 暴力衝突而聞名。 令我們感到震撼的是, 這個社區是由 居住在這裡的居民親手打造, 沒有作整體規劃, 像在進行一項巨大工程。 我們來自荷蘭, 在那裡,做事情都是經過規劃的。 我們甚至有「如何遵守規則」的規則。 (笑聲)
DU: So the last day of filming, we ended up in Vila Cruzeiro, and we were sitting down and we had a drink, and we were overlooking this hill with all these houses, and most of these houses looked unfinished, and they had walls of bare brick, but we saw some of these houses which were plastered and painted, and suddenly we had this idea: what would it look like if all these houses would be plastered and painted? And then we imagined one big design, one big work of art. Who would expect something like that in a place like this? So we thought, would that even be possible? So first we started to count the houses, but we soon lost count. But somehow the idea stuck.
德瑞:拍攝的最後一天,我們到 維拉克魯塞羅,我們坐著 一面喝酒, 一面眺望這座山。 山上有許房屋, 這些房屋尚未建造完成, 外牆上的磚塊祼露。 但我們看到一些房子 已粉刷及塗上油漆, 突然間我們有一個構想: 如果這些房子全經過粉刷塗上油漆 會是怎樣一個情況呢? 然後我們想像一個大設計, 一件大藝術作品。 在這種地方, 有誰會期望有這樣的作品? 我們想,這想法可行嗎? 因此我們開始數房子的數量, 但數不清楚。 不知怎麼地這個想法僵住了。
JK: We had a friend. He ran an NGO in Vila Cruzeiro. His name was Nanko, and he also liked the idea. He said, "You know, everybody here would pretty much love to have their houses plastered and painted. It's when a house is finished." So he introduced us to the right people, and Vitor and Maurinho became our crew. We picked three houses in the center of the community and we start here. We made a few designs, and everybody liked this design of a boy flying a kite the best. So we started painting, and the first thing we did was to paint everything blue, and we thought that looked already pretty good. But they hated it. The people who lived there really hated it. They said, "What did you do? You painted our house in exactly the same color as the police station." (Laughter) In a favela, that is not a good thing. Also the same color as the prison cell. So we quickly went ahead and we painted the boy, and then we thought we were finished, we were really happy, but still, it wasn't good because the little kids started coming up to us, and they said, "You know, there's a boy flying the kite, but where is his kite?" We said, "Uh, it's art. You know, you have to imagine the kite." (Laughter) And they said, "No, no, no, we want to see the kite." So we quickly installed a kite way up high on the hill, so that you could see the boy flying the kite and you could actually see a kite. So the local news started writing about it, which was great, and then even The Guardian wrote about it: "Notorious slum becomes open-air gallery."
耶容:我們有一個朋友。 他維拉克魯塞羅經營一個非政府組織。 他叫南科, 他也喜歡這個想法。 他說:你知道嗎,這裡的每一個人 非常喜歡將自己的房子 粉刷及漆上顏色。 這時才可說:房子已蓋好。 他介紹二個適當人選 維托和慕里尼奧加入我們。 我們挑選社區中心的三間房子 作為開始。我們做了許多設計, 其中那個男孩放風箏的設計 最受大家的喜愛, 所以我們開始上油漆,第一步是 把所有的房屋都漆成藍色, 我們覺得看起來相當不錯。 但他們不喜歡。 當地的居民非常不喜歡藍色房子。 他們問:你這是在幹什麼? 你們把房子的顏色漆成和 警察局的顏色一樣。 (笑聲) 在貧民窟,這可不是一件好事。 而且與牢房的顏色相同。 所以我們趕緊進行下一步, 畫出那個男孩子, 然後我們認為已經完成了, 我們非常開心,但是, 這不好,因為小孩子開始來找我們, 然後問:那男孩子在放風箏, 但風箏在那裡呢? 我們說:嗯,這是藝術。 你得自己想像風箏。 (笑聲) 小孩子們說:不不不, 我們要看到那個風箏。 所以,我們組裝一個風箏 架在高高的山上, 這樣就可以看到男孩子放風箏 和真的看到一個風箏。 當地新聞開始報導這件事, 這非常好, 甚至英國衛報也有相關報導: 「惡名昭彰的貧民窟變成露天藝廊」。
JK: So, encouraged by this success, we went back to Rio for a second project, and we stumbled upon this street. It was covered in concrete to prevent mudslides, and somehow we saw a sort of river in it, and we imagined this river to be a river in Japanese style with koi carp swimming upstream. So we decided to paint that river, and we invited Rob Admiraal, who is a tattoo artist, and he specialized in the Japanese style. So little did we know that we would spend almost an entire year painting that river, together with Geovani and Robinho and Vitor, who lived nearby. And we even moved into the neighborhood when one of the guys that lived on the street, Elias, told us that we could come and live in his house, together with his family, which was fantastic. Unfortunately, during that time, another war broke out between the police and the drug gangs. (Video) (Gunfire) We learned that during those times, people in communities really stick together during these times of hardship, but we also learned a very important element, the importance of barbecues. (Laughter) Because, when you throw a barbecue, it turns you from a guest into a host, so we decided to throw one almost every other week, and we got to know everybody in the neighborhood.
耶容:這成功讓我們倍受鼓舞, 我們回到里約熱內盧執行第二個計劃, 我們無意間走到這條街。 為防止土石流而舖上水泥, 我們好像看到一條河, 想像這是一條日式的河 河裡有錦鯉魚逆游而上。 我們決定畫出這條河, 我們邀請羅伯·亞德米若, 他是個紋身藝術家, 也擅長日式風格。 一開始時我們不知道竟然要花 將近一年的時間來畫這條河, 和住在附近的喬凡尼、 羅比尼奧和維托一起畫。 我們甚至住進這個社區, 住在那條街的艾里亞斯 告訴我們可以搬進他家, 與他家人一起住, 這太棒了。 不幸地,在這段期間, 警察與毒梟 發生火拼。 (影片)(槍聲) 我們這時了解到, 社區裡的人非常團結 一起共渡難關, 我們也了解一個重要因素, 烤肉活動的重要。(笑聲) 因為舉辦烤肉活動時, 你由客人變成主人, 所以我們決定每兩週 舉辦一次烤肉活動, 因此我們認識社區裡的每一個人。
JK: We still had this idea of the hill, though.
耶容:對這座山我們仍有想法。
DU: Yeah, yeah, we were talking about the scale of this, because this painting was incredibly big, and it was insanely detailed, and this process almost drove us completely insane ourselves. But we figured that maybe, during this process, all the time that we had spent in the neighborhood was maybe actually even more important than the painting itself.
德瑞:是的,我們當時正在談論 它的規模,因為這幅畫作 相當的大, 又極其龐雜, 這個過程幾乎把我們搞瘋了。 但我們認為,或許在這個過程中, 我們在社區一起渡過的時光, 可能實際上比繪畫本身 還重要。
JK: So after all that time, this hill, this idea was still there, and we started to make sketches, models, and we figured something out. We figured that our ideas, our designs had to be a little bit more simple than that last project so that we could paint with more people and cover more houses at the same time. And we had an opportunity to try that out in a community in the central part of Rio, which is called Santa Marta, and we made a design for this place which looked like this, and then we got people to go along with it because turns out that if your idea is ridiculously big, it's easier to get people to go along with this. (Laughter) And the people of Santa Marta got together and in a little over a month they turned that square into this. (Applause) And this image somehow went all over the world.
耶容:從此以後, 這座山,這個構想仍存在, 我們開始畫草圖、 模型,然後發現一些特別的事。 我們發現我們的想法和設計 相較於上一個計劃, 必須要再簡單一些, 才能讓更多人一起畫, 同時彩繪更多的房子。 我們有一個機會,去實現我們的想法, 就在里約熱內盧中心 一個叫做聖塔馬塔的地方, 我們把這個地方做了設計, 看起來像這個樣子, 我們說服人們接受這個設計 因為如果你的構想大到不像話的話, 就更容易得到大家的贊同。(笑聲) 聖塔馬塔的居民 大家聚在一起, 在一個多月的時間內, 把那廣場變成這個樣子。 (掌聲) 不知怎麼回事, 這張照片傳遍全世界,
DU: So then we received an unexpected phone call from the Philadelphia Mural Arts Program, and they had this question if this idea, our approach, if this would actually work in North Philly, which is one of the poorest neighborhoods in the United States. So we immediately said yes. We had no idea how, but it seemed like a very interesting challenge, so we did exactly the same as we did in Rio, and we moved into the neighborhood and started barbecuing. (Laughter) So the project took almost two years to complete, and we made individual designs for every single house on the avenue that we painted, and we made these designs together with the local store owners, the building owners, and a team of about a dozen young men and women. They were hired, and then they were trained as painters, and together they transformed their own neighborhood, the whole street, into a giant patchwork of color. (Applause) And at the end, the city of Philadelphia thanked every single one of them and gave them a merit for their accomplishment.
德瑞:我們收到一通意想不到的電話, 是從費城壁畫藝術計劃打來的, 他們問了個問題 這計劃、這方法 是否可以在費城的北部實施, 這裡是美國 最貧窮的社區之一。 我們立刻答應。 我們還不知道如何做, 但看起來是個有趣的挑戰, 於是我們做了在里約熱內盧 所做的事一樣, 我們搬進社區 並開始舉辦烤肉活動。 (笑聲) 這個計劃大約花二年的時間完成, 我們為街上的每個房子 做了個別的設計, 我們與他人一起設計 他們是當地的店家和屋主, 還有一隊大約 12 人的年輕人。 我們僱用他們,訓練他們, 一起將他們自己的社區、 街道,變成一幅巨大的彩色拼貼。 (掌聲) 最後,費城的居民 感謝每位參與的人, 對他們的成果給予獎勵。
JK: So now we had painted a whole street. How about we do this whole hill now? We started looking for funding, but instead, we just ran into questions, like, how many houses are you going to paint? How many square meters is that? How much paint are you going to use, and how many people are you going to employ? And we did try for years to write plans for the funding and answer all those questions, but then we thought, in order to answer all those questions, you have to know exactly what you're going to do before you actually get there and start. And maybe it's a mistake to think like that. It would lose some of the magic that we had learned about that if you go somewhere and you spend time there, you can let the project grow organically and have a life of its own.
耶容:我們完成了整條街。 接下來我們著手這座山,如何? 我們開始找資金, 但遇到一些問題, 像是有多少棟房子要粉刷? 有多少平方公尺要做? 要使用多少塗料? 要僱用多少人? 我們嘗試好幾年的時間 為籌資及回答這些問題寫計劃書, 但我們也想, 為了回答這些問題, 必須在你到那裡和開始執行以前 確實了解你要怎麼做。 或許這麼想是錯的。 會失去一些我們所學到的神奇事物, 也就是你到某個地方 並住在那裡所能學到的事物, 你可以讓計劃有機地成長, 有屬於它自己的生命。
DU: So what we did is we decided to take this plan and strip it away from all the numbers and all the ideas and presumptions and just go back to the base idea, which was to transform this hill into a giant work of art. And instead of looking for funding, we started a crowdfunding campaign, and in a little over a month, more than 1,500 people put together and donated over 100,000 dollars. So for us, this was an amazing moment, because now — (Applause) — because now we finally had the freedom to use all the lessons that we had learned and create a project that was built the same way that the favela was built, from the ground on up, bottom up, with no master plan.
德瑞:我們做的是, 決定將這個計劃 撇開所有的數字、 構想和假設, 然後回到最基本的想法, 就是把這座山 變成一件巨大的藝術作品。 我們不是去找金主募資, 而是舉辦群眾捐款活動, 在一個多月的時間內, 超過 1,500 人一起 募集的捐款超過十萬美金。 對我們來說,這是令人驚喜的時刻, 因為現在... (掌聲) 因為現在我們可自由地運用 我們所學的經驗, 建立一個與我們在貧民窟 用一樣的方式所建立起來的計劃, 從地面到屋頂,由下而上, 沒有整體規劃。
JK: So we went back, and we employed Angelo, and he's a local artist from Vila Cruzeiro, very talented guy, and he knows almost everybody there, and then we employed Elias, our former landlord who invited us into his house, and he's a master of construction. Together with them, we decided where to start. We picked this spot in Vila Cruzeiro, and houses are being plastered as we speak. And the good thing about them is that they are deciding which houses go next. They're even printing t-shirts, they're putting up banners explaining everything to everybody, and talking to the press. This article about Angelo appeared.
耶容:所以我們回去僱用安傑洛, 他是維拉克魯塞羅的藝術家, 他非常有天份,也幾乎認識當地所有人, 我們也僱用了前房東艾利亞斯 他之前邀請我們去住他的房子, 他是個建築大師。 我們攜手合作,一起決定從那裡開始, 我們選擇從維拉克魯塞羅開始, 這時房子正在粉刷。 有他們參與的好處是 他們決定下一間要刷的房子。 他們甚至畫 T 恤, 掛著旗幟 向大家解釋這一切, 與媒體交流。 這是有關安傑洛的報導。
DU: So while this is happening, we are bringing this idea all over the world. So, like the project we did in Philadelphia, we are also invited to do workshops, for instance in Curaçao, and right now we're planning a huge project in Haiti.
德瑞:正當此時, 我們將這個想法帶向全世界。 有如我們在費城所做的計劃, 我們也被邀請去開工作坊, 例如在庫拉索, 現在我們在海地進行一項大計劃。
JK: So the favela was not only the place where this idea started: it was also the place that made it possible to work without a master plan, because these communities are informal — this was the inspiration — and in a communal effort, together with the people, you can almost work like in an orchestra, where you can have a hundred instruments playing together to create a symphony.
耶容:所以貧民窟 不僅是這個構想的起始點, 同時也是沒有整體規劃 也能實現目標的地方, 因為這些社區是非正式的, 才讓我們想到這個好方法, 還有,和社區的居民一起努力, 就像是在管弦樂隊演奏一樣 有上百種樂器 一起演奏出一首交響樂。
DU: So we want to thank everybody who wanted to become part of this dream and supported us along the way, and we are looking at continuing.
德瑞:我們要謝謝所有 想要成為夢想的一部分, 一路上支持我們的人, 我們也會一直持續下去。
JK: Yeah. And so one day pretty soon, when the colors start going up on these walls, we hope more people will join us, and join this big dream, and maybe one day, the whole of Vila Cruzeiro will be painted.
耶容:是的,很快有這麼一天, 當色彩佈滿整面牆, 希望有更多人加入我們, 參與這個偉大的夢想, 或許有一天,整個維拉克魯塞羅 將會被漆上色彩。
DU: Thank you.
德瑞:謝謝各位。
(Applause)
(掌聲)