Today I'm going to speak to you about the last 30 years of architectural history. That's a lot to pack into 18 minutes.
今天我要跟大家讲述 过去30年的建筑史。 太多东西要在这18分钟内讲述了。
It's a complex topic, so we're just going to dive right in at a complex place: New Jersey. Because 30 years ago, I'm from Jersey, and I was six, and I lived there in my parents' house in a town called Livingston, and this was my childhood bedroom. Around the corner from my bedroom was the bathroom that I used to share with my sister. And in between my bedroom and the bathroom was a balcony that overlooked the family room. And that's where everyone would hang out and watch TV, so that every time that I walked from my bedroom to the bathroom, everyone would see me, and every time I took a shower and would come back in a towel, everyone would see me. And I looked like this. I was awkward, insecure, and I hated it. I hated that walk, I hated that balcony, I hated that room, and I hated that house.
这是一个复杂的题目, 那就让我们从这个复杂的地方开始: 新泽西。 三十年前,我住新泽西 那时我六岁,我住在父母家 小镇名叫Livingston, 这是我儿时的卧室。 在我卧室的角落 是我和姐姐共用的洗手间。 在我的卧室和浴室之间 是一个可以看到客厅的阳台。 那是家人聚会,看电视的客厅, 每次我从卧室走去浴室的时候, 每个人都能看到我, 每次我洗完澡 裹着浴巾走回卧室, 每个人都能看到我, 我看起来是这样。 我很尴尬, 没有安全感,我讨厌我的房间。 我讨厌那段路,我讨厌那个阳台, 我讨厌那个房间,我讨厌那个房子。
And that's architecture. (Laughter) Done. That feeling, those emotions that I felt, that's the power of architecture, because architecture is not about math and it's not about zoning, it's about those visceral, emotional connections that we feel to the places that we occupy. And it's no surprise that we feel that way, because according to the EPA, Americans spend 90 percent of their time indoors. That's 90 percent of our time surrounded by architecture. That's huge. That means that architecture is shaping us in ways that we didn't even realize.
那就是建筑。 (笑声) 就这样。 那种感觉,那种情绪, 那就是建筑的力量, 因为建筑并不有关于数学 也不关乎分区规划, 建筑关乎本能, 以及我们对所占有空间的 情感连接。 也难怪我们有这样的感觉, 美国环境保护局的调查表明, 美国人90%的时间呆在室内。 也就是说,我们人生中 90%的时间被建筑物围绕着。 真的太久了。 建筑在我们不曾意识到的 多个方面形塑我们。
That makes us a little bit gullible and very, very predictable. It means that when I show you a building like this, I know what you think: You think "power" and "stability" and "democracy." And I know you think that because it's based on a building that was build 2,500 years ago by the Greeks. This is a trick. This is a trigger that architects use to get you to create an emotional connection to the forms that we build our buildings out of. It's a predictable emotional connection, and we've been using this trick for a long, long time. We used it [200] years ago to build banks. We used it in the 19th century to build art museums. And in the 20th century in America, we used it to build houses. And look at these solid, stable little soldiers facing the ocean and keeping away the elements.
那让我们很容易受骗, 也非常,非常可以预测。 当我将这个建筑展示给你的时候, 我知道你在想什么: 你想到“权力” 和 “稳定” 还有“民主”。 我知道因为这个建筑 是希腊人于2500年前建造的。 这是个骗局。 也就是说,建筑 能够让你创造出那些 我们想通过建筑物表达含义的 情感连结。 这是个可预测的情感连结, 我们使用这个诡计 很多很多年了。 我们用这个方法 [200] 年前 建造银行。 我们19世纪建造艺术博物馆。 在20世纪的美洲, 我们用它来建筑房屋。 看着这些坚固的小士兵 面朝大海,挡住这些东西。
This is really, really useful, because building things is terrifying. It's expensive, it takes a long time, and it's very complicated. And the people that build things -- developers and governments -- they're naturally afraid of innovation, and they'd rather just use those forms that they know you'll respond to.
这真的非常非常有效, 因为建造东西真的很麻烦。 非常昂贵,耗时,而且很麻烦。 建筑房屋的人 ──发展商和政府── 他们天生就害怕创新, 他们宁可选用这些你已熟知的风格。
That's how we end up with buildings like this. This is a nice building. This is the Livingston Public Library that was completed in 2004 in my hometown, and, you know, it's got a dome and it's got this round thing and columns, red brick, and you can kind of guess what Livingston is trying to say with this building: children, property values and history. But it doesn't have much to do with what a library actually does today. That same year, in 2004, on the other side of the country, another library was completed, and it looks like this. It's in Seattle. This library is about how we consume media in a digital age. It's about a new kind of public amenity for the city, a place to gather and read and share.
这就是为什么这样的建筑存在。 这是个漂亮的建筑物。 这是我家乡的Livingston公共图书馆 于2004年完工, 你知道的,它有圆形的屋顶 有这样的圆形设计和柱子,红色的砖, 你可以由此猜测出Livingston 想要通过这个建筑表达些什么: 儿童、财产价值和历史。 但这和现代图书馆的理念不大一样。 同一年,2004年, 这个国家的另一端, 另一个图书馆完工了, 就是这样。 在西雅图。 这个图书馆关于在数字时代 我们是如何消费媒体的。 这是城市的一个新型的公众设施, 一个可以聚会,读书和分享生活的地方。
So how is it possible that in the same year, in the same country, two buildings, both called libraries, look so completely different? And the answer is that architecture works on the principle of a pendulum. On the one side is innovation, and architects are constantly pushing, pushing for new technologies, new typologies, new solutions for the way that we live today. And we push and we push and we push until we completely alienate all of you. We wear all black, we get very depressed, you think we're adorable, we're dead inside because we've got no choice. We have to go to the other side and reengage those symbols that we know you love. So we do that, and you're happy, we feel like sellouts, so we start experimenting again and we push the pendulum back and back and forth and back and forth we've gone for the last 300 years, and certainly for the last 30 years.
怎么会这样呢 在同一年,同一个国家, 两个建筑物,都是图书馆, 却有着巨大的差别? 答案就是,建筑风格是摇摆不定的。 一边是创新, 建筑不断被推进, 加入新的科技元素, 根据我们现代生活所需 新的类型,新的方案。 我们推进、推进、推进, 直到我们完全疏远了你们。 我们穿黑色,我们压力很大, 你认为我们很可爱, 而我们内心已死, 因为别无选择。 我们走向另一端 重新找回那些我们了解到 你们热爱的符号。 我们这样做,你们很开心。 我们感受到客满演出, 于是又开始试验 我们将钟摆推来推去, 推来推去 过去的300年里我们这样做, 过去的30年也是如此。
Okay, 30 years ago we were coming out of the '70s. Architects had been busy experimenting with something called brutalism. It's about concrete. (Laughter) You can guess this. Small windows, dehumanizing scale. This is really tough stuff. So as we get closer to the '80s, we start to reengage those symbols. We push the pendulum back into the other direction. We take these forms that we know you love and we update them. We add neon and we add pastels and we use new materials. And you love it. And we can't give you enough of it. We take Chippendale armoires and we turned those into skyscrapers, and skyscrapers can be medieval castles made out of glass. Forms got big, forms got bold and colorful. Dwarves became columns. (Laughter) Swans grew to the size of buildings. It was crazy. But it's the '80s, it's cool. (Laughter) We're all hanging out in malls and we're all moving to the suburbs, and out there, out in the suburbs, we can create our own architectural fantasies. And those fantasies, they can be Mediterranean or French or Italian. (Laughter) Possibly with endless breadsticks.
好的,30年前 我们刚走过70年代。 建筑师们忙着试验某种叫做 粗野主义的艺术。 它是关于混凝土的艺术... (笑声) 你可以想到。 小窗户,毫无人性的巨大规模。 这些都很艰难。 然后我们快进入80年代了, 我们开始重拾某些符号。 我们把钟摆推回到另一个方向。 你们热爱这样的建筑形式, 我们就将它们改造升级。 我们加入霓虹 我们加入柔和的粉蜡色 我们使用新型材料。 人们爱死这样的建筑了。 我们不断地建造。 我们取材自齐本德尔式衣橱 将它们变成摩天大楼, 这些摩天大楼像是 用玻璃制造的中世纪古堡。 这些建筑变得更大, 设计更大胆,更色彩丰富。 小矮人式的柱子。 (笑声) 天鹅从建筑顶上长出来。 太疯狂了。 这就是80年代,很酷。 (笑声) 我们在大型商场里游玩, 我们在郊区生活, 在那里,在郊区, 我们可以按自己的幻想 建筑房屋。 这些奇思幻想 可以是地中海风情, 或是法式优雅, 或是意大利风格。 (笑声) 也许源源不绝供应面包条儿。
This is the thing about postmodernism. This is the thing about symbols. They're easy, they're cheap, because instead of making places, we're making memories of places. Because I know, and I know all of you know, this isn't Tuscany. This is Ohio. (Laughter)
这就是后现代。 这就是符号的意义。 简单、便宜, 我们不是建造住所, 而是建造记忆中的住所。 因为我知道, 我想各位也都知道, 这不是意大利托斯卡纳。 这是俄亥俄州。 (笑声)
So architects get frustrated, and we start pushing the pendulum back into the other direction. In the late '80s and early '90s, we start experimenting with something called deconstructivism. We throw out historical symbols, we rely on new, computer-aided design techniques, and we come up with new compositions, forms crashing into forms. This is academic and heady stuff, it's super unpopular, we totally alienate you. Ordinarily, the pendulum would just swing back into the other direction. And then, something amazing happened.
就这样,建筑师感到沮丧了, 于是我们把钟摆又推回了另一个方向。 在80年代末,90年代初期, 我们开始试验解构主义。 我们找出历史符号, 我们用新的电脑辅助设计技术, 我们推出新的艺术作品, 各种形式撞击在一起。 这太学术太费脑筋了, 这样的建筑非常不受欢迎, 建筑师们疏远了人群。 通常来说,钟摆将会摇去另一个方向。 随后,有意思的事情发生了。
In 1997, this building opened. This is the Guggenheim Bilbao, by Frank Gehry. And this building fundamentally changes the world's relationship to architecture. Paul Goldberger said that Bilbao was one of those rare moments when critics, academics, and the general public were completely united around a building. The New York Times called this building a miracle. Tourism in Bilbao increased 2,500 percent after this building was completed. So all of a sudden, everybody wants one of these buildings: L.A., Seattle, Chicago, New York, Cleveland, Springfield. (Laughter) Everybody wants one, and Gehry is everywhere. He is our very first starchitect.
在1997年,这个建筑投入使用了。 这是在西班牙毕尔巴鄂的古根海姆博物馆, 由弗兰克·盖里设计建筑。 就是这个建筑 颠覆了世界与建筑的关系。 保罗·戈德伯格说,毕尔巴鄂的 这个建筑很难得地 获得到批评家、学术界人士, 还有普通民众 的一致好评。 纽约时报称这个建筑为 一个奇迹。 在这个建筑完工后, 毕尔巴鄂的游客数量 增长了25倍。 突然间,所有人都想要有这样的建筑: 洛杉矶、 西雅图、 芝加哥、 纽约、 克利夫兰、 Springfield (动画片辛普森的一家所居住的小镇) (笑声) 每个人都想要这样的建筑, 盖里的设计随处可见。 他是第一位明星建筑师。
Now, how is it possible that these forms -- they're wild and radical -- how is it possible that they become so ubiquitous throughout the world? And it happened because media so successfully galvanized around them that they quickly taught us that these forms mean culture and tourism. We created an emotional reaction to these forms. So did every mayor in the world. So every mayor knew that if they had these forms, they had culture and tourism.
这样的建筑设计怎么会 受到热烈欢迎 -- 它们狂野又激进 -- 全世界范围内怎么会 无所不在呢? 这要归功于媒体成功地包装, 它们很快速地传递了信号: 这建筑形式有文化内涵,而且可以吸引游客。 人们与这样的建筑形式 建立了情感联系。 世界上的市长们也是这样想的。 所有市长都认为 如果所在城市有这样的建筑, 他们就有文化,有游客。
This phenomenon at the turn of the new millennium happened to a few other starchitects. It happened to Zaha and it happened to Libeskind, and what happened to these elite few architects at the turn of the new millennium could actually start to happen to the entire field of architecture, as digital media starts to increase the speed with which we consume information. Because think about how you consume architecture. A thousand years ago, you would have had to have walked to the village next door to see a building. Transportation speeds up: You can take a boat, you can take a plane, you can be a tourist. Technology speeds up: You can see it in a newspaper, on TV, until finally, we are all architectural photographers, and the building has become disembodied from the site. Architecture is everywhere now, and that means that the speed of communication has finally caught up to the speed of architecture.
这样的现象出现在 进入21世纪的那些年 也捧红了一些其他的明星建筑师。 被捧红的还有扎哈 还有里伯斯金, 发生于这些少数精英建筑师身上的现象 在千禧年即将到来的时候 也在整个建筑界中弥散开来了, 因为让我们得以获取信息的数字媒体 开始加速了。 想想你是如何消费建筑。 一千年前, 你需要步行到隔壁村落去看一个建筑。 交通运输业的高速发展: 你可以乘船,你可以搭飞机, 你可以当一名游客。 科学技术高速发展: 你可以在报纸上、电视上欣赏建筑, 最终,我们都成为了建筑摄影师, 建筑不再只是实体。 现在,建筑无处不在, 这意味着通讯的速度 终于赶上了建筑发展的速度。
Because architecture actually moves quite quickly. It doesn't take long to think about a building. It takes a long time to build a building, three or four years, and in the interim, an architect will design two or eight or a hundred other buildings before they know if that building that they designed four years ago was a success or not. That's because there's never been a good feedback loop in architecture. That's how we end up with buildings like this. Brutalism wasn't a two-year movement, it was a 20-year movement. For 20 years, we were producing buildings like this because we had no idea how much you hated it. It's never going to happen again, I think, because we are living on the verge of the greatest revolution in architecture since the invention of concrete, of steel, or of the elevator, and it's a media revolution.
建筑发展非常迅速。 观赏评论一个建筑不需要很久。 但建成一座建筑却要很长时间, 三到四年, 在这期间,建筑师要设计 2个,8个,或 也许是100个其他建筑, 他们甚至不知道自己4年前 设计的建筑成功与否。 因为建筑里没有一个意见反馈处。 因此我们最终得到这样的建筑。 粗野主义不是两年的运动, 而是长达20年的运动。 长达20年的时间, 我们建造这样的建筑 因为我们并不知道 你们是如此厌恶它们。 这样的事再也不会发生了, 我想, 因为我们处在 最伟大的建筑革命的边缘, 这是继发明混凝土, 发明钢铁,或是发明电梯之后的 一次媒体革命。
So my theory is that when you apply media to this pendulum, it starts swinging faster and faster, until it's at both extremes nearly simultaneously, and that effectively blurs the difference between innovation and symbol, between us, the architects, and you, the public. Now we can make nearly instantaneous, emotionally charged symbols out of something that's brand new.
我的理论是,当我们将媒体 与这个钟摆结合之后, 摆动速度加快了, 直到摇摆 同时达到两边的极限, 这高效地模糊了, 创新和传统符号间的不同, 我们建筑师和你们公众间的不同。 现在我们可以用全新的事物创建 瞬间产生的情绪化的符号。
Let me show you how this plays out in a project that my firm recently completed. We were hired to replace this building, which burned down. This is the center of a town called the Pines in Fire Island in New York State. It's a vacation community. We proposed a building that was audacious, that was different than any of the forms that the community was used to, and we were scared and our client was scared and the community was scared, so we created a series of photorealistic renderings that we put onto Facebook and we put onto Instagram, and we let people start to do what they do: share it, comment, like it, hate it. But that meant that two years before the building was complete, it was already a part of the community, so that when the renderings looked exactly like the finished product, there were no surprises. This building was already a part of this community, and then that first summer, when people started arriving and sharing the building on social media, the building ceased to be just an edifice and it became media, because these, these are not just pictures of a building, they're your pictures of a building. And as you use them to tell your story, they become part of your personal narrative, and what you're doing is you're short-circuiting all of our collective memory, and you're making these charged symbols for us to understand. That means we don't need the Greeks anymore to tell us what to think about architecture. We can tell each other what we think about architecture, because digital media hasn't just changed the relationship between all of us, it's changed the relationship between us and buildings. Think for a second about those librarians back in Livingston. If that building was going to be built today, the first thing they would do is go online and search "new libraries." They would be bombarded by examples of experimentation, of innovation, of pushing at the envelope of what a library can be. That's ammunition. That's ammunition that they can take with them to the mayor of Livingston, to the people of Livingston, and say, there's no one answer to what a library is today. Let's be a part of this. This abundance of experimentation gives them the freedom to run their own experiment.
让我展示这是怎么进行的 这是我的建筑事务所最近完成的项目。 我们受雇去重建这座被烧毁的建筑。 这座建筑位于小镇派恩斯的中心 小镇位于纽约州的火烧岛。 这是一个度假社区。 我们提出了一个创新大胆的设计建议, 和这个社区出现过的任何形式的建筑都不同, 我们担心会吓到客户, 吓到社区的人们, 于是我们制作了一系列逼真的视觉图片, 把它们放到Facebook 和Instagram上, 让人们去 分享、评论、点赞,或是厌恶它。 这意味着在建筑完工前两年, 它已经是这个社区的一部分了, 所以当完工的作品和视觉图 看起来一模一样的时候, 就不会带来惊讶之感。 这座建筑已经是社区的一个部分, 第一个夏天, 人们来到这里,在社交媒体上分享照片, 这个只想成为建筑物的建筑 变成了媒体, 因为这,这不仅仅是建筑的照片。 它们是你拍摄的建筑相片。 你通过这样的照片来讲述故事, 建筑成为了你个人叙事的一个部分, 你在做的事情,就是短暂回顾 我们共同的记忆, 你在创造这些让我们理解的符号, 这意味着我们不再需要希腊 来告诉我们建筑的意义。 我们可以分享自己有关建筑的想法, 因为数字媒体不仅改变了 人与人间的关系, 它改变了我们和建筑的关系。 想象那些在Livingston的图书馆员。 如果今天我们要新建图书馆, 他们得知消息后会做的第一件事就是 上网去搜索“新图书馆”。 他们会被建筑范例信息轰炸, 实验性的、创新型的、 尝试打破常规的图书馆建筑样例。 这些都是有力的信息冲击。 那是人们可以带着的信息冲击, 给Livingston的市长、群众, 然后说,现代图书馆没有既定的模式。 让我们成为它的一部分。 丰富的实验过程 给予他们实验的自主性。
Everything is different now. Architects are no longer these mysterious creatures that use big words and complicated drawings, and you aren't the hapless public, the consumer that won't accept anything that they haven't seen anymore. Architects can hear you, and you're not intimidated by architecture. That means that that pendulum swinging back and forth from style to style, from movement to movement, is irrelevant. We can actually move forward and find relevant solutions to the problems that our society faces. This is the end of architectural history, and it means that the buildings of tomorrow are going to look a lot different than the buildings of today. It means that a public space in the ancient city of Seville can be unique and tailored to the way that a modern city works. It means that a stadium in Brooklyn can be a stadium in Brooklyn, not some red-brick historical pastiche of what we think a stadium ought to be. It means that robots are going to build our buildings, because we're finally ready for the forms that they're going to produce. And it means that buildings will twist to the whims of nature instead of the other way around. It means that a parking garage in Miami Beach, Florida, can also be a place for sports and for yoga and you can even get married there late at night. (Laughter) It means that three architects can dream about swimming in the East River of New York, and then raise nearly half a million dollars from a community that gathered around their cause, no one client anymore. It means that no building is too small for innovation, like this little reindeer pavilion that's as muscly and sinewy as the animals it's designed to observe. And it means that a building doesn't have to be beautiful to be lovable, like this ugly little building in Spain, where the architects dug a hole, packed it with hay, and then poured concrete around it, and when the concrete dried, they invited someone to come and clean that hay out so that all that's left when it's done is this hideous little room that's filled with the imprints and scratches of how that place was made, and that becomes the most sublime place to watch a Spanish sunset.
当今一切都不同了。 建筑师不再是神奇的生物, 滥用夸张的术语和繁琐的绘图, 你们也不再是倒霉的公众, 客户不再接受那些他们没见过的东西。 建筑师能与你沟通, 你不再为建筑感到不适。 这意味着钟摆来回摆动, 不同的风格、 不同的艺术运动, 已无关紧要。 我们可以向前 寻找有效解决 社会急迫问题的方法。 这是建筑史的终点, 它意味着,未来的建筑 会与当今的建筑有很大差别。 这意味着,塞维利亚古老城市的 某块公共空地 可以是独特的以现代城市功能 打造的区块。 这意味建在布鲁克林的体育场 可以是一个属于布鲁克林风格的体育场, 而不是我们脑中体育场该有的 模仿红砖历史建筑的模样。 这意味着机器人可以去建造房屋, 因为我们已经能够接受机器建造的房屋。 这还意味着,建筑会为了大自然而改变 而不是大自然为了建筑而改变。 这意味着佛罗里达迈阿密海滩的车库, 也可以是一个运动场所 瑜伽会馆 晚上你甚至可以在那里举办结婚。 (笑声) 这意味着三个建筑师能够梦想 在纽约东河游泳, 从围绕在附近的社区客户群 募集近50万美元, 建筑师们的客户不再是单一的。 这意味着,再小的建筑也能创新, 就像这个驯鹿观赏馆 如同它要观察的驯鹿般强健有力。 这意味着建筑无需是漂亮的 惹人喜爱的, 就像西班牙这个丑丑的小房子, 建筑师挖了一个洞, 用甘草填充, 注入混凝土, 当混凝土干燥后, 他们邀请某位牛来讲甘草清理干净 所留下的 就是这个丑陋的小屋子 充满建筑它时留下的痕迹和沧桑, 这个建筑成了欣赏西班牙日落 最庄严的地方。
Because it doesn't matter if a cow builds our buildings or a robot builds our buildings. It doesn't matter how we build, it matters what we build. Architects already know how to make buildings that are greener and smarter and friendlier. We've just been waiting for all of you to want them. And finally, we're not on opposite sides anymore. Find an architect, hire an architect, work with us to design better buildings, better cities, and a better world, because the stakes are high. Buildings don't just reflect our society, they shape our society down to the smallest spaces: the local libraries, the homes where we raise our children, and the walk that they take from the bedroom to the bathroom.
因为真的无关紧要, 无论是牛为我们建造的 还是机器人建造的, 也无关于建筑的过程, 重要的是我们的建造了什么。 建筑师知道如何建造更加绿色、 更加智能、更加人性化的建筑。 我们只是等待人们开始想要这样的建筑。 最终,我们不再站在对立面。 找一个建筑师、雇一个建筑师, 与我们一起设计更好的建筑、 更好的城市、更好的世界, 因为赌注很高。 建筑不只反映了我们的社会, 建筑塑造着社会, 从生活中最小的空间: 地方图书馆, 我们养育子女的家, 从卧室走向浴室的那条路。
Thank you.
谢谢。
(Applause)
(鼓掌)