So, what I'd like to talk about is something that was very dear to Kahn's heart, which is: how do we discover what is really particular about a project? How do you discover the uniqueness of a project as unique as a person? Because it seems to me that finding this uniqueness has to do with dealing with the whole force of globalization; that the particular is central to finding the uniqueness of place and the uniqueness of a program in a building.
那,我想談的 是對於karen來說非常珍貴的,就是, 如何發掘一個工程的獨特之處? 如何發掘一個工程的獨特之處,如同一個人般獨特, 因為我覺得要找出獨特的地方, 必須得涉及全球化的影響: 就是說這個獨特之處,是要找出一個地方的與眾不同之處, 及一棟大廈裡與眾不同的一個項目。
And so I'll take you to Wichita, Kansas, where I was asked some years ago to do a science museum on a site, right downtown by the river. And I thought the secret of the site was to make the building of the river, part of the river. Unfortunately, though, the site was separated from the river by McLean Boulevard so I suggested, "Let's reroute McLean," and that gave birth instantly to Friends of McLean Boulevard. (Laughter) And it took six months to reroute it.
我現在帶你們到位於美国堪萨斯州的城市威奇托, 幾年前我應邀在那做一個科學博物館的設計, 地點位於市中心,在河旁邊。 我想,這個位置的特點應該是將大樓建成河的一部分。 但不幸的是,這個地方與河被麥克萊恩大道分隔了開來。 所以我建議道,我們將麥克萊恩大道改道吧。 麥克萊恩大道之友就這樣誕生(新修幾條道)。 (笑聲) 那改道工程花了六個月。
The first image I showed the building committee was this astronomic observatory of Jantar Mantar in Jaipur because I talked about what makes a building a building of science. And it seemed to me that this structure -- complex, rich and yet totally rational: it's an instrument -- had something to do with science, and somehow a building for science should be different and unique and speak of that. And so my first sketch after I left was to say, "Let's cut the channel and make an island and make an island building." And I got all excited and came back, and they sort of looked at me in dismay and said, "An island? This used to be an island -- Ackerman Island -- and we filled in the channel during the Depression to create jobs." (Laughter)
我給建築委員會看的第一幅圖是 齋普爾古天文臺的天文觀測台, 因為我當時在談的是,甚麼可以使一座建築建成象徵科學的建築? 對我來說,那古天文臺的結構,建築群,豐富且 完全合理,它是一個工具,與科學有關, 且為科學而建應該有所不同和獨特又同時能顯示出科學。 所以我最初的設想是 切斷河道,形成一個島,建出一個島上的建築。 我感到很興奮,來告訴他們,但 他們卻失望得看著我說,一個島? 這裡曾經有一個島,阿克曼島, 但在大蕭條時為了創造就業機會填平了河道。 (笑聲)
And so the process began and they said, "You can't put it all on an island; some of it has to be on the mainland because we don't want to turn our back to the community." And there emerged a design: the galleries sort of forming an island and you could walk through them or on the roof. And there were all kinds of exciting features: you could come in through the landside buildings, walk through the galleries into playgrounds in the landscape. If you were cheap you could walk on top of a bridge to the roof, peek in the exhibits and then get totally seduced, come back and pay the five dollars admission. (Laughter) And the client was happy -- well, sort of happy because we were four million dollars over the budget, but essentially happy.
所以當這項工程開始時,他們說 你不能全建在一個島上, 一部分必須要在大陸上,因為 我們不想讓社會倒退。 然後就產生了一個設計,像形成一個島一樣的會展, 你可以從裡面或房頂經過, 但還是會有很多令人興奮的景觀, 你可以經過陸地上的建築, 通過會館到達平台--這裡能看到景色。 如果你沒錢的話,你可以通過橋走向屋頂, 看到景觀後往回, 走回來然後付五美元門票錢。 (笑聲) 客戶們很開心,應該基本上開心吧, 儘管比預算多了四百萬美元。
But I was still troubled, and I was troubled because I felt this was capricious. It was complex, but there was something capricious about its complexity. It was, what I would say, compositional complexity, and I felt that if I had to fulfill what I talked about -- a building for science -- there had to be some kind of a generating idea, some kind of a generating geometry. And this gave birth to the idea of having toroidal generating geometry, one with its center deep in the earth for the landside building and a toroid with its center in the sky for the island building. A toroid, for those who don't know, is the surface of a doughnut or, for some of us, a bagel. And out of this idea started spinning off many, many kinds of variations of different plans and possibilities, and then the plan itself evolved in relationship to the exhibits, and you see the intersection of the plan with the toroidal geometry.
但我還是有一點困擾,因為我覺得變化有些多了, 這是複雜的,但在複雜之外又多了些變化, 這個,我是說,結構上的複雜 並且我覺得如果要實現我講的東西, 闡述科學的建築,需要有一些創新的觀點-- 譬如一些新穎的幾何圖形。 這就產生了環形結構, 圍繞著的中心在很深的地下, 通過環形結構到達島上建築的上面。 圓環,對於不了解的人來說, 像是甜圈的表面,或者是貝果(麵包圈), 在這個想法外又產生了許多東西, 不同計劃和可能性的變形, 然後規劃本身圍繞著展覽形成, 你可以看到規劃中環形結構的交叉部分。
And finally the building -- this is the model. And when there were complaints about budget, I said, "Well, it's worth doing the island because you get twice for your money: reflections." And here's the building as it opened, with a channel overlooking downtown, and as seen from downtown. And the bike route's going right through the building, so those traveling the river would see the exhibits and be drawn to the building. The toroidal geometry made for a very efficient building: every beam in this building is the same radius, all laminated wood. Every wall, every concrete wall is resisting the stresses and supporting the building. Every piece of the building works. These are the galleries with the light coming in through the skylights, and at night, and on opening day.
最後是整個建築 -- 這是個模型。 每當有人抱怨預算時,我說, 建造這個島是物有所值的, 因為鏡像反射你會得到兩倍的錢的效果。 這是當建築剛開張的時候, 有一個通道可以俯瞰市中心, 看下去的時候自行車道正好穿過建築, 所以路過河的人能看到展覽並被吸引到建築中。 環形結構使得建築非常有效。 建築中的每個橫梁都是同樣的半徑和木質, 每一個牆和水泥牆,都承受著壓力並支撐著建築, 建築的每一部分都有各自的用途。 在有些畫廊陽光可以從天窗照射進來, 在晚上和白天。
Going back to 1976. (Applause) In 1976, I was asked to design a children's memorial museum in a Holocaust museum in Yad Vashem in Jerusalem, which you see here the campus. I was asked to do a building, and I was given all the artifacts of clothing and drawings. And I felt very troubled. I worked on it for months and I couldn't deal with it because I felt people were coming out of the historic museum, they are totally saturated with information and to see yet another museum with information, it would make them just unable to digest. And so I made a counter-proposal:
回到1976年 (掌聲) 在1976年我被要求設計一個兒童的紀念館 在耶路撒冷大屠殺紀念館中的大屠殺紀念館中, 這裡你可以看到 -- 校園。 我被要求設計的這個建築, 我有所有的衣服和圖片的藝術品, 我感到很困擾。 我工作了幾個月卻並不能做出什麼, 因為我覺得人們從歷史博物館中出來, 他們已經資訊飽和了, 當又要參觀一個充滿資訊的博物館時, 會使他們感到難以消化的 所以我做了一個相反的計劃。
I said, "No building." There was a cave on the site; we tunnel into the hill, descend through the rock into an underground chamber. There's an anteroom with photographs of children who perished and then you come into a large space. There is a single candle flickering in the center; by an arrangement of reflective glasses, it reflects into infinity in all directions. You walk through the space, a voice reads the names, ages and place of birth of the children. This voice does not repeat for six months. And then you descend to light and to the north and to life.
我說,不要建築物; 那裡有個洞穴,我們挖隧道進去, 順著岩石一直到地下的房間。 通過一個掛滿了死去兒童照片的前廳, 你會來到一個寬敞的空間, 這裡有一根蠟燭,在中心閃爍。 通過放置很多的反射鏡,蠟燭的光可以射向各個方向, 當你經過這裡,有一個聲音念著 小孩們的名字,年齡和出生地區。 這些聲音每半年會更換。 然後你會到達光亮的北方,充滿生機。
Well, they said, "People won't understand, they'll think it's a discotheque. You can't do that." And they shelved the project. And it sat there for 10 years, and then one day Abe Spiegel from Los Angeles, who had lost his three-year-old son at Auschwitz, came, saw the model, wrote the check and it got built 10 years later.
但是,他們說,人們不會懂的 -- 他們認為這是一個迪斯科舞廳,你不能這樣做。 所以他們否決了這個設計,耽擱了10年。 直到有一天洛杉磯的埃德•史匹格, 他在奧斯維辛集中營中失去了他3歲的兒子, 當他看到這個模型,馬上寫了支票,所以這個建築終於能夠在10年之後得以建造。
So, many years after that in 1998, I was on one of my monthly trips to Jerusalem and I got a call from the foreign ministry saying, "We've got the Chief Minister of the Punjab here. He is on a state visit. We took him on a visit to Yad Vashem, we took him to the children's memorial; he was extremely moved. He's demanding to meet the architect. Could you come down and meet him in Tel Aviv?" And I went down and Chief Minister Badal said to me, "We Sikhs have suffered a great deal, as you have Jews. I was very moved by what I saw today. We are going to build our national museum to tell the story of our people; we're about to embark on that. I'd like you to come and design it."
很多年之後,在1988年, 在我去耶路撒冷的月度旅行中, 接到了外國大使館的電話, 說旁遮普的總理來了 他是來進行國事訪問的。我們帶他參觀了大屠殺紀念館, 我們帶他到了兒童紀念館,他非常感動。 他要求會見這個設計師,在特拉维夫和他見面。 然後我去了,總理和我說, 我們錫克民族也受過很大的災難,和猶太民族一樣。 我對於我今天所見到的很受感動。 我們要建造一座自己國家博物館來展示我們的歷史; 我們希望能從這得到振興。 我希望你能來設計它。
And so, you know, it's one of those things that you don't take too seriously. But two weeks later, I was in this little town, Anandpur Sahib, outside Chandigarh, the capital of the Punjab, and the temple and also next to it the fortress that the last guru of the Sikhs, Guru Gobind, died in as he wrote the Khalsa, which is their holy scripture. And I got to work and they took me somewhere down there, nine kilometers away from the town and the temple, and said, "That's where we have chosen the location."
但是你知道,這是不用太當真的事情。 但是兩週後我來到了這個小鎮,Anandpur Sahib, 在旁遮普省的首都昌迪加爾外, 有一座廟宇,緊鄰著堡壘 是錫克家族最後的宗師戈賓死的地方, 他寫了民族的聖書卡爾薩。 我要展開工作,他們就把我帶到了那裡, 和城市和廟宇都有9公里遠, 說我們已經選擇好了位置。
And I said, "This just doesn't make any sense. The pilgrims come here by the hundreds of thousands -- they're not going to get in trucks and buses and go down there. Let's get back to the town and walk to the site." And I recommended they do it right there, on that hill and this hill, and bridge all the way into the town. And, as things are a little easier in India, the site was purchased within a week and we were working. (Laughter)
然後我說,這個位置不好。 朝聖者的數目成百上千 -- 他們不會搭乘鐵路和公車走到這裡, 讓我們回到城裡,選擇能夠走到的地點。 我建議他們就在那邊的山上建造, 這座山可以直接通往市裡, 因為在印度,這種事就很簡單了,在一個星期內就買好了建造的土地, 然後我們開始工作。 (笑聲)
And my proposal was to split the museum into two -- the permanent exhibits at one end, the auditorium, library, and changing exhibitions on the other -- to flood the valley into a series of water gardens and to link it all to the fort and to the downtown. And the structures rise from the sand cliffs -- they're built in concrete and sandstones; the roofs are stainless steel -- they are facing south and reflecting light towards the temple itself, pedestrians crisscross from one side to the other. And as you come from the north, it is all masonry growing out of the sand cliffs as you come from the Himalayas and evoking the tradition of the fortress.
我的建議是將這個博物館分成兩部分: 一部分是永久性的展覽,禮堂,圖書館, 另一部分是變化的展覽。 為了能使河谷流向果園, 並且將城堡和城市相連。 這個結構建立在沙崖上。 用混凝土和沙石建造,屋頂是不銹鋼, 建築朝南,並且反射廟宇的光線, 遊客在一邊和另一邊中交叉前進, 從北邊看都是沙石上的工程, 從喜馬拉雅上角度看,就有種傳統城堡的感覺。
And then I went away for four months and there was going to be groundbreaking. And I came back and, lo and behold, the little model I'd left behind had been built ten times bigger for public display on site and ... the bridge was built! (Laughter) Within the working drawings! And half a million people gathered for the celebrations; you can see them on the site itself as the foundations are beginning. I was renamed Safdie Singh. And there it is under construction; there are 1,800 workers at work and it will be finished in two years.
然後我離開了四個月, 這裡要開始動土了。 我回來了,看到我以前的小小模型 變成了10倍大的供大眾遊覽的建築了, 連橋也建了。 (笑聲) 在繪製的草圖中! 50萬人歡聚慶典, 你可以在這裡當開始建造的時候看到。 它被重命名為 Safdie辛格,並開始動工 - 這裡有1800名工人工作,計劃在兩年後完成。
Back to Yad Vashem three years ago. After all this episode began, Yad Vashem decided to rebuild completely the historic museum because now Washington was built -- the Holocaust Museum in Washington -- and that museum is so much more comprehensive in terms of information. And Yad Vashem needs to deal with three million visitors a year at this point. They said, "Let's rebuild the museum." But of course, the Sikhs might give you a job on a platter -- the Jews make it hard: international competition, phase one, phase two, phase three. (Laughter)
在3年前的大屠殺紀念館,當開始建造時, 大屠殺紀念館決定重造歷史博物館, 因為新的華盛頓已經建造了新的屠殺紀念館, 那個博物館擁有了更多更廣的訊息。 大屠殺紀念館一年需要招待3百萬名遊客, 他們說,讓我們重建博物館。 但是當然,錫克民族給你的工作也許毫不費勁,可猶太民族的變難了。 國際競爭,第一階段,第二階段,第三階段。 (笑聲)
And again, I felt kind of uncomfortable with the notion that a building the size of the Washington building -- 50,000 square feet -- will sit on that fragile hill and that we will go into galleries -- rooms with doors and sort of familiar rooms -- to tell the story of the Holocaust. And I proposed that we cut through the mountain. That was my first sketch. Just cut the whole museum through the mountain -- enter from one side of the mountain, come out on the other side of the mountain -- and then bring light through the mountain into the chambers.
但是同樣的,我感到困惑 對於華盛頓建築的規模, 50000平方英尺, 將在脆弱的山上建造, 然後會有展館,有門的房間 和很常規的房間介紹大屠殺的故事。 我建議從山中穿過 - 這是我的第一個設想, 將整個博物館放在山中, 從山的一側進入, 從山的另一側出來, 可以讓山外的陽光進入室內
And here you see the model: a reception building and some underground parking. You cross a bridge, you enter this triangular room, 60 feet high, which cuts right into the hill and extends right through as you go towards the north. And all of it, then, all the galleries are underground, and you see the openings for the light. And at night, just one line of light cuts through the mountain, which is a skylight on top of that triangle. And all the galleries, as you move through them and so on, are below grade. And there are chambers carved in the rock -- concrete walls, stone, the natural rock when possible -- with the light shafts. This is actually a Spanish quarry, which sort of inspired the kind of spaces that these galleries could be. And then, coming towards the north, it opens up: it bursts out of the mountain into, again, a view of light and of the city and of the Jerusalem hills.
你可以從模型中看到, 接待樓和地下停車場。 跨過一座橋,進入了三角形屋子,60英尺高, 位在右邊的山上 穿過了山並延伸到北部。 所有的會館都在地下。 你可以看到陽光, 在晚上,只有一道光會穿過山, 這就是在三角形頂部的光。 當你一個個會館地參觀下去-- 所有展覽都是在地下。 在岩石中有雕刻的屋子 -- 混凝土的牆,石頭,天然的石塊 -- 加上天窗, 這實際上是來自西班牙採石場的靈感, 那裡也有類似的展廳。 然後,到了北方,視野變得開闊: 從山中再次到達陽光和城市, 和耶路撒冷的山。
I'd like to conclude with a project I've been working on for two months. It's the headquarters for the Institute of Peace in Washington, the U.S. Institute of Peace. The site chosen is across from the Lincoln Memorial; you see it there directly on the Mall. It's the last building on the Mall, on access of the Roosevelt Bridge that comes in from Virginia. That too was a competition, and it is something I'm just beginning to work on.
最後我想講講我現在工作了兩個月的工程。 在華盛頓的和平學院的總部, 美國和平學院, 位置選在林肯紀念碑旁 -- 你從那裡可以看到,是大道上的最後一個建築, 可以從弗吉尼亞州通過羅斯福橋到達。 這也是個競爭,並且是我才著手處理的。
But one recognized the kind of uniqueness of the site. If it were to be anywhere in Washington, it would be an office building, a conference center, a place for negotiating peace and so on -- all of which the building is -- but by virtue of the choice of putting it on the Mall and by the Lincoln Memorial, this becomes the structure that is the symbol of peace on the Mall. And that was a lot of heat to deal with.
但是可以看到這個選地點的獨特性, 如果在華盛頓的任何位置, 建築可以是寫字樓,會議中心,和平談判的地方等等,各種建築都可以 和平談判的地方等等,各種建築都可以 但是實際上選在大道上,緊挨著林肯紀念碑, 這就是街上和平的標誌, 這需要很深入的考慮。
The first sketch recognizes that the building is many spaces -- spaces where research goes on, conference centers, a public building because it will be a museum devoted to peacemaking -- and these are the drawings that we submitted for the competition, the plans showing the spaces which radiate outwards from the entry. You see the structure as, in the sequence of structures on the Mall, very transparent and inviting and looking in. And then as you enter it again, looking in all directions towards the city. And what I felt about that building is that it really was a building that had to do with a lightness of being -- to quote Kundera -- that it had to do with whiteness, it had to do with a certain dynamic quality and it had to do with optimism. And this is where it is; it's sort of evolving.
最初的手稿是將建築分為許多部分 -- 研究中心,會議中心, 公共建築,因為這是為了和平而建立的博物館。 這是我們參加競爭的繪圖, 展示了從如何空間呈輻射狀, 你看到的結構是大街上結構的次序: 非常透明,吸引人往內看。 當你在裡面,可以從各個角度欣賞這個城市, 我感覺這個建築確實是個建築, 和光相關, 引用昆德拉的話 -- 和白色有關, 和動態構設有關,和樂觀的心態有關。 就是這樣,很前衛的。
Studies for the structure of the roof, which demands maybe new materials: how to make it white, how to make it translucent, how to make it glowing, how to make it not capricious. And here studying, in three dimensions, how to give some kind, again, of order, a structure; not something you feel you could just change because you stop the design of that particular process. And so it goes.
屋頂結構的報告, 表明我們可能需要新的材料, 怎樣才能讓建築變得白,透明,並且會發光, 而不是過於任性的變化。 從三維空間角度, 怎樣呈現溫和的狀態和結構, 而不是能夠任意改變 僅僅因為你停止了對某一過程的設計, 就這樣繼續下去了。
I'd like to conclude by saying something ... (Applause) I'd like to conclude by relating all of what I've said to the term "beauty." And I know it is not a fashionable term these days, and certainly not fashionable in the discourse of architectural schools, but it seems to me that all this, in one way or the other, is a search for beauty. Beauty in the most profound sense of fit. I have a quote that I like by a morphologist, 1917, Theodore Cook, who said, "Beauty connotes humanity. We call a natural object beautiful because we see that its form expresses fitness, the perfect fulfillment of function." Well, I would have said the perfect fulfillment of purpose. Nevertheless, beauty as the kind of fit; something that tells us that all the forces that have to do with our natural environment have been fulfilled -- and our human environment -- for that.
我想說些話作為結束 -- (掌聲) 我想透過談論「美態」這個話題來結束, 我知道這個詞語在現在並不流行, 當然在建築學校的課程中也不流行。 但是對我來說,我所做的一切都是為了尋找美態。 態麗是最深切的切合。 我引用我很喜歡的形態學家的一句話, 1917年, 西奧多•庫克說的,「美麗意味著人性。 我們說一個天然的物體是美麗的,因為我們可以看到 它的形狀剛好適合,功能完美履行。」 但,我會說,完美為了滿足目的。 無論如何,美麗是一種適合,有時候美麗會告訴我們 自然環境的各種力量 已經實現了 -- 我們的人類環境 -- 這一點。
Twenty years ago, in a conference Richard and I were at together, I wrote a poem, which seems to me to still hold for me today. "He who seeks truth shall find beauty. He who seeks beauty shall find vanity. He who seeks order shall find gratification. He who seeks gratification shall be disappointed. He who considers himself the servant of his fellow beings shall find the joy of self-expression. He who seeks self-expression shall fall into the pit of arrogance. Arrogance is incompatible with nature. Through nature, the nature of the universe and the nature of man, we shall seek truth. If we seek truth, we shall find beauty."
20年前, 在理查德和我一同參加的一個會上, 我寫了一首詩,在今天同樣適用。 「尋求真理能夠得到美, 尋求美卻會得到空虛。 尋求秩序令人滿足。 尋求滿足,卻只會變得失望。 認為自己為同伴服務的人 會發現自我實現的喜悅。而尋求自我實現的人, 卻會導致驕傲, 驕傲和自然是不相符的。 通過自然,宇宙和人類的本質, 我們應當尋求真理,如果我們尋找真理,我們就會發現美。」
Thank you very much. (Applause)
非常感谢。