For much of the past century, architecture was under the spell of a famous doctrine. "Form follows function" had become modernity's ambitious manifesto and detrimental straitjacket, as it liberated architecture from the decorative, but condemned it to utilitarian rigor and restrained purpose. Of course, architecture is about function, but I want to remember a rewriting of this phrase by Bernard Tschumi, and I want to propose a completely different quality. If form follows fiction, we could think of architecture and buildings as a space of stories -- stories of the people that live there, of the people that work in these buildings. And we could start to imagine the experiences our buildings create.
喺過去好幾個世紀 建築行業受一條著名理論魔咒所左右 「型式追隨功能」呢個理論 一度成為當代最雄心勃勃嘅理念 同時又係個帶有不良影響嘅緊箍咒 呢句話雖然令建築唔再使講求裝飾功能 但同時令建築走向 純功能同有限用途嘅方向 當然,建築係講功能性 但我想重新演譯 Bernard Tschumi 呢句話嘅意思 如果「型隨小說」 我哋可以理解建築設計同建築物 為一個空間嘅故事 有關居住果度嘅人嘅故事 同埋裡面做嘢嘅人嘅故事 我哋可以想像 我哋建築物留低俾人嘅印象
In this sense, I'm interested in fiction not as the implausible but as the real, as the reality of what architecture means for the people that live in it and with it. Our buildings are prototypes, ideas for how the space of living or how the space of working could be different, and what a space of culture or a space of media could look like today. Our buildings are real; they're being built. They're an explicit engagement in physical reality and conceptual possibility. I think of our architecture as organizational structures. At their core is indeed structural thinking, like a system: How can we arrange things in both a functional and experiential way? How can we create structures that generate a series of relationships and narratives? And how can fictive stories of the inhabitants and users of our buildings script the architecture, while the architecture scripts those stories at the same time?
因為噉樣,我對小說感興趣嘅原因 唔係因為佢夠虛幻,而係因為真實 就好似建築對住喺裡面嘅居民 嚟講嘅意義一樣 我哋嘅建築物都 可以話係一啲雛形、諗法 話俾人聽我哋生活空間 或者工作空間可以唔同 以至文化、媒體空間 喺現今世代可以係點嘅樣 我哋嘅建築物係真嘅 佢哋係起出嚟 佢哋係實物同想法 我會將我哋嘅建築物諗成係組織嘅結構 佢哋核心係結構思想 就好似一個系統咁 我哋點樣令啲嘢 同時具有功能同實驗用途? 我哋點樣可以令到結構 帶出一系列關係同故事呢? 而喺建築物裡面嘅居民 同用戶似小說一樣嘅故事 可以點樣幫棟建築物加添一啲嘅描述? 同時建築物可以影響返呢啲故事?
And here comes the second term into play, what I call "narrative hybrids" -- structures of multiple simultaneous stories that unfold throughout the buildings we create. So we could think of architecture as complex systems of relationships, both in a programmatic and functional way and in an experiential and emotive or social way.
第二個字係我叫做嘅「故事混合體」 好多個同時進行嘅故事 喺我哋嘅建築物展開 所以我哋可以想像建築物 喺程式上、功能上 實驗上、情緒性或者社會上 係一個複雜嘅關係嚟
This is the headquarters for China's national broadcaster, which I designed together with Rem Koolhaas at OMA. When I first arrived in Beijing in 2002, the city planners showed us this image: a forest of several hundred skyscrapers to emerge in the central business district, except at that time, only a handful of them existed. So we had to design in a context that we knew almost nothing about, except one thing: it would all be about verticality.
呢個係中國中央電視台嘅總部 呢棟建築物係我同 Rem Koolhaas 喺 大都會建築事務嗰陣一齊設計 2002 年當我第一次到北京果陣 城市規劃員向我哋展示一張城市藍圖︰ 過百棟高樓大廈將會出現喺中央商業區 但當時只有為數唔多嘅大樓喺度 所以喺幾乎咩都唔知嘅情況下設計 我哋只係知道,座建築會係垂直嘅
Of course, the skyscraper is vertical -- it's a profoundly hierarchical structure, the top always the best, the bottom the worst, and the taller you are, the better, so it seems. And we wanted to ask ourselves, could a building be about a completely different quality? Could it undo this hierarchy, and could it be about a system that is more about collaboration, rather than isolation? So we took this needle and bent it back into itself, into a loop of interconnected activities. Our idea was to bring all aspects of television-making into one single structure: news, program production, broadcasting, research and training, administration -- all into a circuit of interconnected activities where people would meet in a process of exchange and collaboration.
當然,高樓大廈都係垂直嘅 垂直式係其中一種嘅大廈類型 頂部永遠係最好 底部永遠係最差 似乎係,你起得越高就越好 我哋問自己 一棟建築物可唔可以 有一個完全唔同嘅特性? 佢可唔可以擺脫以往思維 佢可唔可以係黏埋一齊 而並非一支嘢孤零零呢? 所以我哋將呢支針拗彎 形成一個空間互通嘅環 我哋想將電視製作嘅所有環節 融合到同一個結構裡面: 新聞、節目製作、廣播 資料搜集、訓練、行政 全部活動可以係呢個圈入面進行 個個可以係度見面、交流同合作
I still very much like this image. It reminds one of biology classes, if you remember the human body with all its organs and circulatory systems, like at school. And suddenly you think of architecture no longer as built substance, but as an organism, as a life form. And as you start to dissect this organism, you can identify a series of primary technical clusters -- program production, broadcasting center and news. Those are tightly intertwined with social clusters: meeting rooms, canteens, chat areas -- informal spaces for people to meet and exchange. So the organizational structure of this building was a hybrid between the technical and the social, the human and the performative. And of course, we used the loop of the building as a circulatory system, to thread everything together and to allow both visitors and staff to experience all these different functions in a great unity.
我仍然好鐘意呢幅圖 佢令我諗返起生物堂 如果你仲記得人體構造 各種器官同循環系統就好似一座建築咁 突然你會覺得建築物 唔單單係建築材料堆成嘅嘢 佢更加似一個生命體 而當你開始剖析呢個生命體 你分辨到一系列嘅基本嘅技術部門 節目製作部、廣播中心、新聞部 佢哋同社交設施 例如會議室、餐廳、交談區 係一齊、唔可以分開 亦都係非正式場合俾人見面交流 所以呢個建築物嘅組織結構係種混合體 集技術、社交、人同表演於一身 我哋利用環形嘅特點串聯每一樣嘢 令訪客同員工都可以 喺呢個建築裡面體驗唔同用途
With 473,000 square meters, it is one of the largest buildings ever built in the world. It has a population of over 10,000 people, and of course, this is a scale that exceeds the comprehension of many things and the scale of typical architecture. So we stopped work for a while and sat down and cut 10,000 little sticks and glued them onto a model, just simply to confront ourselves with what that quantity actually meant.
473,000 平方米嘅建築面積 令佢成為全世界數一數二大嘅建築物 裡面可以容納一萬人 冇錯,咁嘅規模超出咗我哋 對一般建築物嘅理解範圍 所以我們停工過一排 然後坐低,剪出一萬張貼紙仔 將佢哋貼係一個模型上面 只係單純咁想挑戰我哋自己 對數字真正嘅理解
But of course, it's not a number, it is the people, it is a community that inhabits the building, and in order to both comprehend this, but also script this architecture, we identified five characters, hypothetical characters, and we followed them throughout their day in a life in this building, thought of where they would meet, what they would experience. So it was a way to script and design the building, but of course, also to communicate its experiences. This was part of an exhibition with the Museum of Modern Art in both New York and Beijing.
但當然啦,最重要嘅唔係數字 而係人,生活喺呢棟大樓裡面嘅社群 為咗理解班人兼為建築物寫藍本 我哋創造咗五個虛擬人物 然後用一日時間睇下佢哋喺 呢棟大樓嘅生活動態 睇下佢哋會喺邊度見其他人 佢哋會經歷乜嘢 呢個係描繪同設計建築嘅方法 咁當然,都係一種體會佢嘅方式 呢個係同現代美術館 喺北京同紐約搞嘅展覧
This is the main broadcast control room, a technical installation so large, it can broadcast over 200 channels simultaneously. And this is how the building stands in Beijing today. Its first broadcast live was the London Olympics 2012, after it had been completed from the outside for the Beijing Olympics. And you can see at the very tip of this 75-meter cantilever, those three little circles. And they're indeed part of a public loop that goes through the building. They're a piece of glass that you can stand on and watch the city pass by below you in slow motion.
呢度係廣播控制室 安裝要求相當大 呢度可以同時播二百個頻道 呢個係佢依家喺北京嘅外貌 佢做嘅第一次直播係 2012 年倫敦奧運會 嗰次之前,佢已經試過喺外面 完成北京奧運嘅轉播 你可以喺 75 米懸臂嗰頂睇風景 呢三個細圓圈就係 貫穿整棟大樓嘅開放迴廊嘅一部分 佢哋用玻璃做 你可以企喺上面俯瞰你腳下 成個城市慢慢運作
The building has become part of everyday life in Beijing. It is there. It has also become a very popular backdrop for wedding photography.
呢棟建築已經係北京生活嘅一部分 佢就係果度 佢亦將變成咗北京 一個相當受歡迎嘅婚禮攝影場地
(Laughter)
(笑聲)
But its most important moment is maybe sill this one. "That's Beijing" is similar to "Time Out," a magazine that broadcasts what is happening in town during the week, and suddenly you see the building portrayed no longer as physical matter, but actually as an urban actor, as part of a series of personas that define the life of the city. So architecture suddenly assumes the quality of a player, of something that writes stories and performs stories. And I think that could be one of its primary meanings that we believe in.
但最重要嘅時刻可能係 當呢本《城市漫步》嘅週刊 一本似倫敦《Time Out》嘅週刊 描述嗰個星期城市發生咗咩事 突然間你會發現 呢棟大樓唔單止只係一棟大樓 佢仲同時扮演梗城市嘅一員 決定咗呢個城市嘅生活 建築設計突然間有咗人嘅特徵 好似作家咁寫故事、表達故事 而我認為呢樣可以成為 其中一個我哋相信嘅建築嘅基本意義
But of course, there's another story to this building. It is the story of the people that made it -- 400 engineers and architects that I was guiding over almost a decade of collaborative work that we spent together in scripting this building, in imagining its reality and ultimately getting it built in China.
呢棟大樓仲有另一個故事 就係建造佢嘅人嘅故事 四百個由我帶領幾乎超過十年 嘅工程師同建築師 我們一齊起呢棟大樓 想像佢成真 到最後終於喺中國內地將佢起好
This is a residential development in Singapore, large scale. If we look at Singapore like most of Asia and more and more of the world, of course, it is dominated by the tower, a typology that indeed creates more isolation than connectedness, and I wanted to ask, how could we think about living, not only in terms of the privacy and individuality of ourselves and our apartment, but in an idea of a collective? How could we think about creating a communal environment in which sharing things was as great as having your own?
呢個係一個係新加坡嘅大型住宅項目 如果我哋睇下新加坡 佢同亞洲多數地方 同全世界好多地方一樣 都係以高樓大廈為主 一種普遍現象係 呢類型嘅大廈營造咗疏離感 而唔係聯繫感 而我想問 我哋可以點樣唔單止將住宅睇成係 自己既私隱、個人同住所 以至係一種集體嘅嘢 ? 我哋要諗下點創造 一個促進社區交流嘅環境 令你樂意同人分享自己嘅嘢 ?
The typical answer to the question -- we had to design 1,040 apartments -- would have looked like this: 24-story height limit given by the planning authorities, 12 towers with nothing but residual in between -- a very tight system that, although the tower isolates you, it doesn't even give you privacy, because you're so close to the next one, that it is very questionable what the qualities of this would be.
典型嘅解答係 我哋要設計出 1,040 間公寓 外型就好似咁︰ 當地政府法例限制樓宇只可以有 24 層高 12 棟大樓咩都冇 之間只有用剩嘅土地 相當緊密的格局 雖然住樓可以將你同其他人分隔開 但根本俾唔到你私隱 因為你離隔籬鄰居係好近 亦令人非常質疑住樓嘅質素
So I proposed to topple the towers, throw the vertical into the horizontal and stack them up, and what looks a bit random from the side, if you look from the viewpoint of the helicopter, you can see its organizational structure is actually a hexagonal grid, in which these horizontal building blocks are stacked up to create huge outdoor courtyards -- central spaces for the community, programmed with a variety of amenities and functions. And you see that these courtyards are not hermetically sealed spaces. They're open, permeable; they're interconnected. We called the project "The Interlace," thinking that we interlace and interconnect the human beings and the spaces alike. And the detailed quality of everything we designed was about animating the space and giving the space to the inhabitants. And, in fact, it was a system where we would layer primarily communal spaces, stacked to more and more individual and private spaces. So we would open up a spectrum between the collective and the individual.
所以,我建議推淋晒大廈 將垂直設計改做水平設計 將佢哋堆砌起嚟 從側面睇係不規則嘅 如果你搭直升機睇落去 你可以睇到佢嘅組織結構 水平建築物擺埋一齊會形成六邊形 務求中間有一個大嘅花園 有著好多設施同功能 呢啲花園並唔係密閉空間 佢哋係開放、通透、互通嘅 我們叫呢個項目做「交錯」 好似我哋將人連埋一齊 空間都係一樣 我們設計嘅每樣細節都係想活化空間 還居民空間 事實上,呢個系統裏面 我哋既會強調公共空間 又會重視私人空間 所以,我哋帶出咗 大眾同個人嘅概念
A little piece of math: if we count all the green that we left on the ground, minus the footprint of the buildings, and we would add back the green of all the terraces, we have 112 percent green space, so more nature than not having built a building. And of course this little piece of math shows you that we are multiplying the space available to those who live there. This is, in fact, the 13th floor of one of these terraces. So you see new datum planes, new grounds planes for social activity.
有一個小小嘅數學題 : 如果我哋將所有 喺地面上嘅綠色植物面積 扣除掉建築物佔地面積 然後加上所有有綠色植物嘅露台面積 我哋會得出 112% 嘅綠色覆蓋率 比起唔起樓仲要有更多嘅自然空間 當然,呢個小小嘅數學題說明咗 我哋將有人住嘅空間都乘埋入去 呢度係其中一棟樓嘅 13 樓 你會見到為社交活動而設嘅 新基準平面、新地平面
We paid a lot of attention to sustainability. In the tropics, the sun is the most important thing to pay attention to, and, in fact, it is seeking protection from the sun. We first proved that all apartments would have sufficient daylight through the year. We then went on to optimize the glazing of the facades to minimize the energy consumption of the building. But most importantly, we could prove that through the geometry of the building design, the building itself would provide sufficient shading to the courtyards so that those would be usable throughout the entire year. We further placed water bodies along the prevailing wind corridors, so that evaporative cooling would create microclimates that, again, would enhance the quality of those spaces available for the inhabitants. And it was the idea of creating this variety of choices, of freedom to think where you would want to be, where you would want to escape, maybe, within the own complexity of the complex in which you live.
我哋好注重可持續發展 喺熱帶地區,太陽係最必須留意嘅嘢 而遮蔽陽光係建築需要做嘅嘢 我哋首先會確認所有公寓大樓 一年內有足夠嘅太陽 然後我們優化外牆嘅玻璃 減少建築物嘅能源消耗 但最重要,我哋可以透過大廈嘅座向 證明真係做到能源效益 建築物本身提供足夠嘅遮陰俾中庭花園 所以花園成年都可以開放俾人 我哋沿著主風廊設置咗水槽 水蒸發可以冷卻環境 仲會形成一個微型氣候 噉就可以改善居民居住嘅質素 呢款樓令你有得揀 喺建築物之內想去邊都得
But coming from Asia to Europe: a building for a German media company based in Berlin, transitioning from the traditional print media to the digital media. And its CEO asked a few very pertinent questions: Why would anyone today still want to go to the office, because you can actually work anywhere? And how could a digital identity of a company be embodied in a building? We created not only an object, but at the center of this object we created a giant space, and this space was about the experience of a collective, the experience of collaboration and of togetherness. Communication, interaction as the center of a space that in itself would float, like what we call the collaborative cloud, in the middle of the building, surrounded by an envelope of standard modular offices. So with only a few steps from your quiet work desk, you could participate in the giant collective experience of the central space.
宜家離開亞洲,去到歐洲 我哋見到一座建築 佢係屬於一間位於柏林 啱啱由傳統印刷媒體轉型到 數碼媒體嘅德國公司 公司執行董事問咗幾個好中肯嘅問題 點解依家每個人仍然會去寫字樓番工 即使佢地其實可以喺任何地方做嘢 ? 一個公司嘅數碼形象 可以點樣喺建築物上面表現出嚟 ? 我哋創作嘅唔只係一件物件 我哋仲喺物件嘅中間整咗個大空間 呢個空間係關於集體嘅經驗 合作同一齊嘅經歷 溝通、互動係空間嘅核心 溝通、互動會自動喺中間 就好似係我哋所講嘅 「合作雲端」喺建築物中間 被好多個標準模組嘅辦公室包圍 只要由你安靜嘅辦公枱行幾步 你就可以喺核心空間入面 經歷好多共同嘅事
Finally, we come to London, a project commissioned by the London Legacy Development Corporation of the Mayor of London. We were asked to undertake a study and investigate the potential of a site out in Stratford in the Olympic Park. In the 19th century, Prince Albert had created Albertopolis. And Boris Johnson thought of creating Olympicopolis.
最後,我哋嚟到倫敦 一個由倫敦市長委任開發公司嘅項目 佢哋要求我哋研究 Stratford 奧運公園嘅土地開發潛力 十九世紀,Albert 王子建立咗 Albert 城 而 Boris Johnson 就想建立奧林匹克城
The idea was to bring together some of Britain's greatest institutions, some international ones, and to create a new system of synergies. Prince Albert, as yet, created Albertopolis in the 19th century, thought of showcasing all achievements of mankind, bringing arts and science closer together. And he built Exhibition Road, a linear sequence of those institutions.
個想法係將一啲英國最大既機構 同一啲國際機構擺埋一齊 創造一個新嘅協同效益系統 當時十九世紀 Albert 王子建立 Albert 城 係想展示人類嘅成就 同埋想將藝術同科學放埋一齊 佢仲起咗一條路叫展覧路 機構按次序進駐條路
But of course, today's society has moved on from there. We no longer live in a world in which everything is as clearly delineated or separated from each other. We live in a world in which boundaries start to blur between the different domains, and in which collaboration and interaction becomes far more important than keeping separations. So we wanted to think of a giant culture machine, a building that would orchestrate and animate the various domains, but allow them to interact and collaborate. At the base of it is a very simple module, a ring module. It can function as a double-loaded corridor, has daylight, has ventilation. It can be glazed over and turned into a giant exhibitional performance space. These modules were stacked together with the idea that almost any function could, over time, occupy any of these modules. So institutions could shrink or contract, as, of course, the future of culture is, in a way, the most uncertain of all. This is how the building sits, adjacent to the Aquatics Centre, opposite the Olympic Stadium. And you can see how its cantilevering volumes project out and engage the public space and how its courtyards animate the public inside.
當然,依家社會已經比當時進步咗好多 我哋唔再係活喺一個 每樣嘢都界定清楚嘅世界 我哋生活係一個 領域分類開始模糊嘅世界 一個合作同互動遠比保持分開 更加緊要嘅世界 所以我哋想建立一個大型嘅文化機器 即係一座會協調並賦予 唔同領域生命嘅建築物 但建築物同時又容許 領域之間互動同合作 而建築物底部係一個非常簡單嘅模組 一個環形模組 佢有一條內廊式走廊,有日照同通風 佢係通透嘅 噉就可以變成一個大型展覽表演嘅空間 呢啲模組堆砌埋一齊 大部分活動都可以 用任何一個呢啲嘅模組 機構就可以咁而縮細規模 因為喺未來,文化某種程度嚟講 係最無法預測嘅一樣嘢 呢棟建築將坐落水上運動中心隔嚟 喺奧運會場對面 你可以睇到佢嘅懸臂式空間係點 伸延同融入咗公眾空間 同佢嘅中庭係點帶俾公眾娛樂
The idea was to create a complex system in which institutional entities could maintain their own identity, in which they would not be subsumed in a singular volume. Here's a scale comparison to the Centre Pompidou in Paris. It both shows the enormous scale and potential of the project, but also the difference: here, it is a multiplicity of a heterogeneous structure, in which different entities can interact without losing their own identity. And it was this thought: to create an organizational structure that would allow for multiple narratives to be scripted -- for those in the educational parts that create and think culture; for those that present the visual arts, the dance; and for the public to be admitted into all of this with a series of possible trajectories, to script their own reading of these narratives and their own experience.
個諗法係創造一個複雜嘅系統 俾裡面嘅機構可以維持佢哋嘅形象 但又唔會被當係建築物 大空間嘅一小部分 呢個係同法國巴黎 龐畢藝術中心嘅比例對照圖 顯示出呢個項目嘅龐大規模同潛力 但都有唔一樣嘅地方 佢係一個多重合成建築物 裡面唔同嘅機構可以互動 而又同時不失佢哋嘅形象 個諗法係咁嘅:創造一個組織結構 可以令唔同故事都可以描述出嚟 包括從事教育同創造文化嘅人 表演視覺藝術、舞蹈嘅人 以及公眾,俾佢哋用唔同方式欣賞呢啲嘢 然後由呢幾批人闡述佢哋 對呢啲故事嘅理解同本身嘅經歷
And I want to end on a project that is very small, in a way, very different: a floating cinema in the ocean of Thailand. Friends of mine had founded a film festival, and I thought, if we think of the stories and narratives of movies, we should also think of the narratives of the people that watch them. So I designed a small modular floating platform, based on the techniques of local fishermen, how they built their lobster and fish farms. We collaborated with the local community and built, out of recycled materials of their own, this fantastical floating platform that gently moved in the ocean as we watched films from the British film archive, [1903] "Alice in Wonderland," for example. The most primordial experiences of the audience merged with the stories of the movies.
我想講一個計劃嚟做總結 呢個計劃其實又細又同其他計劃好唔同 個計劃係一個泰國嘅水上電影院 我有朋友搵到一個電影節 我諗如果我哋思考電影嘅故事同讀白 我哋應該都可以思考 睇呢部戲嘅觀眾佢哋自己嘅讀白 所以我設計咗一個小型模組式水上平台 用嚟自當地漁民嘅技術整出嚟 用佢哋起龍蝦田同魚田嘅技術 我哋同當地社區合作 起咗呢個由佢哋回收返嚟嘅物料 製成嘅迷人水上平台 我哋一路睇英國電影檔案館嘅戲 好似 1904 年嘅「愛麗絲夢遊仙境」 我哋一路慢慢移個平台去海度 我哋仲發現原來本地人嘅經歷 同電影嘅情節相同
So I believe that architecture exceeds the domain of physical matter, of the built environment, but is really about how we want to live our lives, how we script our own stories and those of others.
所以我相信,建築設計超越物質同建築 而真係同我哋想點生活 點樣闡述我哋同人哋嘅故事息息相關
Thank you.
多謝
(Applause)
(掌聲)