There's a beautiful statement on the screen that says, "Light creates ambiance, light makes the feel of a space, and light is also the expression of structure." Well, that was not by me. That was, of course, by Le Corbusier, the famous architect. And here you can see what he meant in one of his beautiful buildings -- the chapel Notre Dame Du Haut De Ronchamp -- where he creates this light that he could only make because there's also dark. And I think that is the quintessence of this 18-minute talk -- that there is no good lighting that is healthy and for our well-being without proper darkness.
这里有一句富于美感的箴言 “氛围成于光, 空间生于光, 建筑述诸于光。” 这不是我的句子 这是著名建筑师 勒·柯布西耶的名句。 这里你可以看出他要表达的意思 这是他所设计众多的美丽建筑之一—— 法国朗香教堂。 这种光照效果 是在对暗的利用中呈现出的。 这就是接下来18分钟演讲 的重心所在了。 没有适当的暗 就无所谓健康和对人类有益 的照明。
So this is how we normally would light our offices. We have codes and standards that tell us that the lights should be so much Lux and of great uniformity. This is how we create uniform lighting from one wall to the other in a regular grid of lamps. And that is quite different from what I just showed you from Le Corbusier. If we would apply these codes and standards to the Pantheon in Rome, it would never have looked like this, because this beautiful light feature that goes around there all by itself can only appear because there is also darkness in that same building. And the same is more or less what Santiago Calatrava said when he said, "Light: I make it in my buildings for comfort." And he didn't mean the comfort of a five-course dinner as opposed to a one-course meal, but he really meant the comfort of the quality of the building for the people. He meant that you can see the sky and that you can experience the sun. And he created these gorgeous buildings where you can see the sky, and where you can experience the sun, that give us a better life in the built environment, just because of the relevance of light in its brightness and also in its shadows.
我们办公室的照明一般都是这样的。 按照惯常的标准大家会认为 照明就应该是这样奢侈、 整齐划一的。 我们就用这种制式的灯与栅格板 在墙与墙之间 制造出整齐的照明。 这种照明设计 与之前我为大家展示的勒·柯布西耶的设计 是大不相同的。 如果我们照这种惯例与标准 设计罗马万神殿的话 神殿就不会像现在这个模样了。 因为这样美丽的光的特写 随着时间自然的围绕着穹顶变换 是只有在同一建筑里暗的存托下 才能显现出来的。 这与设计师圣地亚哥·卡拉特拉瓦所说的 “照明,在我的设计中是用来享受的” 颇有些类似。 这里他所指的享受并非五道菜的正餐 相对于一道菜便餐的享受, 他所指的是真正意义上 建筑的宜人设计带给人们的精神愉悦。 他所指的是在这建筑里你可以看到天空 可以享受阳光。 于是他设计了这些华丽的建筑 即使身在建筑里你也可以看到天空 可以享受阳光。 这样的建筑环境给予我们更多的享受 仅仅是因为他结合了光的 明亮与阴影。
And what it all boils down to is, of course, the sun. And this image of the Sun may suggest that the Sun is something evil and aggressive, but we should not forget that all energy on this planet actually comes from the Sun, and light is only a manifestation of that energy.
浓缩而成的,便是阳光。 这张太阳的图片所显示的 是太阳可怕侵略的一面。 但要记住这颗星球上的所有能源 都来源于太阳。 光不过是这种能源的 一种表达形式而已。
The sun is for dynamics, for color changes. The sun is for beauty in our environment, like in this building -- the High Museum in Atlanta, which has been created by Renzo Piano from Italy, together with Arup Lighting, a brilliant team of lighting designers, who created a very subtle modulation of light across the space, responding to what the sun does outside, just because of all these beautiful openings in the roof. So in an indirect way, you can see the sun. And what they did is they created an integral building element to improve the quality of the space that surrounds the visitors of the museum. They created this shade that you can see here, which actually covers the sun, but opens up to the good light from the sky. And here you can see how they really crafted a beautiful design process with physical models, with quantitative as well as qualitative methods, to come to a final solution that is truly integrated and completely holistic with the architecture. They allowed themselves a few mistakes along the way. As you can see here, there's some direct light on the floor, but they could easily figure out where that comes from. And they allow people in that building to really enjoy the sun, the good part of the sun.
太阳是能动的,它主导明暗的变化 为我们的生存环境创造美, 正如这个建筑所展示的一样。 这座位于亚特兰大的高等艺术博物馆 由来自意大利的伦佐·皮亚诺 与英国奥雅纳照明设计团队 合作设计而成。 这个设计 利用在屋顶的众多开口 对应外界的阳光 从而形成在这个空间里 对光线的微妙调控。 所以间接地 人们也能都感受到阳光。 他们正是利用 这个关键的建筑元素 来提高游客对周围空间 的质感。 这里大家可以看到 他们设计了这种形状的挡板 正好可以遮住阳光 又不至于阻碍光线的进入。 接下来你们可以看到 他们的整个设计进程 物理模具 结合定量、定性两种分析方法 得出一个最终方案 与整个建筑形成完美的 统一与结合。 设计的时候他们故意留下了一些不完美的地方。 大家可以看到,这里,有一些光线直射向地板, 但他们也可以立刻判断出这光束来自哪里。 他们让这建筑里的人们 真正的享受阳光, 享受太阳的好的一面。
And enjoying the sun can be in many different ways, of course. It can be just like this, or maybe like this, which is rather peculiar, but this is in 1963 -- the viewing of a sun eclipse in the United States. And it's just a bit bright up there, so these people have found a very intriguing solution. This is, I think, a very illustrative image of what I try to say -- that the beautiful dynamics of sun, bringing these into the building, creates a quality of our built environment that truly enhances our lives. And this is all about darkness as much as it is about lightness, of course, because otherwise you don't see these dynamics.
当然享受阳光 可以有很多种方式。 可以像这样, 也可以像这样,虽然方式古怪了点, 这其实是1963年 美国人们观赏 一次日蚀的景象。 直视太阳的话会太刺眼, 所以人们想到了这个滑稽的方式。 接下来我想为大家介绍这张图片 它展示了太阳的能动, 投射进建筑的光线 提高了这些人造环境的质量 让我们的生活更显美好。 这是光线的功劳 也在同等程度上归功于阴暗。 因为没有阴暗的对比,你根本无法观察到这样的变化。
As opposed to the first office that I showed you in the beginning of the talk, this is a well-known office, which is the Weidt Group. They are in green energy consulting, or something like that. And they really practice what they preach because this office doesn't have any electric lighting at all. It has only, on one side, this big, big glass window that helps to let the sunlight enter deep into the space and create a beautiful quality there and a great dynamic range. So it can be very dim over there, and you do your work, and it can be very bright over there, and you do your work. But actually, the human eye turns out to be remarkably adaptable to all these different light conditions that together create an environment that is never boring and that is never dull, and therefore helps us to enhance our lives.
这里我要向大家展示一间 和开始时那间完全不同的办公室, 这间办公室颇有名气,该团队为自己取名叫“白色”, 从事绿色能源咨询或者类似业务。 他们确实无愧于自己的生意 这间办公室就没有使用一个人工照明。 它只在一边墙的位置 装上了巨大的玻璃窗, 屋外的阳光可以照到 整间办公室 提供高质量的照明同时富于明暗的变化。 这样你工作的时候有时光线变得昏暗 有时又变得明亮。 但是人类的眼睛 却能非常好地适应 所有这些光线的明暗变化, 而正是这些明暗变化让整个工作环境 不在死板无趣, 同时提高了我们的生活质量。
I really owe a short introduction of this man to you. This is Richard Kelly who was born 100 years ago, which is the reason I bring him up now, because it's kind of an anniversary year. In the 1930s, Richard Kelly was the first person to really describe a methodology of modern lighting design. And he coined three terms, which are "focal glow," "ambient luminescence" and "play of the brilliants" -- three very distinctly different ideas about light in architecture that all together make up this beautiful experience.
今天我一定要把这个人介绍给大家。 他叫理查德.凯利 出生于一百年前 这就是为什么现在我要把他提出来 因为今年是他的诞辰100周年。 上世纪30年代,理查德.凯利第一个 正式提出 现代照明设计的的理念。 他提出了三个概念, 焦点光, 环境光, 以及华光。 这三种光在建筑设计的概念中 差别很大, 正是这三种光一起 缔造了现代建筑带来的美妙体验。
So to begin with, focal glow. He meant something like this -- where the light gives direction to the space and helps you to get around. Or something like this, which is the lighting design he did for General Motors, for the car showroom. And you enter that space, and you feel like, "Wow! This is so impressive," just because of this focal point, this huge light source in the middle. To me, it is something from theater, and I will get back to that a little bit later. It's the spotlight on the artist that helps you to focus. It could also be the sunlight that breaks through the clouds and lights up a patch of the land, highlighting it compared to the dim environment. Or it can be in today's retail, in the shopping environment -- lighting the merchandise and creating accents that help you to get around.
我们先来看焦点光。 焦点光的概念是指 可在空间里指明方位的光 人们根据这种光找到自己想去的地方。 或者是这种他自己为“通用”的车展会场 所做的光照设计。 你一走进会场, 就会想:“噢,这也太炫目了吧。” 引发这种感觉的正是中间这巨大光源 形成的焦点光。 对我来说这有些像剧院, 这个我会在稍后说明。 聚焦在演员身上的灯光 让观众的注意力集中于演员身上。 焦点光也可以是穿过云层透射下的阳光 只照亮一小块土地。 让其 在相对昏暗的环境中凸显出来。 或者像在今天的购物区,商家们 使用射灯照亮商品,
Ambient luminescence is something very different. Richard Kelly saw it as something infinite, something without any focus, something where all details actually dissolve in infinity. And I see it as a very comfortable kind of light that really helps us to relax and to contemplate. It could also be something like this: the National Museum of Science in London, where this blue is embracing all the exhibitions and galleries in one large gesture.
制造出一种氛围促使你到处逛逛。 环境光是完全不同的另一种光。 理查德.凯利把它看做一种存在于无限空间的, 没有聚焦的光, 所有的细节 都溶在了这个无限的空间里面。 在我看来,这是一种很舒服的光, 可以让人放松, 引人沉思。 它可以是这样的: 这是位于伦敦的英国国家科学博物馆。 无限的蓝色 将所有的展品和美术品 包容在一起。
And then finally, Kelly's play of brilliants added to that really some play, I think, of the skyline of Hong Kong, or perhaps the chandelier in the opera house, or in the theater here, which is the decoration, the icing on the cake, something playful, something that is just an addition to the architectural environment, I would say. These three distinct elements, together, make a lighting environment that helps us to feel better. And we can only create these out of darkness. And I will explain that further. And I guess that is something that Richard Kelly, here on the left, was explaining to Ludwig Mies van Der Rohe. And behind them, you see that Seagram Building that later turned into an icon of modern lighting design.
最后轮到凯利的华光理念。 香港的天际线是个绝佳的例子, 或者这个歌剧院的大吊灯。 又或者像我们这个剧院 这个吊灯用来装饰的部分 像是蛋糕上的糖衣,十分有趣 对整个建筑环境 起着修饰的作用。 这三种截然不同的概念 一起使整体的照明环境 更适于我们的生活。 而没有对暗的利用我们也无法创造出这些。 之后我会对这个进行进一步的解释。 我想,理查德.凯利,左边的这位,在向 密斯·凡德罗解释的就是这个吧。 他们身后的正是西格拉姆大厦, 后来正是这栋大厦 成为现代照明设计的符号象征。
Those times, there were some early attempts also for light therapy already. You can see here a photo from the United States Library of Medicine, where people are put in the sun to get better. It's a little bit of a different story, this health aspect of light, than what I'm telling you today. In today's modern medicine, there is a real understanding of light in an almost biochemical way. And there is the idea that, when we look at things, it is the yellow light that helps us the most, that we are the most sensitive for. But our circadian rhythms, which are the rhythms that help us to wake and sleep and be alert and relaxed and so forth and so on, they are much more triggered by blue light. And by modulating the amount of blue in our environment, we can help people to relax, or to be alert, to fall asleep, or to stay awake.
那个时候,也已经有人开始 对光照疗法进行早期尝试。 这是美国国家医疗图书馆的一张照片, 病人们被安置在阳光下进行康复。 这种阳光的医疗作用 与今天我将向大家介绍的 有些不同。 在今天的现代医疗领域 人们已经从一种类生化的视角 对光有了真正的认识。 有一种说法是, 我们看东西的时候 黄光对我们最为有益, 且肉眼最为敏感。 但如果从我们的昼夜节律来讲, 这种节律提醒我们什么时候该醒来,什么时候该休息, 主导我们的警觉与放松诸如此类。 但是这种节律却由蓝光主导。 如果对我们环境中的蓝光 进行适当调控, 就可以帮助人们放松或者调整到警惕状态, 帮助人们入睡或保持清醒。
And that is how, maybe in the near future, light can help hospitals to make people better sooner, recover them quicker. Maybe in the airplane, we can overcome jet lag like that. Perhaps in school, we can help children to learn better because they concentrate more on their work. And you can imagine a lot more applications. But I would like to talk further about the combination of light and darkness as a quality in our life.
现在我们能做的只有这些, 但也许在不久的将来, 医院可以通过控制照明 促使病人更快、 更好的康复。 或许在飞机上 也可以应用这个来帮助人们调整时差。 学校里也可以通过这个来提高孩子的课堂注意力 改善孩子们的学习状况。 大家还可以举出更多的例子。 但是接下来我还想继续讨论 光与暗 的统一 对我们生活质量的影响。
So light is, of course, for social interaction also -- to create relationships with all the features around us. It is the place where we gather around when we have to say something to each other. And it is all about this planet. But when you look at this planet at night, it looks like this. And I think this is the most shocking image in my talk today. Because all this light here goes up to the sky. It never reaches the ground where it was meant for. It never is to the benefit of people. It only spoils the darkness. So at a global scale, it looks like this. And, I mean, that is quite amazing, what you see here -- how much light goes up into the sky and never reaches the ground. Because if we look at the Earth the way it should be, it would be something like this very inspiring image where darkness is for our imagination and for contemplation and to help us to relate to everything.
毋庸置疑,在社会互动里也是一样,照明 编织着我们与 周围一切的关系。 它是我们想相互倾诉时, 我们会聚在一起的地方。 它是这颗星球。 当你在夜晚观察这颗星球,它就是这个样子。 我觉得这是我今天的演讲里 最让人震惊的一张图片。 因为,这些光照 其实全部都向外照射到天空。 它们根本就不像人们设想的那样 照向地面。 这些照明并没有为人类所用。 它们只不过是毁坏了黑夜的美丽。 从全球来看,图像变成了这样。 这是相当令人讶然的情况,你们从这里可以看到 有多少光径直射向了天空 根本没有到达过地面。 如果没有这些人为滥用的灯光,还地球本来面貌, 那么我们看到的地球应该是这样一副让人震撼的图画, 这里黑暗能够启发我们的想象力, 促使我们冥想, 启迪我们与万物之间的联系。
The world is changing though, and urbanization is a big driver of everything. I took this photo two weeks ago in Guangzhou, and I realized that 10 years ago, there was nothing like this, of these buildings. It was just a much smaller city, and the pace of urbanization is incredible and enormous. And we have to understand these main questions: How do people move through these new urban spaces? How do they share their culture? How do we tackle things like mobility? And how can light help there? Because the new technologies, they seem to be in a really interesting position to contribute to the solutions of urbanization and to provide us with better environments.
然而这世界已经变了, 而城市化正是一切变化的幕后推手。 这张照片是两周前我在广州拍摄的, 10年前的广州, 完全没有一点这些建筑的影子。 那时候它只是一个小城市, 它城市化的速度 真是让人叹为观止。 我们不禁要开始考虑这些问题: 人们是用什么样的方式穿行于这许多新兴的城市区域呢? 人们怎样共享彼此的文化呢? 流动人口的问题又是如何解决的呢? 在这里照片能帮到人们什么呢? 新兴的照明技术 似乎将照明应用在 解决城市化问题与提供更加宜居环境上 置于了一个尴尬的位置。
It's not that long ago that our lighting was just done with these kinds of lamps. And of course, we had the metal-halide lamps and fluorescent lamps and things like that. Now we have LED, but here you see the latest one, and you see how incredibly small it is. And this is exactly what offers us a unique opportunity, because this tiny, tiny size allows us to put the light wherever we really need it. And we can actually leave it out where it's not needed at all and where we can preserve darkness. So that is a really interesting proposition, I think, and a new way of lighting the architectural environment with our well-being in mind. The problem is, though, that I wanted to explain to you how this really works -- but I can have four of these on my finger, so you would not be able to really see them. So I asked our laboratory to do something about it, and they said, "Well, we can do something." They created for me the biggest LED in the world especially for TEDx in Amsterdam.
尚在不久之前, 我们仍在使用这种灯泡 进行照明。 当然,我们也有复金属灯与荧光灯 或者类似的东西。 现在我们有LED(发光二极管)灯 这里你们可以看到最新的一款, 体积非常小。 这种灯给了我们现在一个独一无二的机会, 因为这个极小的体积 我们完全可以把它带在身边,需要的时候拿出来 不需要的时候就关掉 以保证对黑暗的需求。 我觉得这是一个非常不错的提议。 它同时也提供了一种新的健康的 建筑照明方式。 现在我想向大家展示一下LED是如何工作的, 但是它体积太小,我的小指上都能放下四个LED, 这样你们也没办法看清楚。 所以我拜托我的研究室想想办法, 然后他们说:“没问题, 我们可以做些改进。” 于是他们为我,也特别为本次TEDx阿姆斯特丹演讲 制造了一个世界上最大的LED灯管。
So here it is. It's the same thing as you can see over there -- just 200 times bigger. And I will very quickly show you how it works. So just to explain. Now, every LED that is made these days gives blue light. Now, this is not very pleasant and comfortable. And for that reason, we cover the LED with a phosphor cap. And the phosphor is excited by the blue and makes the light white and warm and pleasant. And then when you add the lens to that, you can bundle the light and send it wherever you need it without any need to spill any light to the sky or anywhere else. So you can preserve the darkness and make the light. I just wanted to show that to you so you understand how this works.
就是这个。 这和屏幕上显示的是同一个东西——不过是放大了200倍。 现在我向大家快速地解释一下 它的工作原理。 现在的LED发出的都是 蓝光。 就现在这个样子看的话会让人有些不适。 所以 我们要在LED外面 加盖一个磷帽子 磷被蓝光照射而活跃 最终使光变成温暖柔和的白光。 然后在上面加上一块透镜片, 就可以将光聚在一起照射到理想的地方, 避免光浪费找到 天空或者其他什么地方了。 这样既可以照明也不至于破坏应有的黑暗。 我只是想在你们面前演示一遍 这样你们就能明白它的工作原理了。
(Applause)
谢谢。
Thank you.
(Applause)
我们继续刚才的话题。
We can go further. So we have to rethink the way we light our cities. We have to think again about light as a default solution. Why are all these motorways permanently lit? Is it really needed? Can we maybe be much more selective and create better environments that also benefit from darkness? Can we be much more gentle with light? Like here -- this is a very low light level actually. Can we engage people more in the lighting projects that we create, so they really want to connect with it, like here? Or can we create simply sculptures that are very inspiring to be in and to be around? And can we preserve the darkness? Because to find a place like this today on Earth is really very, very challenging. And to find a starry sky like this is even more difficult.
是时候该检讨我们城市照明的方式了。 我们应该重新考虑 是否该将照明作为一种城市的默认状态。 为什么高速公路上要通宵照明? 真的需要吗? 照明是不是应该有选择性 以便我们能从黑暗中受益得到更宜居的环境? 我们是否应在照明上有所节制了? 比如说像这样——这已经是一种相对低耗能状态了。 我们能不能号召到更多的人们 参与到我们这个节能照明计划中来, 这样他们也能像这样更好地融入整个照明环境? 或者我们能不能单纯地设计出这样的雕塑般的建筑 无论从里面还是外面都是美的享受? 我们能够保护黑暗不受照明的侵蚀吗? 因为要在现今的地球找到这样一个地方 已经是非常不容易。 找到这样的星空更是难上加难。
Even in the oceans, we are creating a lot of light that we could actually ban also for animal life to have a much greater well-being. And it's known that migrating birds, for example, get very disoriented because of these offshore platforms. And we discovered that when we make those lights green, the birds, they actually go the right way. They are not disturbed anymore. And it turns out once again that spectral sensitivity is very important here.
即便是在海上,大规模的照明 也大大影响了 野生动物的健康生活。 比如说,众所周知的,鸟类在迁徙的时候 会因为这些海上平台的照明设施的干扰 而迷路。 而且我们发现,如果我们将这些照明的灯光变为绿色, 这些鸟儿在飞行时就不会收到干扰, 也不会迷路。 由此亦可见 分光敏度的 重要性。
In all of these examples, I think, we should start making the light out of darkness, and use the darkness as a canvas -- like the visual artists do, like Edward Hopper in this painting. I think that there is a lot of suspense in this painting. I think, when I see it, I start to think, who are those people? Where have they come from? Where are they going? What just happened? What will be happening in the next five minutes? And it only embodies all these stories and all this suspense because of the darkness and the light.
从这所有的例子中,我以为 我们要开始利用暗反衬出明, 将黑暗作为一张画布—— 正如视觉艺术家 比如爱德华·霍珀在这幅画里的表现手法一样。 这幅画里有狠多留白, 当我看到这幅画的时候, 就会去想,这都是些什么人呢? 他们从哪儿来,又到哪儿去? 刚刚发生了什么事情?5分钟后又会发生什么事情? 正是由于画家对光与暗的合理利用 才使这画能容纳下这所有的故事与留白。 爱德华·霍珀对光与暗的熟稔运用
Edward Hopper was a real master in creating the narration by working with light and dark. And we can learn from that and create more interesting and inspiring architectural environments. We can do that in commercial spaces like this. And you can still also go outside and enjoy the greatest show in the universe, which is, of course, the universe itself. So I give you this wonderful, informative image of the sky, ranging from the inner city, where you may see one or two stars and nothing else, all the way to the rural environments, where you can enjoy this great and gorgeous and beautiful performance of the constellations and the stars.
使他不愧为一位真正的 叙事大师。 我们可以从中学习 并创造出更多有趣而震撼人心的建筑。 我们可以将一个娱乐场所做这样的设计 而你也可以走出户外 享受宇宙演出的最华丽的乐章, 即宇宙本身。 这是一组很有意思的星空图, 它们里面包含了很多东西。 从市中心观察天空, 只能看到一两颗星星甚至什么都看不到。 往偏远郊区去, 也就能欣赏到 美丽壮观的 灿烂星河。
In architecture, it works just the same. By appreciating the darkness when you design the light, you create much more interesting environments that truly enhance our lives. This is the most well-known example, Tadao Ando's Church of the Light. But I also think of Peter Zumthor's spa in Vals, where light and dark, in very gentle combinations, alter each other to define the space. Or Richard MacCormac's Southwark tube station in London, where you can really see the sky, even though you are under the ground.
对于建筑来说也是一样的道理。 如果在设计照明的时候加入对暗元素的欣赏 设计出的环境就更生动有趣 我们的生活也会得益于此。 接下来是个非常著名的例子, 安藤忠雄设计的光之教堂。 同时让我想起了 彼得·祖索尔设计的瑞士瓦尔斯热澡堂 光与暗柔和的相映成趣 互相的变化构架起整个空间。 还有理查德.麦科马克所设计的伦敦南部地铁站 那里你虽然身处地下 却仍然能看到天空。
And finally, I want to point out that a lot of this inspiration comes from theater. And I think it's fantastic that we are today experiencing TEDx in a theater for the first time because I think we really owe to the theater a big thanks. It wouldn't be such an inspiring scenography without this theater. And I think the theater is a place where we truly enhance life with light.
最后我想说的事 我这里许多的灵感都是来自这家剧院 我真的非常开心今天大家能够第一次在这家剧院齐聚一堂, 共同体验TEDx演讲。 我想我们都应该向这家剧院道一声谢。 如果不是这家剧院 今天的众多图例展示不会有这么震撼的效果。 我以为,这家剧院是一个 可以真正利用照明来提高我们的生活质量的地方。
Thank you very much.
谢谢大家。
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