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.
在螢幕上有個美妙的見解: 「光線創造氛圍, 光線製造空間的感受, 且光線是構造的表現。」 這不是我說的, 是名建築家 柯比意說的。 在這裡你可以從他美麗的建築物中 瞧出端倪。 巴黎廊香教堂便是一棟 他運用光線的範例, 而這樣的光線必須由黑暗相伴。 而我認為這是 這十八分鐘演講的精華: 若沒有適當的黑暗, 就沒有所謂的 健康、有用的光明。
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.
這是我們平常如何照明辦公室。 我們有規範和標準 告訴我們燈光需要多亮 且需要多整齊。 這是我們如何 利用整齊的光格 製造兩牆間一致的照明。 而這與我剛剛給你們看的 柯比意運用的方式 是很不同的。 如果我們運用一樣的規範和標準 在羅馬的神殿中, 它看起來就不會是這樣的, 因為這美麗的光線特色 讓光可以環繞自己, 只能存在於 建築物本身也包含黑暗的狀況下。 同樣的Santiago Calatrava(西班牙建築家)說: 「我在我的建築中使用光線, 來達到舒適感。」 且他的意思不是五道式晚宴 與一道式簡餐的差別, 而是建築物本身 帶給人的舒適感。 他的意思是你可以看天空 且感受到太陽。 且他設計了一些華麗的建築, 從中你可以看到天空 亦可感受陽光。 那讓我們在這樣設計的環境中有更好的生活, 因為光的明亮 也因為光的陰影。
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.
這全都是因為太陽。 這張太陽的圖片可能會讓人覺得 太陽是個邪惡且具侵略性的東西。 但我們不該忘記的是 這星球上所有的能量都來自於太陽。 且光線僅僅只是 這能量的表象。
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.
太陽是動態的、會改變顏色的, 太陽是我們環境中美麗的來源, 就像在這個建築物中-- 亞特蘭大的高等藝術博物館-- 是由義大利的倫佐皮亞諾 和奧雅納萊丁共同創造的。 這是組非常聰明的光線設計師, 他們設計了 一個非常微妙的光線變化, 讓空間中的光線 能隨著室外陽光作變化, 而他們運用的就是天花板的孔洞。 所以間接的 人們可以看到太陽。 所以他們做的是 設計了一個與建築物融合的元素 來改善空間的品質, 來包圍博物館中的參觀民眾。 他們設計了這樣的遮光物, 在螢幕上可以看到, 可以遮住太陽 但讓天空中許多光線進入。 在這裡你們可以看到 他們如何在設計過程中 運用物理模型 運用量化和質化的方法 才來到這個最終的東西, 這是真正融合 整個建築物的設計。 在過程中他們讓自己有犯錯的空間。 就像你們可以看到的,地上有些直射的光, 但他們可以很輕易的找出問題來源。 且他們讓在屋子中的人 可以盡情地享受陽光, 有用的陽光。
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.
享受陽光 可以有很多不同種的方式。 可以只是這樣, 或是這樣有些怪的方式, 但這是1963年-- 在美國看到的 日蝕。 這邊有點太亮了, 所以人們想到了這樣有趣的解決方式。 這是,我認為很能說明我想要解釋的東西-- 就是太陽美妙的變化, 當融入建築物後, 可以創造一個能夠 提升生活品質的環境。 且這全都與黑暗有關 重要程度跟光線一樣, 因為如果沒有黑暗就感受不到變化。
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.
相對於我一開始 給你們看的辦公室, 這是一間很有名的辦公室,叫做白組織。 他們做的是類似綠色能源諮商的事情。 且他們真的言行一致, 因為他們的辦公室沒有使用任何電力照明。 他們只有一邊 有很大很大的玻璃窗戶 可以讓太陽光進來, 進到空間當中, 且產生了這美妙的特色和動態的變化。 所以那邊可以很暗,且你可以做事, 也可以很亮,你仍然可以做事。 但事實上人眼 是據有極高適應性的, 對於各種的光線變化, 讓這些創造一個 永遠不會無聊單調的環境, 且讓我們改善生活。
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.
我應該要介紹一個人。 他叫做裡查克利。 他生於一百年前, 這也是我要提他的原因, 因為有點像是週年紀念。 在1930年代,裡查克利是第一個 真的去解釋 現代燈光設計方法的人。 他創立了三個名詞, 「焦點光」、 「環境照明」、 和「亮點特色」。 雖然是建築照明中 非常不同的東西, 但加起來 組成美妙的體驗。
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.
所以從焦點光開始。 他是指 光線如何在空間中指示方位 且幫助你找到要去的地方。 換句話說,像他幫 General Motors設計的汽車展示場。 當你進到那個空間時, 會感受到「哇!這令人印象深刻」 就是因為有焦點光, 就是中間的巨大光來源。 對我來說這是從劇場來的, 我晚點再回來說這個。 這是照在藝術家的聚光燈, 幫助你聚焦。 這也可以是透過雲層照出來的太陽光 照亮一小塊地, 讓它在旁邊暗的環境中 顯得突出。 或是可以是今天的零售店,在一個買東西的環境中, 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.
製造一個讓你到處逛逛的氛圍。 環境照明則不同。 裡查克利認為它是無邊的, 是沒有焦點的, 是個所有細節 都散在無邊的環境中。 我認為它是一個舒適的光線, 讓我們放鬆 及思考。 它也可以是這樣的: 在倫敦的國家科學博物館中, 藍光 圍繞著所有的展示品 及展覽廳。
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.
然後最後,克利運用亮點。 就像是香港的地平線, 或是歌劇院的水晶燈, 或是這個劇場, 就是個裝飾, 像是蛋糕上的糖衣,有趣的東西, 或是只是一個 附加在建築物環境的東西。 這三樣不同的元素 加在一起可以製造一個 讓我們感覺更好的環境。 且這只能在有黑暗的狀況下才能達到。 我會再解釋更多。 我猜這是裡查克利,在左手的那位, 想要解釋給Ludwig Mies Van der Rohe(德國建築師)聽的。 在他們後面你可以看到西格拉母大廈, 這座建築之後 成為現代燈光設計的代表。
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.
在那時候,已經開始有一些 早期的燈光治療。 你看到這裡是美國醫藥圖書館, 有些人在太陽光下療傷。 這是有點不一樣的, 這個光的健康因素, 這部份和我今天要談的不大一樣。 在現今的醫學中, 對光線有一定的瞭解, 且主要是以生化的角度來看待。 有這樣的說法: 當我們看東西時, 黃光對我們幫助最大, 且是我們最敏感的光源。 但我們的晝夜節律 就是調控我們起床、睡覺、 清醒、放鬆的節律, 反而對藍光比較敏感。 利用調節環境中的 藍光, 我們可以幫助人們放鬆或警戒、 睡眠或清醒。
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.
這也是 或許在不遠的未來 醫院可以利用光線 來幫助病人 更快康復。 或是在飛航中, 我們可以利用這個克服時差。 或是在學校,我們可以幫助孩子們學習, 因為他們可以更專注於學習。 且你們可以想出更多用途。 但我想要更深入地談 光與暗 的結合 在我們生活品質的影響。
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.
光,顯然的,與社會互動有關, 能夠建立我們 與生活周遭的關係。 它是當我們有事情要和別人說時 圍繞的中心。 且它也敘述了這個地球。 但當你在夜晚看這顆行星時,它會長這樣。 且我認為這是我今天的演講中 最驚人的一張圖片。 因為這裡所有的光 都會到天空去。 光不會到達 它應該到的地面上。 它不會幫助人類。 它只會糟蹋黑暗。 所以在世界的尺度看,看起來像這樣。 我的意思是,這非常驚人的,你可以看到 有多少光往天上去 且不會到地面。 因為地球應有的樣子, 會是個看起來非常具有啓發性的圖像, 它的陰影幫助我們想像、 讓我們沈思、 讓我們更加瞭解我們與周遭的關係。
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.
但這個世界正在改變, 且文明是所有事情的驅動力。 我兩個禮拜前在廣州拍了這張照片, 而我意識到十年前, 不會有這樣的建築物。 只會有個小很多的城市, 且文明的腳步 是驚人且巨大的。 所以我們需要瞭解,最重要的問題是: 人們如何在不同的文明中移動? 他們如何分享他們的文化? 我們該如何解釋移動這種事情? 且光要如何幫助我們? 因為有新的科技, 他們似乎處在一個非常有趣的位置, 讓他們能夠提供文明的解答 且讓我們有更好的環境。
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.
在不久以前 我們的光還來自於 這樣的燈泡。 當然的,我們也有金屬鹵化燈和螢光燈 那類的東西。 現在我們有LED, 這裡你可以看到最新的, 你可以看到他有多麼小。 且這提供了我們獨一無二的機會, 因為這很小很小, 讓我們可以隨心所欲地置放光。 我們也可以在我們不需要的地方取消光, 讓我們可以保存黑暗。 且我認為這是一個非常有趣的主張, 一個新的光線用法,建築一個 以我們的健康為出發點的環境。 問題是我想要解釋給你們聽這怎麼運作的, 但我沒有辦法在手中一次拿四個這個東西, 你們會沒有辦法看到。 所以我請我們實驗室解決這個問題, 且他們說:「好,我們可以解決這個問題。」 他們幫我創造了一個世界上最大的LED, 專門為阿姆斯特丹TEDx製造的。
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.
就在這了。 這跟你們在那看到的一樣,只是大了兩百倍。 且我會很快地給你們看這怎麼運作的。 好,解釋一下。 現今製造的每個LED燈 都是藍色光的。 這不是非常愉快和舒適的。 由於這個原因, 我們在LED上 加上磷光劑, 磷會被藍光激發 成為溫暖且舒服的白光。 然後你在上面加個透鏡, 就可以將光線聚集成束狀,你可以讓光照到任何你想要的地方, 且不會有多餘的光跑到 天空或是你不想要的任何地方。 所以你可以保存黑暗且製造光亮。 我只是想要給你們看這個, 所以你們會瞭解這如何運作的。
(Applause)
謝謝。
Thank you.
(Applause)
我們可以繼續。
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.
所以我們需要重新思考我們如何照明城市。 我們需要重新思考 光線如何作為初始的解決方案。 為什麼這些道路永遠亮著呢? 這真的是需要的嗎? 我們是不是可以做更好的選擇 來建造一個更好的環境讓我們可以從黑暗中得利? 我們可以更溫和地使用光嗎? 像在這裡,這是個低光線的環境。 我們是不是可以讓更多人參與 這個我們創造的照明計畫, 所以他們真的能夠感受到光?就像在這裡。 或是我們是不是可以建立一個 能夠讓在理面和在周圍的人感到振奮的雕塑品? 我們是不是可以保存黑暗? 因為今天要在地球上找到一個像這樣的地方 非常非常難。 若要找到這樣的星空就更難了。
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.
就算在海洋上,我們也用了很多光線。 且為了動物們生活、達到更好的環境, 這些光線事實上是可以拿掉的。 舉例來說,候鳥 會因為這些不在岸上的光源 而方向錯亂。 且我們發現,如果我們將這些光改成綠色的, 鳥兒們就會往對的方向飛。 他們就不再被影響了。 所以再次的, 光譜靈敏度 非常重要。
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.
我認為在這所有例子中, 我們應該要從黑暗中製造光線, 且將黑暗當作帆布, 就像視覺藝術家一樣, 像Edward Hopper在這幅畫表現的一樣。 我認為這幅畫中有很多懸念。 我想,當我看到它時, 我會想,這些人是誰? 他們從拿裡來?他們要去哪裡? 剛剛發生了什麼事?接下來的五分中會發生什麼事? 而且它之所以會給人這麼多想像這麼多懸念 就是因為他運用的黑暗和光線。 Edward Hopper是個
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.
運用光與暗 來製造旁白的大師。 且我們可以從中學習, 來創造更多有趣且具啓發性的建築環境。 我們可以在像這樣的商業場合這麼做。 且你仍然可以到外面 且享受宇宙最棒的演出, 當然的,就是宇宙自己。 所以我給你們這個美妙的、富含資訊的 天空之圖, 從市中心 只能看到一、兩顆星星其他都看不到, 一直到鄉村地方 可以欣賞 星座和星星編織出來 美妙地演出。
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.
在建築上也是一樣的。 當你設計光線時,透過欣賞黑暗, 你可以創造更多有趣的、 可以改善生活的環境。 這是最有名的例子, Tadao Ando的教堂之光。 但我也想到 Peter Zumthor在瓦爾斯的溫泉, 在那裡光與暗溫和地結合、 改變對方來定義空間。 或是Richard McCormach在倫敦建造的南部地鐵站, 一個你可以在地底下 看到天空的設計。
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.
最後我要說明, 很多的想法來自於劇場。 且我認為我們今天的TEDx 第一次在劇場舉辦很棒, 因為我認為我們欠劇場很多。 若不是劇場, 這些場景不會這麼振奮人心。 且我認為劇場是一個 我們真正利用光來改善生活的地方。
Thank you very much.
謝謝。
(Applause)
(掌聲)