I don't know your name. Audience Member: Howard. Howard.
你叫什麼名字?(觀眾:Howard. Howard.)
Thom Mayne: Howard? I'm sitting next to Howard. I don't know Howard, obviously, and he's going, I hope you're not next.
Thom Mayne: Howard? 我就坐在Howard的旁邊。很顯然我並不認識他。 而且他正準備離開。我希望你們不是下一個。
(Laughter)
(笑聲)
Amazing. Amazing performance. I kind of erased everything in my brain to follow that. Let me start some place. I'm interested -- I kind of do the same thing, but I don't move my body. (Laughter) And instead of using human figures to develop ideas of time and space, I work in the mineral world. I work with more or less inert matter. And I organize it. And, well, it's also a bit different because an architect versus, let's say, a dance company finally is a negotiation between one's private world, one's conceptual world, the world of ideas, the world of aspirations, of inventions, with the relationship of the exterior world and all the limitations, the naysayers. Because I have to say, for my whole career, if there's anything that's been consistent, it's been that you can't do it. No matter what I've done, what I've tried to do, everybody says it can't be done. And it's continuous across the complete spectrum of the various kind of realities that you confront with your ideas.
非常精彩。非常精彩的表演。 看完它之後,我幾乎都要忘記我要講什麽了。 不過,讓我整理一下思路。我喜歡-- 我的工作(跟剛才的表演)差不多,但是我不擺動我的身體。 我不使用肢體語言來表達時間和空間的理念 相反,我在礦物世界里工作,和沒有生氣的材料打交道 然後,我把它們組織起來。然後,恩,這里的話 因為一個建築師,和一個,比方說,舞蹈團,是不一樣的 一個建築師最終要在他的個人世界 他理想中的思想世界,靈感世界, 充滿了創造的世界,和外面的世界 以及各種限制,反對者做協調。 因為我必須說,在我的職業生涯中 如果有任何事是持久的,那就是“你做不到” 不管我的作品如何,不管我怎樣努力 所有人都說,這不可能做到 這種“不可能”一直出現在每一次 我的想法和現實的碰撞中
And to be an architect, somehow you have to negotiate between left and right, and you have to negotiate between this very private place where ideas take place and the outside world, and then make it understood. I can start any number of places, because this process is also -- I think -- very different from some of the morning sessions, which you had such a kind of very clear, such a lineal idea, like the last one, say, with Howard, that I think the creative process in architecture, the design process, is extremely circuitous. It's labyrinthine. It's Calvino's idea of the quickest way between two points is the circuitous line, not the straight line. And definitely my life has been part of that. I'm going to start with some simple kind of notions of how we organize things.
作為一個建築師,你不得不在左和右中進行協調 你不得不把你想法產生的這個非常個人的世界 和外面的世界進行協調,使它讓人理解 我可以從任何一個地方說起,因為這個過程也是 我認為,和今天早上的一些有著非常清晰明確的 理念的演講不同 就像上一個,比如說,Howard的演講 我認為建築中創造的過程, 設計的過程是非常迂迴的。就像一個迷宮。 Calvino認為兩點間最快的途徑是 一條曲線,而不是直線 而我的人生就是這樣的 我打算从一些簡單的觀念 來引出我們的工作流程
But basically, what we do is, we try to give coherence to the world. We make physical things, buildings that become a part in an accretional process; they make cities. And those things are the reflection of the processes, and the time that they are made. And what I'm doing is attempting to synthesize the way one sees the world and the territories which are useful as generative material. Because, really, all I'm interested in, always, as an architect, is the way things are produced because that's what I do. Right? And it's not based on an a priori notion. I have no interest at all in conceiving something in my brain and saying, "This is what it looks like." In fact, somebody mentioned -- Ewan, maybe it was you in your introduction -- about this is what architects -- did somebody say it's what business people come to, it's what the corporate world comes to when they want to make it look like something at the end of the line? Huh. Wow. It doesn't work that way for me at all. I have no interest in that whatsoever.
但是基本上,我们嘗試做的是把這個世界連為一體 我们建造具体的東西,建築。 他們逐漸成為疊加過程的一部份,最終成為城市。 而這些具體的東西就是這個過程 和這個時代的反映 而我現在正試圖在做的是把人們看待世界的方式 和一直生產著各種材料的土地整合起來 因為,真的,我所感興趣的,作為一個建築師 總是事物成型的方式,這就是建築師的工作,不是嗎? 而且,這並不是基於某個前提 我對於事先在我大腦里設想一個模型,並對自己說 這就是它應該有的樣子的事情沒有一點興趣,事實上,有人說過 Ewan,可能你在你的介紹中提到過 這就是建築師的工作 有人說,這不就是商人們做的事嗎 當企業想讓這項目看似很概念時 這不就是那些企業做的事嗎?的確 我才不信這套 我對這些屁話完全不感興趣
Architecture is the beginning of something, because it's -- if you're not involved in first principles, if you're not involved in the absolute, the beginning of that generative process, it's cake decoration. And I've nothing wrong with cake decoration and cake decorators, if anybody's involved in cake decorations -- it's not what I'm interested in doing. (Laughter) And so, in the formation of things, in giving it form, in concretizing these things, it starts with some notion of how one organizes. And I've had for 30 years an interest in a series of complexities where a series of forces are brought to bear, and to understand the nature of the final result of that, representing the building itself. There's been a continual relationship between inventions, which are private, and reality, which has been important to me.
建築是事物的開始,因為-- 如果你沒有一開始就投入 如果你沒有從生產過程的最開始 的地方投入。這就知識一個蛋糕的裝飾。 而且我--蛋糕裝飾和蛋糕裝飾師沒有過錯 如果有任何人裝飾過蛋糕-- 這只是不是我想要做的 所以,事物成型的過程,我們賦予它形狀,賦予它-- 把它實體化的過程 要從一開始我們怎樣組織事物的觀點開始。 30年來,我一直對各種事物的複雜性深感興趣。 各方力量被聚集在一起,去承受 和理解作為一個建築本身 的最終結果的本質。 一直以來,私人的設計和 現實,對我來說很重要的現實之間存在著一種持續的聯繫。
A project which is part of an exhibition in Copenhagen 10 years ago, which was the modeling of a hippocampus -- the territory of the brain that records short-term memory -- and the documentation of that, the imaginative and documentation of that through a series of drawings which literally attempt to organize that experience. And it had to do with the notion of walking a kilometer, observing every kilometer a particular object of desire, and then placing that within this. And the notion was that I could make an organization not built on normal coherencies, but built on non-sequiturs, built on randomness. And I'd been extremely interested in this notion of randomness as it produces architectural work and as it definitely connects to the notion of the city, an accretional notion of the city, and that led to various ideas of organization. And then this led to broader ideas of buildings that come together through the multiplicity of systems.
十年前在哥本哈根某展覽有一個作品 那是一個海馬體的模型 就是那個在人腦中儲存和記錄短期記憶的區域 這個作品極富想像力地 用一系列圖畫非常直觀地去表現海馬區的變化 這裡我不得不提到一個“行走一公里"的概念 把每一公里看做願望中的一個特定的目標 然後把這個觀念替換到事物成型的過程中 而這個觀念就是我可以組織一個事物 不是根據一般的連貫性,而是根據一種不連貫,建立在完全隨意的基礎上 這種隨意性一直深深地吸引著我 因為它創造了建築 並且與城市的發展緊緊相連 城市的自然形成 同時它指出了事物組織的多樣性 再由此導出了更廣泛的建築理念 這些理念又通過多樣的系統 融合在一起
And it's not any single system that makes the work. It's the relationship -- it's the dynamics between the systems -- which have the power to transform and invent and produce an architecture that is -- that would otherwise not exist. And those systems could be identified, and they could be grouped together. And of course, today, with the technology of the computer and with the rapid prototyping, etc., we have the mechanisms to understand and to respond to these systems, and to allow them to adjust to the various accommodations of functionalities because that's all we do. We're producing spaces that accommodate human activity. And what I'm interested in is not the styling of that, but the relationship of that as it enhances that activity. And that directly connects to ideas of city-making.
一個系統是不能完成工作的 它們之間是有聯繫的 系統間是動態的過程 他是有力量去改變和發明的 并創造出那種不存在的建築 這樣的系統是可以被實際利用的 是可以被組合在一起的 當然,如今我們有電腦的幫忙 還有快速打樣和其它的幫助,我們具備了完整的 機制去理解和回應這些系統 並且讓他們調整到對應我們需求的功能 因為這就是就是我們所做的。 我們建造空間去滿足人類各種活動的需求 讓我感興趣的不是這些空間的樣式風格 而是它如何提高人們開展各種活動的順利性 這與城市的規劃建造直接相關。
This is a project that we just finished in Penang for a very, very large city project that came directly out of this process, which is the result of the multiplicity of forces that produce it. And the project -- again, enormous, enormous competition -- on the Hudson River and in New York that we were asked to do three years ago, which uses these processes. And what you're looking at are possibilities that have to do with the generation of the city as one applies a methodology that uses notions of these multiple forces, that deals with the enormity of the problem, the complexity of the problem, when we're designing cities at larger and larger aggregates. Because one of the issues today is that the economic aggregate is driving the development aggregate, and as the aggregates get larger we require more and more complex investigation processes to solve these problems. And that led us directly to the Olympic Village.
這是我們剛在馬來西亞的平安島完成的項目 是一個非常非常大的城市規劃,是這個理念的直接體現 各種力量交織最終產生了這個設計 而這個三年前我們應邀參加的,--不得不提,競爭相當激烈-- 在紐約哈德遜河上的項目 也使用了這個過程。 你現在看到的是一種可能性 可能用一種方法 去應對城市的產生 同時 這種方法使用到了多方面力量的理念 可以解決重大的問題 複雜的問題 當我們設計的城市越來越大時 因為當今社會的一大問題就是 經濟的發展快速推進了城市建設的發展 隨著發展的增加,我們的越來越需要 更複雜詳盡的調查去解決這些問題。 奧林匹克村就是這樣一個例子。
I was in New York on Monday presenting it to the IOC. We won the competition -- what was it, nine months ago? Again, a direct reflection from using these processes to develop extremely complicated, very large-scale organisms. And then, also, was working with broad strategies. In this case, we only used 15 of the 60 acres of land, and the 45 acres was a park and would become the legacy of the Olympic Village. And it would become the second largest park in the boroughs, etc. Its position, of course, in the middle of Manhattan -- it's on Hunter's Point. And then the broader ideas of city-making start having direct influences on architecture, on the elements that make up the broader scheme, the buildings themselves, and start guiding us. Architecture for me has been an investigation of a multiplicity of forces that could come from literally any place. And so I can start this discussion in any number of places, and I've chosen three or four to talk about. And it has also to do with an interest in the vast kind of territory that architecture touches. It literally is connected to anything in terms of knowledge base. There's just no place that it doesn't somehow have a connective tissue to.
星期一我在紐約把它展示給奧組委。 然後我們拿下了這個項目--這是什麽時候的事情了?九個月以前? 這又是一個運用這些過程 來解決非常複雜,大規模項目的例子 然後,就是要採取各種廣泛策略。 在奧運村的項目里,我們只用了60英畝中的15英畝, 剩下的45畝是一個公園,而且會成為奧運村的永久保留財富。 同時它還將成為這個行政區劃里第二大的公園,諸如此類。 它的位置,當然,是在曼哈頓的中心,在Hunter's Point 於是,城市規劃的理念開始 對建築以及組成大藍圖、建築本身的 各種因素有了直接的影響 並且開始指引我們。 對我來說,建築就是一項對可能產生自任何領域的 的各種力量進行的研究。 所以我可以對建築進行任何一方面的討論 我這裡只選了幾個來談談 我對它們的興趣在於其中的建築 都與它們所在的地理區域緊密相連。 其實建築與各個知識領域都是有關聯的。 就想人體沒有哪一個建構 可以脫離結締組織一樣。
This is Jim Dine, and it's the absence of presence, etc. It's the clothing, the skin, without the presence of the character. It became kind of an idea for the notion of the surface of a work, and it was used in a project where we could unravel that surface, and it was a figurative idea that was going to be folded and made into a very, kind of complex space. And the idea was the relationship of the space, which was made up of the fold of the image, and the dialectic or the conflict between the figuration, and the clarity of the image and the complexity of the space, which were in dialog. And it made us rethink the whole notion of how we work and how we make things, and it led us to ideas that were closer to fashion design as we flattened out surfaces, and then brought them back together as they could make spatial combinations. And this was the first prototype in Korea, as we're dealing with a dynamic envelope, and then the same characteristic of the fabric. It has a material identity and it's translucent and it's porous, and it allows us for a very different notion of what a skin of a building is. And that turned right away into another project.
這是Jim Dine的作品,缺失的存在 這裡有衣服,有皮膚,但卻沒有一個人物 它要表現的概念是作品的表面 這個概念被我們用在了其中的一個項目中,我們可以揭開表面 然後這個抽象的平面圖形可以折叠起來 變成非常複雜的空間。 它想要表達的是空間的結構 由幾層圖形和衝突組成的 衝突則是圖形的清晰 和空間的複雜 之間可調和的衝突 這讓我們重新思考長久以來我們是如何工作 以及如何創造與生產 當我們把表面平展時我們就更接近服裝設計的領域。 然後把他們重新組合,就又回到了空間組合。 這是在韓國的一個項目的模型。 我們在做一個動態信封。 這些材料有著相同的屬性。 這種材料很特別,半透明而且多孔, 它為建築的表面提供了新的選擇。 而且它可以馬上在另外一個項目里,變成另外一個樣子。
This is the Caltrans building in Los Angeles. And now we're seeing as the skin and the body is differentiated. Again, it's a very, very simple notion. If you look at most buildings, what you look at is the building, the facade, and it is the building. And all of a sudden we're kind of moving away, and we're separating the skin from the body, and that's going to lead to broader performance criteria, which I'm going to talk about in a minute. And you're looking at how it drapes over and differentiates from the body. And then, again, the building itself, middle of Los Angeles, right across from City Hall. And as it moves, it takes pieces of the earth with it. It bends up. It's part of a sign system, which was part of the kind of legacy of Los Angeles -- the two-dimension, three-dimension signing, etc. And then it allows one to penetrate the work itself. It's transparent, and it allows you to understand, I think, what is always the most interesting thing in any building, which is the actual constructional processes that make it.
這是洛杉磯的加州交通總部大樓。 我們可以看到,建築的表面和主題是可以區別的, 再強調一下,這是一個非常非常簡單的理念。 如果你看看周圍的建築, 你看到的是建築的外觀,而這就是建築 然後突然間,我們有種遠離建築的感覺 就像皮和肉分離似的 這就導出了廣義的建築表面標準 我之後會具體講一講 看它是如何垂下 與母體分開的 再一次,這棟樓本身 就在洛杉磯的市中心,市政府的對面 當它動起來時 地球的一部份就跟它一起 彎曲 它是成為了系統的一部份, 成爲了洛杉磯的文化遺產, 2D 3D的標誌 然後它讓我們深入到作品中, 它是透明的,我認為,這便於使人理解, 這總是建築中最有趣的地方, 實際的建築過程賦予了它這個特性。
And it's probably the most intense kind of territory of the work, which is not occupied, because architecture is always the most interesting in some mechanism when it's separated from function, and this is an area that allows for that. And then the skin starts transforming into other materials. We're using light as a building material in this case. We're working with Keith Sonnier in New York, and we're making this large outside room, which is possible in Los Angeles, and which is very much reflective of the urban, the contemporary urban environments that you would find in Shibuya or you'd find in Mexico City or Sao Paulo, etc., that have to do with activating the city over a longer span of time. And that was very much part of the notion of the urban objective of this project in Los Angeles.
這可能是建築中最有張力的部份 它沒有被填滿 因為在建築的構造和功能分開的時候 才是它最吸引人的時候 而我們現在在做的就是這個。 然後,建築的表層可以轉換為其它材料, 在這個案例里,我們使用了燈光作為表層材料。 我們和紐約的Keith Sonnier合作, 製作了這個龐大的燈光系統 它很配洛杉磯,很能反映當代的 城市環境 那種你能在東京涉谷,墨西哥城, 或巴西聖保羅見到的城市景觀 這樣的建築可以長時間的讓城市處於活躍狀態。 這也是這個項目 非常適合洛杉磯的原因。
And, again, all of it promoting transparency. And an image which may be closest talks about the use of light as a medium, that light becomes literally a building material. Well, that immediately turned into something much broader, and as a scope. And again, we're looking at an early sketch where I'm understanding now that the skin can be a transition between the ground and the tower. This is a building in San Francisco which is under construction. And now it turned into something much, much broader as a problem, and it has to do with performance. This will be the first building in the United States that took -- well, I can't say it took the air conditioning out. It's a hybrid. I wanted a pure thing, and I can't get it. It's a wrong attitude, actually, because the hybrid is probably more interesting.
而且,我想再一次強調,它推崇透明化。 而且用它來談燈光作為媒介的用途再合適不過了, 燈光真正的成為了建築材料 這大大拓寬了我們的視野--我們的工作餘地也大大增加了。 再次地,我們現在看到的是一幅早期的草圖 根據我的理解 它的表層可以成為地面和塔身的國度 這棟樓在舊金山,還在建造中。 現在它看起來有很大的問題 與建築表面相關的問題 這是在美國境內的第一棟-- 我不能說它完全去除了空調,它還是一個過渡混合品。 我想要一個純粹的,但是我沒辦法得到它。 這是一個錯誤的態度,因為實際上,雜種可能更更有意思。
But we took the air conditioning out of the tower. There's some air conditioning left in the base, but the skin now moves on hydraulics. It forces air through a Venturi force if there's no wind. It adjusts continually. And we removed the air conditioning. Huge, huge thing. Half a million dollars a year delta. 10 of these -- it's just under a million square feet -- 800 and some thousand square feet -- 10 of these would power Sausalito -- the delta on this. And so now what we're looking at, as the projects get larger in scale, as they interface with broader problems, that they expand the capabilities in terms of their performance. Well, I could also start here. We could talk about the relationship at a more biological sense of the relationship of building and ground.
我們把塔樓中的空調都拿掉了 但保留了一些在底座 現在建築的表層,在液壓下可以移動。 它把空氣押進來,如果沒有風的話,就採用機器鼓風。 它可以一直工作。有了它,我們就可以把空調去掉了。 非常了不起,每年能給三角洲節約50萬美元。 其中十塊-- --每塊大概有800到1000平方英尺(288到360平米)-- 這裡面的十塊就足夠薩所利托,三角洲的所在地的能量供給。 所以現在我們看到的是,隨著項目規模不斷增大, 就會牽涉到更多、各種各樣的問題, 它們的規模越大 發展空間就越大。 我們再看看這一個項目 我們可以從生物學的角度 來探討一下建築和土地的關係。
Well, our research -- my generation for sure, people who were going to school in the late '60s -- made very much a shift out of the internal focus of architecture, looking at architecture within its own territory, and we were much more affected by film, by what was going on in the art world, etc. This is, of course, Michael Heizer. And when I saw this, first an image and then visited, it completely changed the way I thought after that point. And I understood that building really could be the augmentation of the Earth's surface, and it completely shifted the notion of building ground in the most basic sense. And then -- well, he was probably looking at this -- this is Nazca; this is 700 years ago -- the most amazing four-kilometer land sculptures. They're just totally incredible. And that led us to then completely rethinking how we draw, how we work.
我們的研究--我們這一代人 60年代末上小學的這代-- 對建築的關注不再局限於建築的內部結構 而是把建築和它所在的地域聯繫起來 我們深受電影 和藝術的影響 這是,顯然的,邁克爾海澤的作品 當我看到它時,第一次只是一張照片,後來又去現場看過 這完全顛覆了我之前的觀點 我瞭解到建築真的可以 增強地球表面的視覺衝擊力 它完全顛覆了以前只把地面當做地基的普遍看法。 這個--可能當時它從這裡得到了啓發--這是秘魯境內的納斯卡高原 已經有七百年的歷史了--最宏偉綺麗的長達四公里的土地雕塑。 不可思議的自然奇跡。 它讓我們重新思考我們畫圖和工作的整個過程。
This is the first sketch of a high school in Pomona -- well, whatever it is, a model, a conceptual, kind of idea. And it's the reshaping of the Earth to make it occupiable. So it puts 200,000 square feet of stuff that make a high school work in the surface of that Earth. There it is modeled as it was developing into a piece of work. And there it is, again, as it's starting to get resolved tectonically, and then there's the school. And, of course, we're interested in participating with education. I have absolutely no interest in producing a building that just accommodates X, Y and Z function. What I'm interested in are how these ideas participate in the educational process of young people. It demands some sort of notion of inquiry because it's a system that's developed not sculpturally.
這是加州波莫納高中一所高中的最初草圖。 好吧,不管它是什麽,它是一個模型,一個概念化的想法 想要通過重塑當地的地表,讓我們可以利用。 我們佔用了大概20萬平方英尺的土地, 好讓一所高中可以和土地結合起來 這個模型已經有點作品的樣子了 然後,是解決一些技術問題 然後,這個學校最終的樣子 當然,我們的興趣== 我們很喜歡參與教育工作 我對建造那種要滿足X,Y和Z功能的 的建築完全不敢興趣 我好奇的是,包含在建築中的觀點 會怎樣影響在這裡學習的年輕人。 這需要有探求精神 因為這不是一個死板發展得系統
It's an idea that started from my first discussion. It has to do with a broad, consistent logic, and that logic could be understood as one occupies the building. And there's an overt -- at least, there's an attempt to make a very overt notion of a building that connects to the land in a very different way because I was interested in a very didactic approach to the problem, as one would understand that. And the second project that was just finished in Los Angeles that uses some of the same ideas. It uses landscape as a major idea. Then, again, we're doing the headquarters for NOAA -- National Oceanographic and Atmospheric Agency -- outside of Washington in Maryland. And this is how they see the world. They have 22 satellites zipping around at plus or minus 100 miles, and the site's in red.
他和我最開始的討論有關 它包含了一個寬廣又連貫的邏輯 這當我們在建築裏面時是可以體會得到的 這其中有一種隱秘的-- 至少,我們嘗試用一種隱秘的方式表達 土地與建築的鏈接 因為我一直希望賦予問題解決的過程一些教學意義 可以讓人們看到建築時得到一點啓發 這個項目剛剛在洛杉磯完成 運用了同樣的理念,把 然後我們正在設計建造NOAA的總部 美國國家海洋和大氣局 在華盛頓城外,馬裡蘭州里 他們看到的世界是這樣的 他們有22個衛星以時速100英里的速度飛速運行 紅色部份是建築所在地
And what we really want to do -- well, the architects, if there are architects out there, this is the Laugier Hut; this is the primitive hut that's been around for so long -- and what we wanted to do is really build this, because they see themselves as the caretakers of the world, and we wanted them to look down at their satellite, how they see their own site, that eight-acre site, and we wanted nothing left. We wanted it to stay green. There's actually three baseball fields on it right now, and they're going to stay there. We put one piece directly north-south, and it holds the dishes at the ears, right? And then right below that the processing, and the mission lift, and the mission control room, and all the other spaces are underground. And what you look at is an aircraft carrier that's performance-driven by the cone vision of these satellite dishes. And that the building itself is occupied in the lower portion, broken up by a series of courts, and it's five acres of uninterrupted, horizontal space for their administrative offices. And then that, in turn, propelled us to look at larger-scale projects where this notion of landscape building interface becomes a connective tissue.
我們真正想做的--我是指,建築師 如果這還算個職業的話--這就是勞吉爾小屋 這是一個非常原始的小屋,看起來已經在那兒很久了 而我們想要做的是建一個類似的東西 因為他們把自己看做世界的保護人 我們想讓他們從衛星圖里看看 看看自己的根據地,那塊八英畝大的地方時 什麽也找不到。我們希望那裡始終是綠色的。 現在圖中看到的建築物上鋪了三塊棒球場 他們會一直待在那 我們把一塊南北向放置 衛星接收器像兩隻耳朵,對不? 棒球場下方是操作室和任務室 和任務控制室,其它空間都在地下 你現在看到的是一個搭載航母 它表現如何就要看這些衛星都能接收到什麽樣的吐了 建築物的下半部份 被一系列場地分開 這裡有五英畝的連續的空間 作為管理人員辦公室 這又一次驅使我們關注 大規模項目中建築與地形的交接面 變成了結締組織
The new capital competition for Berlin, four years ago. And again we just finished the ECB -- actually Coop Himmelblau in Vienna just won this project, where the building was separated into a series of landscape elements that became part of a connective tissue of a park, which is parallel to the river, and develops ideas of the buildings themselves and becomes part of the connective fabric -- the social, cultural and the landscape, recreational fabric of the city. And the building is no longer seen as an autonomous thing, but something that's only inextricably connected to this city and this place at this time.
四年前柏林新首都的競賽 還有,這是我們剛剛完成的歐洲中央銀行圖紙-- 很可惜,維也納的庫普希米爾布勞建築事務所拿下了這個項目 我們的方案中,整個建築物被分為一系列的地形元素 成爲了公園中連接各個部份的結締組織 他們與河平行,讓每棟建築都由地形衍生 成爲了連接結構的一部份-- 具有社會,文化,地域,娛樂功能的城市結構 建築不再是一個孤立的個體 而是與周圍的環境緊密相連 與城市的每一分每一秒都聯繫在一起
And a project that was realized in Austria, the Hooper Bank, which again used this idea of connecting typology, the traditional buildings, and morphology, or the relationship of the development of land as an idea, into a complex, which is a piece of a city where we can see part of it is literally just this augmenting, this movement of the land that's a very simple idea of just lifting it up and occupying it, and other parts are much more energetic and intense. And talk about that intensity in terms of the collisions of the kind of events they make that have to do with putting a series of systems together, and then where part of it is in the ground, part of it is oppositional lifts. One enters the building as it lifts off the ground, and it becomes part of the idea. And then the skin -- the edges of this -- all promote the dynamic, the movement of the building as a series of seismic shifts, geologic shifts. Right?
還有一個在奧地利完成的項目,胡珀銀行 其中也用到了“連接”的基本概念 還有傳統的建築,以及擬態學, 或者說將土地變成整個計劃的構件 成為整個複雜設計中的一部份,讓地形作為城市的一部份 在作品中呈現出來,得到放大 這種處理地形的方法其實很簡單,就是將 原有的地形上升,進行填充 其它的地方則比較緊湊 說到緊湊 這種緊湊帶來各種空間交錯衝突的效果 與將一系列系統放在一起,一部份藏在地下,一部份在地上 帶來的錯雜的效果直接關聯 當人走入建築物,同時也離開了地表 這也是整個構想的一部份 然後是建築的外層 用一系列地震般,地殼運動一樣的活動 賦予建築動態感
And it makes for event space and then it breaks in places that allow you to peer into the interior, and those interiors, again, are promoting transparency for the workplace, which has been a continual interest of ours. And then, again, in a more, kind of traditional setting, this is a graduate student housing in Toronto, and it's very much about the relationship of a building as it makes a connective tissue to the city. The main idea was the gateway, where it breaks the site, and the building occupies both the public space and the private space. And it's that territory of -- it's this thing. I visited the site many times, and everybody, kind of -- you can see this from two kilometers away; it's an exact center of the street, and the whole notion is to engage the public, to engage buildings as part of the public tissue of the city.
這能創造出幾塊破碎的空間 讓你可以看到建築的裏面 這些內部 由增強了建築的 透明度 這是我們一直的想法 再來 這一個較傳統的建築 這是多倫多的學生公寓 但是卻傳達出了建築與城市的關係 因為它與城市很有機的聯繫在了一起 大門是讓它很獨特的地方 還有就是 建築是用的公用地和私人地 感覺這是建築物的領地 我去了幾次這個地方 路人都有點(他沒講了) 你可以看到這樣的感覺從2公里外街道的中心 建築物就像是嵌在了市區里 是城市公共組織的一部份
And finally, one of the most interesting projects -- it's a courthouse. And what I want to talk about -- this is the Supreme Court, of course -- and, well, I'm dealing with Michael Hogan, the Chief Justice of Oregon. You could not proceed without making this negotiation between one's own values and the relationship of the character you're working with and how he understands the court, because I'm showing him, of course, Corbusier at Savoy, which is 1928, which is the beginning of modern architecture. Well, then we get to this image. And this is where the project started. Because I'm going, I'm interested in the phenomenon that's taking place in here. And really what we're talking about is constructing reality.
最後是 這個城市中最有趣的 建築 它的法院 當然我想說的是 這是最高法院 當然 我是與最高法官Michael Hogan聊過的 在沒有在你的價值觀和要在這裡 與我們我們一起工作的人 瞭解他們是怎麼理解這個法院的 你是無法進行工作的 因為 我給他看的是Cobusier(著名建築家)在Savoy(法國某地) 1928時的作品 可以說是現代建築的開端 然後我們得 到了這樣一個形象 這也是工程開始的地方 我很感興趣在那裡所發生的事 我們在討論的是如何去建造現實
And I'm a character that's extremely interested in understanding the nature of that constructed reality because there's no such thing as nature any more. Nature is gone. Nature in the 19th-century sense, alright? Nature is only a cultural edifice today, right? We construct it and we construct those ideas. And then of course, this one, our governor at the moment. And we spent some time with Conan, believe it or not, and then that led us to, kind of, the very differences of our worlds from a legal and an artistic, architectural. And it forced us to talk about notions of how we work, and the dynamics of that, and what other sources of the work is. And it led us to the project, the courthouse, which is absolutely a part of a negotiation between tradition and pieces of the traditional courthouse. You'll find a stair that's the same length as the Supreme Court. Here's a piano nobile, which is a device used in the Renaissance. The courts were made of that. The skin is this series of layers that reflect even rusticated stonework, but which were embedded with fragments of the Constitution, which were part of the little process, all set on a plinth that defined it from the community. Thank you so much.
而且我也是一個極度對理解 自然感興趣的人 因為自然已經不在了 自然在19世紀很有感覺吧 但現在只是文化建築 對吧 我們可以構建自然和那些理念 這個事是我們當時的主管 我們還見到了Conan(美國虛構英雄)信不信由你 這讓我們感受到了很大的不同 與我們這個法制美學有結構的世界 這讓我們重新考慮應該用怎麼的理念做我們的工作 應表達怎樣的變化 應該用到怎樣的元素 我們便得到了這樣一個法院 這絕對是考慮了傳統后 得到的答案 你可以看到它有和最高法院一樣長的臺階 這是一個有客廳的樓層 在文藝復興很常見的設計 他的外層是由幾套層狀結構 構造的 表現的是一種石器風格 但是又刻上了憲法的一部份 這也是現代與古代調和的一部份 底座上的結構又把它與社區分開 謝謝!
(Applause)
(掌聲)