Hello, my name is Thomas Heatherwick. I have a studio in London that has a particular approach to designing buildings. When I was growing up, I was exposed to making and crafts and materials and invention on a small scale. And I was there looking at the larger scale of buildings and finding that the buildings that were around me and that were being designed and that were there in the publications I was seeing felt soulless and cold. And there on the smaller scale, the scale of an earring or a ceramic pot or a musical instrument, was a materiality and a soulfulness. And this influenced me. The first building I built was 20 years ago. And since, in the last 20 years, I've developed a studio in London. Sorry, this was my mother, by the way, in her bead shop in London. I spent a lot of time counting beads and things like that.
大家好,我叫做Thomas Heatherwick 我在倫敦有間工作室 那裏有些特殊 設計建築物的方法 在我成長的過程中 我接觸過製造業 工藝和材料 和一些小型的發明 在當中 我會注意一些大型的建築物 然後我發現 在我們周遭的建築物 和那些設計過的建築物 還有在公共區域看到的建築物 我覺得那些建築物沒有靈魂而且冰冷 反倒是一些小東西 像是耳環 或陶鍋 或樂器 都是具體而且充滿感情 這點影響了我 20年前我蓋了第一棟建築物 從那時起 我在倫敦設立了一個工作室 抱歉,忘了說,這位是我母親 這是在她倫敦的串珠店 我花了很多時間在數珠子之類的東西
I'm just going to show, for people who don't know my studio's work, a few projects that we've worked on. This is a hospital building. This is a shop for a bag company. This is studios for artists. This is a sculpture made from a million yards of wire and 150,000 glass beads the size of a golf ball. And this is a window display. And this is pair of cooling towers for an electricity substation next to St. Paul's Cathedral in London. And this is a temple in Japan for a Buddhist monk. And this is a cafe by the sea in Britain.
我現在要為那些不知道我工作室的人 介紹我們做過的幾個案子 這是棟醫院 這是間皮包公司的門市 這裡是藝術家的工作室 這是一座 用一百萬碼的金屬線 和150,000顆 高爾夫球大的玻璃珠做成的雕塑 這是櫥窗裝置藝術設計 這是一座位在倫敦 聖保羅大教堂旁的 雙塔式地下變電所的冷卻系統 這是在日本 為一位僧人所建的寺院 這是英國一間 面海的咖啡廳
And just very quickly, something we've been working on very recently is we were commissioned by the mayor of London to design a new bus that gave the passenger their freedom again. Because the original Routemaster bus that some of you may be familiar with, which had this open platform at the back -- in fact, I think all our Routemasters are here in California now actually. But they aren't in London. And so you're stuck on a bus. And if the bus is going to stop and it's three yards away from the bus stop, you're just a prisoner. But the mayor of London wanted to reintroduce buses with this open platform. So we've been working with Transport for London, and that organization hasn't actually been responsible as a client for a new bus for 50 years. And so we've been very lucky to have a chance to work. The brief is that the bus should use 40 percent less energy. So it's got hybrid drive. And we've been working to try to improve everything from the fabric to the format and structure and aesthetics.
接著是 我們最近在進行的案子 受到倫敦市長委託 設計新的雙層巴士 要讓乘客 得以再自由地上下車 原本在座各位 所熟悉的雙層巴士 在車體的後方有個開放式的車門 事實上,我覺得我們原本的那些雙層巴士 現在都在加州這裡 不在倫敦了 所以你會被困在公車上 如果公車快到站了 距離公車站三碼左右時 就會像個犯人被關在車上 現在倫敦市長希望 重新設計有開放式車門的雙層巴士 因此我們一直與倫敦交通局合作 這個部門 實際上已經有50年 沒有採購 新的公車了 我們非常幸運有這個機會做這件案子 簡單說新的公車要減少使用百分之40的能源 所以會採用油電混和系統 我們也一直 嘗試要改善 包括材質 形體、結構 美觀等等 所有的事情
I was going to show four main projects. And this is a project for a bridge. And so we were commissioned to design a bridge that would open. And openings seemed -- everyone loves opening bridges, but it's quite a basic thing. I think we all kind of stand and watch. But the bridges that we saw that opened and closed -- I'm slightly squeamish -- but I once saw a photograph of a footballer who was diving for a ball. And as he was diving, someone had stamped on his knee, and it had broken like this. And then we looked at these kinds of bridges and just couldn't help feeling that it was a beautiful thing that had broken.
我現在要介紹四個比較重要的案子 這是一座橋樑的案子 當時我們被要求要設計一座可以開合的橋樑 開合式的橋 每個人都愛這種橋 不過這是相當基本的 我相信大家都會站在一旁看橋開合 但我們看見橋 打開和閉合 我其實不太喜歡 我曾經看過一張足球員的照片 照片中球員要鏟球 當他要鏟球時,有人用腳踩他的膝蓋 就會像這樣斷裂 然後再回去看這些會開合的橋 我就忍不住會想 這美麗的東西斷裂開了
And so this is in Paddington in London. And it's a very boring bridge, as you can see. It's just steel and timber. But instead of what it is, our focus was on the way it worked. (Applause) So we liked the idea that the two farthest bits of it would end up kissing each other. (Applause) We actually had to halve its speed, because everyone was too scared when we first did it. So that's it speeded up.
這是在倫敦的帕丁頓 這是座相當普通的橋 只用鋼材和木材建造 但先不管材質 我們的重點是它開合的方式 (掌聲) 我們很喜歡這個點子 橋的兩端最後會連結疊在一起 (掌聲) 實際上我們把開合的速度減半 因為我們首次啟用時嚇壞了大家 這是速度比較快的時候
A project that we've been working on very recently is to design a new biomass power station -- so a power station that uses organic waste material. In the news, the subject of where our future water is going to come from and where our power is going to come from is in all the papers all the time. And we used to be quite proud of the way we generated power. But recently, any annual report of a power company doesn't have a power station on it. It has a child running through a field, or something like that.
我們最近一直在做的案子是 設計一座新的生質能源發電廠 發電廠將會使用有機廢料來發電 新聞裡 未來的水資源從哪來 未來的能源要從何取得 總是不斷地被討論 我們曾經對我們發電的方式感到驕傲 但是近來 沒有任何一間電力公司 會把發電廠印製在年度報告裡 都是孩子跑過田野的畫面,諸如此類
(Laughter)
(笑聲)
And so when a consortium of engineers approached us and asked us to work with them on this power station, our condition was that we would work with them and that, whatever we did, we were not just going to decorate a normal power station. And instead, we had to learn -- we kind of forced them to teach us. And so we spent time traveling with them and learning about all the different elements, and finding that there were plenty of inefficiencies that weren't being capitalized on. That just taking a field and banging all these things out isn't necessarily the most efficient way that they could work.
所以當某個工程團體和我們聯繫時 希望我們和他們一起合作發電廠的案子 我們的條件是我們會和他們合作 但我們不會只是 去裝飾美化一座正常的發電廠 我們反而會和他們學習,要他們教導我們 我們花了時間和他們相處 了解發電廠所有的配置 我們發現有相當多沒有效率的部分 而且不符合成本效益 找一塊地,把所有的設備都蓋好 並不一定是工作最有效的方式
So we looked at how we could compose all those elements -- instead of just litter, create one composition. And what we found -- this area is one of the poorest parts of Britain. It was voted the worst place in Britain to live. And there are 2,000 new homes being built next to this power station. So it felt this has a social dimension. It has a symbolic importance. And we should be proud of where our power is coming from, rather than something we are necessarily ashamed of.
所以我們想辦法要重組廠區 而不是隨便弄出一座發電廠出來 我們也發現 這個地區是英國最貧窮的地區 這裡曾被票選為英國最不適合居住的地方 未來將有2,000戶新房子 會被蓋在發電廠的旁邊 這裡會有社會層面的問題 發電廠具有象徵性的意義 我們應該要對我們的發電廠感到自豪 而不是覺得慚愧丟臉
So we were looking at how we could make a power station, that, instead of keeping people out and having a big fence around the outside, could be a place that pulls you in. And it has to be -- I'm trying to get my -- 250 feet high. So it felt that what we could try to do is make a power park and actually bring the whole area in, and using the spare soil that's there on the site, we could make a power station that was silent as well. Because just that soil could make the acoustic difference. And we also found that we could make a more efficient structure and have a cost-effective way of making a structure to do this.
所以我們思考該如何蓋這座發電廠 不要蓋一座有著巨大圍籬 把人排拒在外的發電廠 而是可以吸引人進來的發電廠 所以發電廠必須是 我想想 200英尺高 我們嘗試要把發電廠 設計成一座電力公園 把整體區域都納入設計 並使用廠區多餘的土壤 讓發電廠變得安靜 因為土壤 可以產生聲學差異 同時我們也發現,我們可以規劃出更有效率的結構 和以更具成本效益的方式 來蓋發電廠
The finished project is meant to be more than just a power station. It has a space where you could have a bar mitzvah at the top. (Laughter) And it's a power park. So people can come and really experience this and also look out all around the area, and use that height that we have to have for its function.
最終的計畫 是讓發電廠不只是發電廠 你甚至可以在頂樓舉行成年禮 (笑聲) 這是座電力公園 人們可以進來,真正體驗發電廠的一切 並利用我們設計出的高度 來觀賞周圍的環境景緻
In Shanghai, we were invited to build -- well we weren't invited; what am I talking about. We won the competition, and it was painful to get there. (Laughter) So we won the competition to build the U.K. pavilion. And an expo is a totally bonkers thing. There's 250 pavilions. It's the world's biggest ever expo that had ever happened. So there are up to a million people there everyday. And 250 countries all competing. And the British government saying, "You need to be in the top five." And so that became the governmental goal -- is, how do you stand out in this chaos, which is an expo of stimulus? So our sense was we had to do one thing, and only one thing, instead of trying to have everything. And so what we also felt was that whatever we did we couldn't do a cheesy advert for Britain.
在上海 我們受邀去建造 喔,我們不是受邀;我在說什麼 我們贏得競圖,那可是吃了很多苦才贏到的 (笑聲) 我們贏得了設計英國館的的競標 世界博覽會 是一件非常瘋狂的事 總共有250個展館 是有史以來最盛大的展覽 每天將湧入上百萬的人潮 250個國家相互爭奇鬥艷 而英國政府說 「你們必須讓英國館排進前五名。」 這是 政府的目標 就是如何在這麼多展館中脫穎而出 這是一場充滿刺激的博覽會 因此我們覺得我們得只做一件事 就一件事 不能去想說什麼都要做 我們也覺得 無論如何,都不能用很俗氣的方式行銷英國
(Laughter)
(笑聲)
But the thing that was true, the expo was about the future of cities, and particularly the Victorians pioneered integrating nature into the cities. And the world's first public park of modern times was in Britain. And the world's first major botanical institution is in London, and they have this extraordinary project where they've been collecting 25 percent of all the world's plant species. So we suddenly realized that there was this thing. And everyone agrees that trees are beautiful, and I've never met anyone who says, "I don't like trees." And the same with flowers. I've never met anyone who says, "I don't like flowers." But we realized that seeds -- there's been this very serious project happening -- but that seeds -- at these major botanical gardens, seeds aren't on show. But you just have to go to a garden center, and they're in little paper packets. But this phenomenal project's been happening. So we realized we had to make a project that would be seeds, some kind of seed cathedral.
但有一件事是重要的 世博會的主題是有關未來的城市 在維多利亞時代 人們就已經知道要讓大自然融入城市裡 當今世界上的第一座公園 其實就是在英國 世界第一大植物機構 也是在倫敦 這個機構有一項卓越的計畫 他們要收集全世界 百分之25的植物種子 突然我們意識到就是這個想法 大家都覺得樹是很美麗的 我從沒有遇過誰會說「我不喜歡樹木。」 花也一樣 我也從沒有遇過誰會說「我不喜歡花。」 然後我們想這些種子-- 現在這是個非常重要的計畫-- 這些種子 在這些重要的植物園裡 種子是沒有被展示的 但你只要去花卉中心 你可以看到種子都放在小紙袋裡 但現在這個驚人的計畫正在進行 我們決定要做這個種子的計畫 打造一座種子聖殿
But how could we show these teeny-weeny things? And the film "Jurassic Park" actually really helped us. Because the DNA of the dinosaur that was trapped in the amber gave us some kind of clue that these tiny things could be trapped and be made to seem precious, rather than looking like nuts. So the challenge was, how are we going to bring light and expose these things? We didn't want to make a separate building and have separate content. So we were trying to think, how could we make a whole thing emanate. By the way, we had half the budget of the other Western nations. So that was also in the mix with the site the size of a football pitch. And so there was one particular toy that gave us a clue.
但是我們該如何展示這些小巧的種子? 電影《侏儸紀公園》也幫助了我們 電影裡恐龍的DNA被保存在琥珀裡 這點給了我們靈感 這些小巧的種子 可以被包裝而且看起來很精緻 而不是看起來像堅果 我們的任務是 要如何帶出光線和展現這些種子? 我們不想蓋一棟獨立的建築,展示獨立的內容 我們挖空心思 我們要如何讓建築物散發整體感 我們的預算只有其他西方國家的一半 然後這又牽涉到 展館施工地點是一個足球場的大小 有樣特別的玩具給了我們靈感
(Video) Voice Over: The new Play-Doh Mop Top Hair Shop. Song: ♫ We've got the Mop Tops, the Play-Doh Mop Tops ♫ ♫ Just turn the chair and grow Play-Doh hair ♫ ♫ They're the Mop Tops ♫
(影片) 旁白:全新培樂多炫麗髮型屋 歌曲:♫我們有蓬鬆頭髮,培樂多彩泥頭髮♫ ♫轉轉椅子,做出培樂多彩泥頭髮♫ ♫他們有蓬鬆頭髮♫
Thomas Heatherwick: Okay, you get the idea. So the idea was to take these 66,000 seeds that they agreed to give us, and to take each seed and trap it in this precious optical hair and grow that through this box, very simple box element, and make it a building that could move in the wind. So the whole thing can gently move when the wind blows. And inside, the daylight -- each one is an optic and it brings light into the center. And by night, artificial light in each one emanates and comes out to the outside. And to make the project affordable, we focused our energy. Instead of building a building as big as the football pitch, we focused it on this one element. And the government agreed to do that and not do anything else, and focus our energy on that. And so the rest of the site was a public space. And with a million people there a day, it just felt like offering some public space.
Thomas Heatherwick:好,你們了解吧 所以我們的想法是 運用這66,000顆 他們所同意提供的種子 把每一顆種子包裝在 珍貴透光像頭髮般的壓克力桿裡 從建築物向外延伸出去 簡單的方盒子造型 讓這座建築物 能被風吹動 所以整座建築物在風吹時會微微擺動 白天,內部 -- 每一根壓克力桿都能透光 能把光線帶進建築物裡 在晚上 每一根壓克力桿都配有人工光源 可由內向外傳到建築的外頭 為了讓計畫符合預算規劃 我們集中我們的精力 不把展館真的蓋得跟足球場一樣大 我們集中在展館本身 政府也同意這麼做 把錢花在刀口上 把全部精力投注在展館 展館外頭的區塊就可以變成公共空間 每天都有上百萬的人會湧入 就能提供額外的公共空間
We worked with an AstroTurf manufacturer to develop a mini-me version of the seed cathedral, so that, even if you're partially-sighted, that it was kind of crunchy and soft, that piece of landscape that you see there. And then, you know when a pet has an operation and they shave a bit of the skin and get rid of the fur -- in order to get you to go into the seed cathedral, in effect, we've shaved it.
我們與Astro Turf人造草皮製造商合作 為這座種子聖殿 訂製了一款人造草皮 所以即使參觀者是弱視 這裡會是鬆軟的 你可以看到這邊會有這樣的景致 然後,你們知道當寵物要動手術時 他們會得把一部分的毛剃掉 露出一塊皮膚-- 為了讓人可以進到種子聖殿裡 我們也把入口設計成頭髮剃掉一塊的樣子
And inside there's nothing; there's no famous actor's voice; there's no projections; there's no televisions; there's no color changing. There's just silence and a cool temperature. And if a cloud goes past, you can see a cloud on the tips where it's letting the light through. This is the only project that we've done where the finished thing looked more like a rendering than our renderings.
在內部是空無一物的 沒有知名演員在表演 沒有投影 沒有電視;沒有影像效果 就只是安靜的呈現 還有涼爽的溫度 如果外頭有雲飄過 也能從壓克力桿頂端透光的地方 看見雲飄的樣子 這是我們做過的案子裡 完成後的樣子 比我們自己表演更看起來像表演的
(Laughter)
(笑聲)
A key thing was how people would interact. I mean, in a way it was the most serious thing you could possible do at the expo. And I just wanted to show you. The British government -- any government is potentially the worst client in the world you could ever possibly want to have. And there was a lot of terror. But there was an underlying support. And so there was a moment when suddenly -- actually, the next thing. This is the head of U.K. Trade and Investment, who was our client, with the Chinese children, using the landscape.
而重點是人們要如何和建築物有互動 我覺得你可能可以在世博會上 做的最瘋狂的事 我想讓你們看 英國政府-- 任何一個政府機構都可能是世界上 最糟而且是你最不想要的客戶 因為太恐怖了 但他們還是能給你基本的支持 所以在一個時間裡 就是接下來發生的事情 這位是英國貿易投資署的署長 他是我們的客戶 他和中國的孩童們,正在利用展館外頭的空間
(Video) Children: One, two, three, go.
(影片)兒童:一,二,三,開始。
(Laughter)
(笑聲)
TH: I'm sorry about my stupid voice there.
TH:抱歉,我的笑聲太搞笑了
(Laughter)
(笑聲)
So finally, texture is something. In the projects we've been working on, these slick buildings, where they might be a fancy shape, but the materiality feels the same, is something that we've been trying to research really, and explore alternatives. And the project that we're building in Malaysia is apartment buildings for a property developer. And it's in a piece of land that's this site. And the mayor of Kuala Lumpur said that, if this developer would give something that gave something back to the city, they would give them more gross floor area, buildable. So there was an incentive for the developer to really try to think about what would be better for the city.
最後,質感也很重要 在我們做過的案子裡 這些漂亮的建築物 也許有著奇特的外觀 但本質上都是相同的 我們都一直在努力研究 並探索其他可能性 我們在馬來西亞承接的案子 是為一間地產開發商 設計的公寓大樓 這在一塊土地 就是這裡 吉隆坡市長表示 如果開發商 在開發的同時也能給城市回饋 政府願意提供更多的可建築面積 所以這是在鼓勵開發商 真正去思考 如何為城市帶來好處
And the conventional thing with apartment buildings in this part of the world is you have your tower, and you squeeze a few trees around the edge, and you see cars parked. It's actually only the first couple of floors that you really experience, and the rest of it is just for postcards. The lowest value is actually the bottom part of a tower like this. So if we could chop that away and give the building a small bottom, we could take that bit and put it at the top where the greater commercial value is for a property developer. And by linking these together, we could have 90 percent of the site as a rainforest, instead of only 10 percent of scrubby trees and bits of road around buildings.
而世界上 傳統的公寓大樓 是你有自己的大樓 然後你在周圍種上幾棵樹 你看到停車場 實際上你真正接觸的只會是一樓上下幾個樓層 其餘的樓層都是給信件去的 實際上像這樣的大樓的底部是價值最低的部分 所以如果我們能把這個部分拿掉 讓大樓的底部變小 把拿掉的部分改放去頂端 頂端對地產開發商來說有著更大的商業價值 然後把這幾個部分連結起來 我們能把百分之90的區塊 都做成綠地森林 而不是只拿百分之10的面積種矮樹 或規劃成環繞大樓的道路
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So we're building these buildings. They're actually identical, so it's quite cost-effective. They're just chopped at different heights. But the key part is trying to give back an extraordinary piece of landscape, rather than engulf it. And that's my final slide.
我們蓋這些建築物 他們實際上是相同的,都非常符合成本效益 他們只是高度不同 但重點是 想回饋給土地一塊特殊景緻 而不是把土地吞食 這是我最後一張投影片了
Thank you.
謝謝
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Thank you.
謝謝各位
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June Cohen: So thank you. Thank you, Thomas. You're a delight. Since we have an extra minute here, I thought perhaps you could tell us a little bit about these seeds, which maybe came from the shaved bit of the building.
June Cohen:非常謝謝你,Thomas,你令大家感到愉快 我們還有一點時間 你是否能多跟我們談談這些種子 這些也許是從入口處的地方拿來的
TH: These are a few of the tests we did when we were building the structure. So there were 66,000 of these. This optic was 22 feet long. And so the daylight was just coming -- it was caught on the outside of the box and was coming down to illuminate each seed. Waterproofing the building was a bit crazy. Because it's quite hard to waterproof buildings anyway, but if you say you're going to drill 66,000 holes in it -- we had quite a time. There was one person in the contractors who was the right size -- and it wasn't a child -- who could fit between them for the final waterproofing of the building.
TH:這一小部分是我們 在建造展館時拿來測試的 展館用上了66,000跟壓克力桿 每根壓克力桿 長22英尺 所以日光可以參透進來 從建築物的外側照進來 然後往下照亮每顆種子。 在做建築物的防水工程也是很瘋狂的 一般建築要做防水都不容易了 更遑論上面還有66,000個孔了 我們花了相當多的時間 我們的承包商裡有位工作人員,體型較小 他不是小孩子 但能剛好擠進那個空間 為建築物做完最後的防水工程
JC: Thank you, Thomas.
JC:謝謝你,Thomas
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