Travel with me to some of the most beautiful spots in cities around the world: Rome's Spanish steps; the historic neighborhoods of Paris and Shanghai; the rolling landscape of Central Park; the tight-knit blocks of Tokyo or Fez; the wildly sloping streets of the favelas of Rio de Janeiro; the dizzying step wells of Jaipur; the arched pedestrian bridges of Venice.
跟随我一起 到世界一些拥有最美景观的城市去: 罗马的西班牙广场; 巴黎和上海的历史性的街区; 拥有奇特景观的中央公园; 鳞次栉比的东京或菲斯; 里约热内卢贫民窟崎岖不平的街道; 斋浦尔令人眩晕的阶梯井; 威尼斯的拱形人行桥。
Now let's go to some newer cities. Six downtowns built across six continents in the 20th century. Why do none of these places have any of the charming characteristics of our older cities? Or let's go to six suburbs built on six continents in the 20th century. Why do none of them have any of the lyrical qualities that we associate with the places that we cherish the most?
让我们再去到一些新兴城市, 这是 20 世纪位于六大洲的六个城市, 相比于古老的城市, 为何这些城市都没有了 那些老城的迷人特色? 亦或者,让我们去到 20 世纪 在六大洲所建设的六个郊区, 为何他们也没有 让我们视为珍宝, 感到与它们紧密相依的情感特质?
Now, maybe you think I'm just being nostalgic -- why does it matter? Who cares if there is this creeping sameness besetting our planet? Well, it matters because most people around the world are gravitating to urban areas globally. And how we design those urban areas could well determine whether we thrive or not as a species. So, we already know that people who live in transit-rich areas, live in apartment buildings, have a far lower carbon footprint than their suburban counterparts. So maybe one lesson from that is if you love nature, you shouldn't live in it.
或许你认为我只是在怀旧。 这有什么重要的? 有谁会在乎我们的地球 正在一点点变得千篇一律? 其实,这很重要,因为世上的我们 正在不断涌入城市。 而我们如何设计一座城市 将决定我们是繁荣昌盛,还是消失殆尽。 我们已经知道 相比于住在郊区的人们, 住在中产小区 或是公寓的人们的碳排放量更低。 由此可知,如果你热爱自然, 你就不该生活在自然之中,
(Laughter)
(笑声)
But I think the dry statistics of what's known as transit-oriented development only tells part of the story. Because cities, if they're going to attract people, have to be great. They have to be powerful magnets with distinctive appeal to bring in all those new green urbanites.
但我想这些枯燥乏味的、 以公共交通为导向开发的数据 只说明了故事的一部分。 如果城市想要吸引更多的人到来, 必须进行优化。 它们要像一块有特色的强力磁铁 才能吸引来新型的环保都市人。
And this is not just an aesthetic issue, mind you. This is an issue of international consequence. Because today, every day, literally hundreds of thousands of people are moving into a city somewhere, mainly in the Global South. And when you think about that, ask yourself: Are they condemned to live in the same bland cities we built in the 20th century, or can we offer them something better? And to answer that question, you have to unpack how we got here in the first place.
而这并不仅仅是一个美学问题, 这是一个国际化的问题。 因为,今天或者说每一天, 世界各地都有 成千上万的人们向城市迁移, 尤其是在南半球。 当你想到这一点时, 请问问你自己: 他们是否注定生活在 与我们建在 20 世纪 一样的、平淡无奇的城市? 又或者我们可以提供更好的环境? 为了解答这一问题, 你需要知道我们是怎么 走到这一地步的。
First: mass production. Just like consumer goods and chain stores, we mass-produce glass and steel and concrete and asphalt and drywall, and we deploy them in mind-numbingly similar ways across the planet.
第一点:大量生产。 如同日用品和连锁店, 我们生产了大量的玻璃、钢铁 混凝土、沥青和纸面石膏板, 并麻木不仁地用它们铺满我们的星球。
Second: regulation. So, take cars, for instance. Cars travel at very high speeds. They're susceptible to human error. So when we're asked, as architects, to design a new street, we have to look at drawings like this, that tell us how high a curb needs to be, that pedestrians need to be over here and vehicles over there, a loading zone here, a drop-off there. What the car really did in the 20th century is it created this carved-up, segregated landscape. Or take the ladder fire truck -- you know, those big ladder trucks that are used to rescue people from burning buildings? Those have such a wide turning radius, that we have to deploy an enormous amount of pavement, of asphalt, to accommodate them. Or take the critically important wheelchair. A wheelchair necessitates a landscape of minimal slopes and redundant vertical circulation. So wherever there's a stair, there has to be an elevator or a ramp.
第二点:管理规定。 用汽车来举例。 汽车可以高速行驶, 也容易受到人为误差的影响, 因此,作为建筑师 我们被要求设计一种全新的道路。 我们会拿到这样的图纸, 告诉我们路沿石需要多高, 行人会走这边, 车辆走另一边, 这里需要一个卸货区, 那儿会有一个下客处。 在 20 世纪,汽车真正带来的 是这样精雕细琢的、隔离的景观。 再看看云梯消防车—— 你知道那些用来援救 困于着火大楼里的人 所用的大云梯车。 那些消防车的转弯半径很大, 因此我们必须要设计宽阔的路面 才能容纳它们。 又或是看看那极为重要的轮椅。 轮椅需要一个最低限度的斜坡, 还有额外的垂直回转空间, 所以,在有阶梯的地方 都需要设置一个电梯或是斜坡。
Now, don't get me wrong, please -- I am all for pedestrian safety, firefighting and certainly, wheelchair access. Both of my parents were in wheelchairs at the end of their lives, so I understand very much that struggle. But we also have to acknowledge that all of these well-intentioned rules, they had the tremendous unintended consequence of making illegal the ways in which we used to build cities.
请不要误解我的意思, 我完全赞成行人安全、 消防安全, 当然,还有轮椅的使用。 我的父母在晚年时, 都依靠轮椅出行 我明白这有多难。 但我们也必须承认, 这些善意的规则 也带来了很多意料之外的结果。 导致我们过去建造城市的 方式变得不再合法。
Similarly illegal: at the end of the 19th century, right after the elevator was invented, we built these charming urban buildings, these lovely buildings, all over the world, from Italy to India. And they had maybe 10 or 12 apartments in them. They had one small elevator and a staircase that wrapped them and a light well. And not only were they charming buildings that were cost-effective, they were communal -- you ran into your neighbor on that stairwell.
在 19 世纪末,也有相似的违法规划。 在电梯发明后, 我们设计了这样迷人的城市建筑, 这些可爱的建筑遍布全球, 从意大利到印度。 每栋楼有 10 或 12 间公寓, 它们共享一个小小的电梯 四周环绕着楼梯 还有个采光天井。 它们不仅仅是符合成本效益的 令人着迷的建筑 它们也是社区化的, 你可以在楼梯间遇到你的邻居。
Well, you can't build this, either. By contrast, today, when we have to build a major new apartment building somewhere, we have to build lots and lots of elevators and lots of fire stairs, and we have to connect them with these long, anonymous, dreary corridors. Now, developers -- when they're confronted with the cost of all of that common infrastructure, they have to spread that cost over more apartments, so they want to build bigger buildings. What that results in is the thud, the dull thud of the same apartment building being built in every city across the world. And this is not only creating physical sameness, it's creating social sameness, because these buildings are more expensive to build, and it helped to create an affordability crisis in cities all over the world, including places like Vancouver.
好吧,但你也不能再这样建造了。 相比之下,如今, 当我们要在某处修建新的大型公寓楼时, 我们会设计很多很多电梯, 还有消防通道, 并将它们与这些长长的、 沉暗的走道相连。 现在,当开发商面对 公共基础设施的成本时, 他们不得不将成本 分摊到更多的公寓里。 所以他们修建了越来越高的大厦, 结果是沉闷的, 世界上的每个城市里 正在修建的公寓都传来一声巨响。 这不仅仅是外表上的一致性, 它也创造了社会的相似性。 因为这些大楼的建造成本更高, 而它在世界各地的城市 也助长了支付能力危机, 包括温哥华这样的地方。
Now, I said there was a third reason for all this sameness, and that's really a psychological one. It's a fear of difference, and architects hear this all the time from their clients: "If I try that new idea, will I be sued? Will I be mocked? Better safe than sorry." And all of these things have conspired together to blanket our planet with a homogeneity that I think is deeply problematic.
我说过,相似性还有第三个原因, 这是一个心理层面的问题, 是对差异的恐惧。 建筑师们经常从他们的 客户那里听到这样的话: “如果我采用这个新想法,会被起诉吗? 会被嘲笑吗? 有备无患,小心为上。” 就是这一切 以一种我认为很有问题的 同质性在倾覆我们的地球
So how can we do the opposite? How can we go back to building cities that are physically and culturally varied again? How can we build cities of difference? I would argue that we should start by injecting into the global the local.
我们该如何与之抗衡? 我们如何才能 重新修建外观和文化都不同的建筑? 我们如何才能建造有差异化的城市? 首先,我想我们应该 在每个地方都融入地方特色。
This is already happening with food, for instance. You just look at the way in which craft beer has taken on corporate beer. Or, how many of you still eat Wonder Bread? I'd bet most of you don't. And I bet you don't because you don't want processed food in your life. So if you don't want processed food, why would you want processed cities? Why would you want these mass-produced, bleached places where all of us have to live and work every day?
这点在食物上早有所体现, 你只需要看看精酿啤酒对 商业啤酒的影响就知道了。 或者,你们还有多少人 仍在吃奇迹面包? 我敢赌你们大都不会吃了, 因为你们不会想吃流水线上的食物。 所以,如果你不想吃 流水线上的精加工食物, 你为什么想要流水线上的城市? 为什么想要每天都生活在 这些成批生产、毫无特色的城市?
(Applause)
(掌声)
So, technology was a big part of the problem in the 20th century. When we invented the automobile, what happened is, the world all bent towards the invention. And we recreated our landscape around it. In the 21st century, technology can be part of the solution -- if it bends to the needs of the world.
因此,在 20 世纪,技术很重要。 当我们发明汽车的时候, 其实全世界都聚焦于这项发明, 我们围绕它重建了我们的景观。 在 21 世纪, 科技可以成为解决方案的一部分, 如果让它来满足世界的需要。
So what do I mean by that? Take the autonomous vehicle. I don't think the autonomous vehicle is exciting because it's a driverless car. That, to me, only implies that there's even more congestion on the roads, frankly. I think what's exciting about the autonomous vehicle is the promise -- and I want to stress the word "promise," given the recent accident in Arizona -- the promise that we could have these small, urban vehicles that could safely comingle with pedestrians and bicycles. That would enable us to design humane streets again, streets without curbs, maybe streets like the wooden walkways on Fire Island.
我的意思是什么呢? 以自动驾驶汽车为例, 我不认为自动驾驶汽车会因为 它是无人驾驶而让人感到兴奋。 对我而言,它只意味着 路上会有更多的交通堵塞。 我认为,无人驾驶汽车 最令人兴奋的是它带来的承诺, 考虑到最近发生在亚利桑那州的事故, 我想强调 "承诺" 这个词。 它承诺我们可以拥有 这些小型的城市交通工具, 可以安全地与行人和自行车同行。 这让我们能够重新 设计人性化的街道, 没有障碍物的街道, 甚至像火岛上的木栈道那样的街道。
Or maybe we could design streets with the cobblestone of the 21st century, something that captures kinetic energy, melts snow, helps you with your fitness when you walk. Or remember those big ladder fire trucks? What if we could replace them and all the asphalt that comes with them with drones and robots that could rescue people from burning buildings? And if you think that's outlandish, you'd be amazed to know how much of that technology is already being used today in rescue activity.
或者我们在 21 世纪, 还可以用鹅卵石来建造街道, 它可以吸收能量,消融积雪, 甚至在你行走时帮你强身健体。 还记得刚才提到的大云梯消防车吗? 如果我们能以无人机和机器人 来取代消防车和沥青, 把人从火场里就出来呢? 如果你觉得不能接受, 你会惊讶地发现, 已经有很多这样的技术 在救援活动中投入了使用。
But now I'd like you to really imagine with me. Imagine if we could design the hovercraft wheelchair. Right? An invention that would not only allow equal access, but would enable us to build the Italian hill town of the 21st century. I think you'd be amazed to know that just a few of these inventions, responsive to human need, would completely transform the way we could build our cities.
现在,我需要大家和我一起想象, 想象一下, 如果我们能设计气垫船轮椅, 对吧? 这不只是一项促进平等权益的发明, 也使得我们能够建造 21 世纪的意大利山城。 我想你会很惊讶, 只是其中一些能够 满足人类需求的发明 就能彻底改变我们建设城市的方式。
Now, I bet you're also thinking: "We don't have kinetic cobblestones or flying wheelchairs yet, so what can we do about this problem with today's technology?" And my inspiration for that question comes from a very different city, the city of Ulaanbaatar, Mongolia. I have clients there who have asked us to design a 21st-century open-air village that's sustainably heated using today's technology, in the heart of their downtown. And that's to cope with their frigid winters.
现在,我打赌你在想: “我们还没有动力鹅卵石或会飞的轮椅, 那么我们能用现有的技术做些什么, 来解决这个问题呢?” 我解决这个问题的灵感 来自一个非常不同的城市, 蒙古的乌兰巴托市。 在那儿,有个客户 让我们设计 21 世纪的 可用现有技术持续加热市中心的 露天村庄 以应对严酷的寒冬。
And the project is both poetry and prose. The poetry is really about evoking the local: the mountainous terrain, using colors to pick up the spectacular light, understanding how to interpret the nomadic traditions that animate the nation of Mongolia. The prose has been the development of a catalogue of buildings, of small buildings that are fairly affordable, using local construction materials and technology that can still provide new forms of housing, new workspace, new shops and cultural buildings, like a theater or a museum -- even a haunted house.
所以,这个项目既是诗歌也是散文。 它的诗意在于唤醒当地人: 多山的地形, 用颜色来突出那耀眼的光线, 了解如何诠释使蒙古 这个民族充满活力 的游牧传统。 散文在于一系列的建筑发展, 只是一些相当经济实惠的小建筑, 使用当地的建筑材料和技术, 仍然可以提供新的住房形式, 新的工作空间, 新的商城, 还有文化建筑, 比如剧院或博物馆, 甚至是鬼屋。
While working on this in our office, we've realized that we're building upon the work of our colleagues, including architect Tatiana Bilbao, working in Mexico City; Pritzker laureate Alejandro Aravena, working in Chile; and recent Pritzker winner Balkrishna Doshi, working in India. And all of them are building spectacular new forms of affordable housing, but they're also building cities of difference, because they're building cities that respond to local communities, local climates and local construction methods.
在我们工作的时候, 我们意识到我们是在同事的 工作基础上不断发展。 包括在墨西哥城工作的建筑师 塔蒂阿娜 · 毕尔巴鄂(Tatiana Bilbao), 在智利工作的普利茨克 · 劳瑞德 (Pritzker Laureate) 和亚历杭德罗 · 阿拉维那 (Alejandro Aravena), 以及最近普利兹克建筑奖得主, 在印度工作的柏克瑞斯·多西 (Balkrishna Doshi), 他们都在建造壮观的 新型经济适用房, 也建造着有差异化的城市。 因为他们正在建设的是 能够适应当地社区, 当地气候, 以及当地建筑方式的城市。
We're doubling down on that idea, we're researching a new model for our growing cities with gentrification pressures, that could build upon that late-19th-century model with that center core, but a prototype that could shape-shift in response to local needs and local building materials. All of these ideas, to me, are nostalgia-free. They all tell me that we can build cities that can grow, but grow in a way that reflects the diverse residents that live in those cities; grow in a way that can accommodate all income groups, all colors, creeds, genders.
我们在这个想法上加倍努力, 我们正在研究一种新模式, 以应对我们日益增长的 中产阶级压力城市。 这可能会建立在 19 世纪 晚期的建筑模型上 这个原型可以根据当地的需要, 还有当地的建筑材料而改变形状。 对我而言, 所有这些想法都与怀旧无关。 每个人都告诉我, 我们可以建设可发展的城市, 但要以反映居民多样性的方式发展, 以一种可以容纳所有 收入群体的方式发展, 包括了所有的种族,宗教,性别。
We could build such spectacular cities that we could disincentivize sprawl and actually protect nature. We can grow cities that are high-tech, but also respond to the timeless cultural needs of the human spirit. I'm convinced that we can build cities of difference that help to create the global mosaic to which so many of us aspire.
我们可以建造如此壮观的城市, 抑制城市的对外扩张, 从而保护自然。 我们可以发展高科技城市, 同时也满足人类精神中 永垂不朽的文化需求。 我相信我们可以建立 有差异化的城市, 来助于创造我们许多人 所向往的全球马赛克。
Thank you.
谢谢。
(Applause)
(掌声)