How can landscapes imbue memory? When we think about this notion "e pluribus unum" -- "out of many, one," it's a pretty strange concept, right? I mean, with all different races and cultures of people, how do you boil it down to one thing? I want to share with you today this idea of "e pluribus unum" and how our landscape might imbue those memories of diverse perspectives, as well as force us to stop trying to narrow things down to a single, clean set of identities.
景观如何能够唤起记忆? 当我们去思考 "e pluribus unum" —— 即“合众为一” 这个概念。 这听着还挺奇怪的,不是吗? 我的意思是,在这么多不同种族 不同传统背景的人中, 你怎么让事情达到一个统一的效果呢? 在此,我想和大家分享一下 有关"合众为一"的一些想法, 以及我们的景观如何被赋予 这些不同视角的记忆, 并迫使我们停止将事物过度简化成 一套单一的,纯粹的身份象征。
As an educator, designer, I'd like to share with you five simple concepts that I've developed through my work. And I'd like to share with you five projects where we can begin to see how the memory around us, where things have happened, can actually force us to look at one another in a different way. And lastly: this is not just an American motto anymore. I think e pluribus unum is global. We're in this thing together.
作为一名教育工作者和设计师, 今天我想和大家分享5个简单的概念, 这些都是我从自己的 工作中总结出来的。 同时,我也想给大家分享5个项目, 我们正是从这些项目里, 发现身边的回忆, 以及事情发生的地方, 从而促使我们用不同的角度看问题。 “合众为一”,现在不仅是一句美国格言, 我认为它成为了一个全球性的现象。 我们都在经历这些事情。
First, great things happen when we exist in each other's world -- like today, right? The world of community gardens -- most of you have probably seen a community garden. They're all about subsistence and food. Right? I'll tell you a little story, what happened in New York more than a decade ago. They tried to sell all of their community gardens, and Bette Midler developed a nonprofit, the New York Restoration Project. They literally brought all the gardens and decided to save them. And then they had another novel idea: let's bring in world-class designers and let them go out into communities and make these beautiful gardens, and maybe they might not just be about food. And so they called me, and I designed one in Jamaica, Queens. And on the way to designing this garden, I went to the New York Restoration Project Office, and I noticed a familiar name on the door downstairs. I go upstairs, and I said, "Do you guys know who is downstairs?" And they said, "Gunit." And I said, "Gunit? You mean G-Unit? Curtis '50 Cent' Jackson?"
首先,当我们存在于彼此的世界时, 伟大的事情就发生了 —— 像今天我们聚在这里一样,对吗? 在社区园艺这个领域里 —— 相信在座的大多数人都见过社区花园, 它们的存在始终围绕着生存和温饱。对吧? 我想给大家讲一个, 大概十年前发生在纽约的故事。 当时这些社区花园都在销售中。 贝特 · 米德勒成立了一个 非营利组织 ——纽约复兴计划—— 他们差不多把这些社区花园都买下了, 决定开始实施拯救。 接着这个组织提出了一个新奇的想法: 引进世界级的设计师, 让他们来到这些社区, 改造这些漂亮的花园吧! 也许这些花园就不再是 简单地为食物而存在了。 所以他们找来了我, 让我在皇后区牙买加区设计一个花园。 在这个设计的过程中, 我去了纽约复兴计划办公室, 在那儿我留意到楼下的门上 有一个熟悉的名字。 我回到楼上问大家, “你们知道楼下住了谁吗?” 他们说:“Gunit啊。” 我问:“Gunit? 你们说的是嘻哈组合 G-Unit(五角兵团)吧? 那个柯蒂斯 · “五角” · 杰克逊啊?“
(Laughter)
(笑声)
And they said, "Yeah?" And I said, "Yes."
他们接着问:”真的吗?“ 我说:“真的!”
And so we went downstairs, and before you knew it, Curtis, Bette and the rest of them formed this collaboration, and they built this garden in Jamaica, Queens. And it turned out Curtis, 50 Cent, grew up in Jamaica. And so again, when you start bringing these worlds together -- me, Curtis, Bette -- you get something more incredible. You get a garden that last year was voted one of the top 10 secret gardens in New York. Right?
然后我们就下楼了。 要知道,柯蒂斯,贝特 和其他几个人创建了这个组织, 并且建立了这个位于皇后区 牙买加区的花园。 原来柯蒂斯正是在牙买加区长大的。 再一次,当你开始 将这些不同的人联系在一起—— 我,柯蒂斯,贝特—— 你会得到更令人叹为观止的东西。 你得到了这个花园, 这个花园去年还被票选为纽约 十大神秘花园之一。 看到了吧?
(Applause)
(掌声)
It's for young and old, but more importantly, it's a place -- there was a story in the Times about six months ago where this young woman found solace in going to the garden. It had nothing to do with me. It had more to do with 50, I'm sure, but it has inspired people to think about gardens and sharing each other's worlds in a different way.
它属于每一个人,无论老少, 更重要的是,这是个特殊的地方—— 时代杂志六个月前 刊登了这样一个故事, 有个年轻的女士在公园里 找到了心灵的慰藉。 我没做什么,我肯定, 50角乐队的贡献比我大多了。 不过这个公园的确激发了 大家对花园的思考, 用不同的方式互相分享彼此的世界。
This next concept, "two-ness" -- it's not as simple as I thought it would be to explain, but as I left to go to college, my father looked at me, and said, "Junior, you're going to have to be both black and white when you go out there." And if you go back to the early parts of the 20th century, W.E.B. Du Bois, the famous activist, said it's this peculiar sensation that the Negro has to walk around being viewed through the lens of other people, and this two-ness, this double consciousness. And I want to argue that more than a hundred years later, that two-ness has made us strong and resilient, and I would say for brown people, women -- all of us who have had to navigate the world through the eyes of others -- we should now share that strength to the rest of those who have had the privilege to be singular.
下一个概念,“两面性”—— 解释起来不容易, 我离开家去上大学的时候, 我爸曾看着我说, “小子,进入社会后, 你要懂得区分黑白两面。” 追溯到20世纪早期, 著名的活动家, W·E·B· 杜波依斯曾经说过, 想想看这样一个奇特的感觉: 黑人需要在别人的 有色眼镜里行动, 有这么一种双重意识。 我想要强调的是,这一百多年以来, 这种双重感使我们 成长得更强壮和坚韧, 我也想对所有棕色人种和女性说—— 我们都被这个世界的有色眼镜引导着—— 我们现在应该把这种力量 分享给那些有幸拥有特权的人。
I'd like to share with you a project, because I do think this two-ness can find itself in the world around us. And it's beginning to happen where we're beginning to share these stories. At the University of Virginia, the academical village by Thomas Jefferson, it's a place that we're beginning to notice now was built by African hands. So we have to begin to say, "OK, how do we talk about that?" As the University was expanding to the south, they found a site that was the house of Kitty Foster, free African American woman. And she was there, and her descendants, they all lived there, and she cleaned for the boys of UVA. But as they found the archaeology, they asked me if I would do a commemorative piece. So the two-ness of this landscape, both black and white ... I decided to do a piece based on shadows and light. And through that, we were able to develop a shadow-catcher that would talk about this two-ness in a different way. So when the light came down, there would be this ride to heaven. When there's no light, it's silent. And in the landscape of Thomas Jefferson, it's a strange thing. It's not made of brick. It's a strange thing, and it allows these two things to be unresolved.
我想给大家介绍另一个项目, 因为我确实认为,我们可以在 身边的世界中找到这种两面性。 它会在我们开始分享 这些故事的时候发生。 在弗吉尼亚大学, 托马斯 · 杰斐逊建立的学术区里, 我们逐渐开始注意到,这可是 由非洲人亲手建造的地方啊! 所以我们开始问, “我们聊一聊这个话题怎么样?” 随着大学校园向南扩张, 他们找到了基蒂 · 福斯特的故居所在地, 一个自由的非洲裔美国女人。 她曾经住在那里, 她的后代们 也都曾住在那里, 她曾经为弗吉尼亚大学的 男孩们打扫卫生。 考古发掘工作开展后, 他们问我要不要在这里立个纪念牌。 这时候我想把景观的 两面性设计出来,黑和白, 我决定利用光和阴影。 通过光和阴影, 我们设计了一个影子捕手, 用不同的方式表达这种两面性。 所以当有光射下来的时候, 这就像一个通往天堂的阶梯。 当没有光的时候,这里只有静默。 在托马斯 · 杰斐逊的校园景观中, 这是一件奇怪的事情: 它不是用砖砌成的。 这真是一件奇怪的事情: 它允许这两种现象彼此独立。
And we don't have to resolve these things. I want to live in a world where the resolution -- there's an ambiguity between things, because that ambiguity allows us to have a conversation. When things are clear and defined, we forget.
我们其实不需要解决这些问题。 我想生活在一个世界, 在那儿 —— 事物之间没有明确的界限, 而正是因为这个含糊, 令我们之间有了沟通。 当事情清晰明了的时候, 我们就很容易遗忘。
The next example? Empathy. And I've heard that a couple of times in this conference, this notion of caring. Twenty-five years ago, when I was a young pup, very optimistic, we wanted to design a park in downtown Oakland, California for the homeless people. And we said, homeless people can be in the same space as people who wear suits. And everyone was like, "That's never going to work. People are not going to eat lunch with the homeless people."
下一个例子:同理心。 我在这个会议里也听了好几遍, 有关关怀的概念。 二十五年前, 我还是一个年轻的学生, 非常乐观积极, 我们想为无家可归的人, 在加利福尼亚州奥克兰市中心 设计一个公园。 我们认为,无家可归的人 可以和西装革履的人 同处于一个地方。 当时每个人都说, “这不可能的。 他们不会去和流浪汉一起吃午餐啦。”
We built the park. It cost 1.1 million dollars. We wanted a bathroom. We wanted horseshoes, barbecue pits, smokers, picnic tables, shelter and all of that. We had the design, we went to the then-mayor and said, "Mr. Mayor, it's only going to cost you 1.1 million dollars." And he looked at me. "For homeless people?" And he didn't give us the money.
我们最后建了那个公园, 耗资110万美元。 我们想要一个卫生间, 想要马蹄区、烧烤炉和吸烟点, 还有野餐桌,帐篷区之类的设施。 我们拿着这个设计去找当时的市长, 和他说,“市长先生, 这只需要花费您110万美元。” 他看着我。 “为流浪汉设计的?” 结果他没有给我们钱。
So we walked out, unfettered, and we raised the money. Clorox gave us money. The National Park Service built the bathroom. So we were able to go ahead because we had empathy.
所以我们离开了那里, 没有任何负担, 还筹集了资金。 高乐氏(Clorox)给了我们这笔钱。 国家公园管理局建了卫生间。 所以我们才能够继续前进, 因为我们拥有同理心。
Now, 25 years later, we have an even larger homeless problem in the Bay Area. But the park is still there, and the people are still there. So for me, that's a success. And when people see that, hopefully, they'll have empathy for the people under freeways and tents, and why can't our public spaces house them and force us to be empathetic? The image on the left is Lafayette Square Park today. The image on the right is 1906, Golden Gate Park after the earthquake. Why do we have to have cataclysmic events to be empathetic? Our fellow men are out there starving, women sleeping on the street, and we don't see them. Put them in those spaces, and they'll be visible.
25年过去了, 我们在湾区有了个更大的流浪汉问题。 不过那个公园依然在那里, 那些人也依然在那里。 对我而言,这是一个成功。 当大家看到这个场景时, 希望他们对这些 在高速公路和帐篷里的人, 也产生这样的同理心, 我们为什么不能 在公共空间安置他们? 同时让我们学会感同身受呢? 左边的这张图片, 是今天的拉斐特广场公园。 右边的这张是1906年 地震发生后的金门公园。 为何我们要等到灾难发生后, 才产生同理心呢? 我们的男同胞们在外面快饿死了, 女人也睡在大街上, 而我们却对此视而不见。 把他们放在公园里吧, 这样我们就能看到他们了。
(Applause)
(掌声)
And to show you that there are still people out there with empathy, the Oakland Raiders' Bruce Irvin fries fish every Friday afternoon for anyone who wants it. And by going to that park, that park became the vehicle for him.
为了证明有同理心的人依然存在, 这是奥克兰突袭者队的布鲁斯 · 欧文, 每周五下午都在那里, 为有需要的人免费派送炸鱼。 通过去那个公园, 那个公园成了他的载体。
The traditional belongs to all of us, and this is a simple one. You go into some neighborhoods -- beautiful architecture, beautiful parks -- but if people look a different way, it's not traditional. It's not until they leave and then new people come in where the traditional gets valued.
传统属于我们每一个人, 举一个简单的例子。 你走进一些街区—— 那里有美丽的建筑和公园 —— 如果大家的视角都不一样, 那这儿就还不传统。 只有等到原来的人都离开了,新人搬来了, 传统才得以表现出来。
A little quick story here: 1888 opera house, the oldest in San Francisco, sits in Bayview–Hunters Point. Over its history, it's provided theater, places for businesses, places for community gatherings, etc. It's also a place where Ruth Williams taught many black actors. Think: Danny Glover -- came from this place. But over time, with our 1980s federal practices, a lot of these community institutions fell into disrepair. With the San Francisco Arts Council, we were able to raise money and to actually refurbish the place. And we were able to have a community meeting. And within the community meeting, people got up and said, "This place feels like a plantation. Why are we locked in? Why can't we learn theater?" Over the years, people had started putting in chicken coops, hay bales, community gardens and all of these things, and they could not see that traditional thing behind them. But we said, we're bringing the community back. American Disability Act -- we were able to get five million dollars. And now, the tradition belongs to these brown and black people, and they use it. And they learn theater, after-school programs. There's no more chickens. But there is art.
讲一个小故事: 建于1888年的歌剧院, 三藩市最老的歌剧院, 坐落于湾景猎人角。 在这座城市的历史中, 它扮演着剧院, 商业场所,社区聚会等场所的角色。 这也是露丝威 · 廉姆斯 指导黑人演员的地方。 比如,丹尼 · 格洛弗—— 就来自这里。 但随着时间的推移, 20世纪80年代联邦政策的实施, 这些社区机构有很多 都存在年久失修的状况。 多亏了旧金山艺术委员会, 我们能够筹集资金 为这个地方实施翻新, 并在这里举行社区会议。 在社区会议中,有人站起来说, “这个地方感觉像一个种植园。 为什么我们要变成这样呢? 为什么不能在这儿学戏剧呢?“ 过去这些年来,人们开始 在其中放入鸡舍,干草捆, 社区花园之类的东西, 他们再也看不到这栋建筑物 背后的传统了。 所以我们说,要把社区带回来。 我们通过美国残疾人法案 获得了500万美元。 现在,属于这些棕色 和黑色人种的传统回来了, 他们正在使用这栋建筑物。 他们学习戏剧, 课后项目。 这儿再也没有鸡了, 但却有了艺术。
And lastly, I want to share with you a project that we're currently working on, and I think it will force us all to remember in a really different way. There are lots of things in the landscape around us, and most of the time we don't know what's below the ground. Here in Charleston, South Carolina, a verdant piece of grass. Most people just pass by it daily. But underneath it, it's where they discovered Gadsden’s Wharf. We think more than 40 percent of the African diaspora landed here. How could you forget that? How could you forget? So we dug, dug, and we found the wharf. And so in 2020, Harry Cobb and myself and others are building the International African American Museum. And it will celebrate --
最后,我想给大家分享 我们正在做的一个项目, 我想它会令我们所有人 以一种不同的方式记住今天的话题。 我们周围的景观包含了许多事物, 而我们大多数时候都忽略了 这些景观的地下部分。 在南卡罗来纳州的查尔斯顿, 有这么一片青翠的草地 这儿是许多人的日常必经之地。 但在这片草地之下, 是刚被发现的,加兹登码头。 我们认为,超过40%的 非洲侨民是从这里登陆的。 我们怎么能把这些历史忘记了呢? 怎么能忘记呢? 所以我们挖啊挖,找到了码头。 所以在未来的2020年, 我和哈瑞 · 科布和其他人, 会在这里建一个非裔美国人博物馆。 到时我们会纪念——
(Applause)
(掌声)
this place where we know, beneath the ground, thousands died, perished, the food chain of the bay changed. Sharks came closer to the bay. It's where slaves were stored. Imagine this hallowed ground.
在这个我们已知的地方的下面, 数以千计的人在这里遇难, 海湾的食物链甚至因此发生了变化: 鲨鱼离海湾越来越近了。 它是存储奴隶的地方。 想象一下这片神圣的土地,
So in this new design, the ground will erupt, and it will talk about this tension that sits below. The columns and the ground is made of tabby shales scooped up from the Atlantic, a reminder of that awful crossing. And as you make your way through on the other side, you are forced to walk through the remains of the warehouse, where slaves were stored on hot, sultry days, for days, and perished. And you'll have to come face-to-face with the Negro, who worked in the marshes, who was able to, with the sickle-cell trait, able to stand in high waters for long, long days. And at night, it'll be open 24/7, for everybody to experience.
在这个新设计中,这片地面会凸显。 它会讲述地面下方紧张的情绪。 柱子和地面都是由从大西洋捞起来的 平纹页岩构成, 提醒着我们那些可怕的过境点。 当你走到建筑的另一边时, 你会被迫经过那片仓库的遗迹, 奴隶当时就是被安置在那里。 他们在那些闷热的日子里, 一呆就是好几天, 然后死去。 在这里, 你必须直面黑奴。 是他们,在沼泽地工作, 是他们,顶着疟疾 还在高水域里站立工作上 一段段漫长的时间。 这片景观将全天候开放, 欢迎任何一个人随时参观。
But we'll also talk about those other beautiful things that my African ancestors brought with them: a love of landscape, a respect for the spirits that live in trees and rocks and water, the ethnobotanical aspects, the plants that we use for medicinal purposes. But more importantly, we want to remind people in Charleston, South Carolina, of the black bodies, because when you go to Charleston today, the Confederacy is celebrated, probably more than any other city, and you don't have a sense of blackness at all.
我们也会讲述我们的非洲祖先 带来的美好的事情: 美丽的非洲景观, 尊重住在树木、 岩石和水中的灵魂的习俗, 以及在民族植物学方面, 那些我们使用的植物的药用目的。 更重要的是, 我们想提醒生活在南卡罗来纳州 查尔斯顿的人们, 这里有黑人的尸体, 因为今天去查尔斯顿的时候, 你会发现联邦在纪念他们, 也许未来会有越来越多的城市效仿, 而你将不再感受到黑人白人之分。
The Brookes map, which was an image that helped abolitionists see and be merciful for that condition of the crossing, is something that we want to repeat. And I was taken by the conceptuality of this kind of digital print that sits in a museum in Charleston. So we decided to bring the water up on top of the surface, seven feet above tide, and then cast the figures full length, six feet, multiply them across the surface, in tabby, and then allow people to walk across that divide. And hopefully, as people come, the water will drain out, fill up, drain out and fill up. And you'll be forced to come to terms with that memory of place, that memory of that crossing, that at times seems very lucid and clear, but at other times, forces us again to reconcile the scale. And hopefully, as people move through this landscape every day, unreconciled, they'll remember, and hopefully when we remember, e pluribus unum.
这是布鲁克斯地图, 可以帮助废奴主义者看到, 当时过境的恶劣条件, 是我们想要重复表达的事情。 我被这个概念所吸引, 想让这种数字印刷品 出现在查尔斯顿博物馆里。 所以我们决定在比潮汐高7英尺的 表面铺上水。 然后浇铸上全长六英尺的这些图片, 将它们布满表面, 像虎斑一样。 然后让游客经过这条分界线。 设计的情景是, 当人们来到这儿的时候: 水会流干, 再填满, 流干再填满。 你将被迫来到这个充满记忆的地方, 感受交界处的回忆。 有时看起来非常清晰, 但有时候,也会迫使我们再次 调和我们自己的想法。 我希望,当人们每天经过这个景观, 不需要过分刺激, 人们就能想起来这些故事。 我也希望,他们能因此牢记这件事情, 合众为一。
Thank you.
谢谢大家!
(Applause)
(掌声)