Liz Diller: A giant bubble for debate

40,512 views ・ 2012-04-30

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: S.W. DO κ²€ν† : Woo Hwang
00:15
We conventionally divide space
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μš°λ¦¬λŠ” μ „ν†΅μ μœΌλ‘œ 곡간을
00:18
into private and public realms,
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사적인 μ˜μ—­κ³Ό 곡적인 μ˜μ—­μœΌλ‘œ λ‚˜λˆ•λ‹ˆλ‹€.
00:20
and we know these legal distinctions very well
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그리고 μš°λ¦¬λŠ” 이런 합법적 ꡬ뢄을 맀우 잘 μ•Œκ³  있죠.
00:23
because we've become experts
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μ™œλƒν•˜λ©΄ μš°λ¦¬λŠ” 개인의 μž¬μ‚°κ³Ό
00:25
at protecting our private property and private space.
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사적 곡간을 λ³΄ν˜Έν•˜λŠ”λ° μžˆμ–΄μ„œ μ „λ¬Έκ°€κ°€ λ˜μ—ˆμœΌλ‹ˆκΉŒμš”.
00:29
But we're less attuned
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κ·ΈλŸ¬λ‚˜ μš°λ¦¬λŠ” κ³΅κ³΅μ΄λΌλŠ” λ‰˜μ•™μŠ€μ—λŠ”
00:31
to the nuances of the public.
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비ꡐ적 덜 μ μ‘λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
00:34
What translates generic public space into qualitative space?
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무엇이 일반적으둜 λŒ€μ€‘μ μΈ 곡간을 질적인 κ³΅κ°„μœΌλ‘œ λ°”κΏ€ 수 μžˆμ„κΉŒμš”?
00:38
I mean, this is something
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제 말은, 이것은 λ°”λ‘œ
00:40
that our studio has been working on
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우리 μŠ€νŠœλ””μ˜€κ°€ μ§€λ‚œ μ‹­λ…„λ™μ•ˆ
00:42
for the past decade.
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μž‘μ—…ν•΄μ˜€κ³  μžˆλŠ” κ²ƒμž…λ‹ˆλ‹€.
00:43
And we're doing this through some case studies.
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그리고 μš°λ¦¬λŠ” λͺ‡λͺ‡ 사둀 연ꡬ듀을 톡해 이 일을 ν•˜κ³  μžˆλŠ” μ€‘μž…λ‹ˆλ‹€.
00:45
A large chunk of our work
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우리 일의 λŒ€λΆ€λΆ„μ€
00:47
has been put into transforming
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μ΄λ ‡κ²Œ 방치된 μ‚°μ—…νν—ˆλ₯Ό
00:48
this neglected industrial ruin
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μ‹€μš©μ μΈ νƒˆ 산업적 κ³΅κ°„μœΌλ‘œ
00:51
into a viable post-industrial space
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λ°”κΎΈμ–΄ λ†“λŠ” 것인데 이 곡간은
00:54
that looks forward and backward
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λ™μ‹œμ— μ „ λ°©ν–₯을 λ³Ό 수 μžˆλ„λ‘
λ§Œλ“€μ–΄ λ†“μ•˜μŠ΅λ‹ˆλ‹€.
00:56
at the same time.
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우리의 또 λ‹€λ₯Έ μž‘μ—…μ€
00:57
And another huge chunk of our work
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01:00
has gone into making relevant
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κ·Έ λ‹Ήμ‹œμ˜ μ‹œλŒ€μ™€ λ§žμΆ”μ–΄
01:02
a site that's grown out of sync with its time.
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인근 지역을 ν‚€μ›Œλ‚˜κ°€λŠ” κ²ƒμž…λ‹ˆλ‹€.
01:04
We've been working on democratizing Lincoln Center
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μš°λ¦¬λŠ” 였페라 ν‹°μΌ“ ꡬ맀에 300λ‹¬λŸ¬λ₯Ό
01:07
for a public that doesn't usually have $300
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μ§€λΆˆν•  λŠ₯λ ₯이 μ—†λŠ” λŒ€μ€‘μ„ μœ„ν•΄
01:11
to spend on an opera ticket.
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링컨 μ„Όν„°λ₯Ό λ―Όμ£Όν™”ν•˜κΈ° μœ„ν•œ μž‘μ—…μ„ 진행 μ€‘μž…λ‹ˆλ‹€.
01:15
So we've been eating, drinking,
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μš°λ¦¬λŠ” κ½€ μ˜€λžœμ‹œκ°„
01:16
thinking, living public space
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λ¨Ήκ³ , λ§ˆμ‹œκ³ , μƒκ°ν•˜κ³ , μƒν™œν•  수 μžˆλŠ”
01:19
for quite a long time.
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곡곡의 곡간을 λ§Œλ“€μ–΄ μ™”μŠ΅λ‹ˆλ‹€.
01:21
And it's taught us really one thing,
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그것은 μš°λ¦¬μ—κ²Œ ν•˜λ‚˜μ˜ κΉ¨λ‹¬μŒμ„ μ£Όμ—ˆμ£ .
01:23
and that is to truly make good public space,
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λ°”λ‘œ 정말 ν›Œλ₯­ν•œ 곡곡의 곡간을 λ§Œλ“€μžλŠ” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:27
you have to erase the distinctions
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μ—¬λŸ¬λΆ„μ€ κ±΄μΆ•μ΄λ‚˜, λ„μ‹œν™”,
01:30
between architecture, urbanism,
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경치, λ―Έλ””μ–΄ λ””μžμΈ,
01:33
landscape, media design
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기타 λ‹€λ₯Έ 것듀을
01:35
and so on.
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κ΅¬λΆ„μ§“λŠ” 것을 μ—†μ• μ•Όλ§Œ ν•©λ‹ˆλ‹€.
01:36
It really goes beyond distinction.
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그건 μ •λ§λ‘œ κ΅¬λΆ„ν•˜λŠ” 것을 λ›°μ–΄ λ„˜λŠ” 일이죠.
01:38
Now we're moving onto Washington, D.C.
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이제 μ›Œμ‹±ν„΄μœΌλ‘œ κ°€ λ³΄κ² μŠ΅λ‹ˆλ‹€.
01:41
and we're working on another transformation,
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우린 λ‹€λ₯Έ λ³€ν˜• μž‘μ—…μ„ 진행 μ€‘μž…λ‹ˆλ‹€.
01:44
and that is for the existing Hirshhorn Museum
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그리고 그것은 기쑴의 박물관을 μœ„ν•œ κ²ƒμž…λ‹ˆλ‹€.
01:46
that's sited
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그곳은 λ―Έκ΅­μ—μ„œ
01:48
on the most revered public space in America,
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κ°€μž₯ κ²½μ™Έλ˜λŠ” λŒ€μ€‘μ  κ³΅κ°„μž…λ‹ˆλ‹€.
01:50
the National Mall.
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λ°”λ‘œ 내셔널 λͺ°μ΄μ£ .
01:53
The Mall is a symbol
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이 λͺ°μ€ λ―Έκ΅­ 민주주의의
01:55
of American democracy.
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상징과도 κ°™μŠ΅λ‹ˆλ‹€.
01:58
And what's fantastic is that this symbol
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ν™˜μƒμ μΈ 점은, 이 상징이
02:01
is not a thing, it's not an image,
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λ¬Όκ±΄μ΄λ‚˜, 이미지 ν˜Ήμ€
02:03
it's not an artifact,
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유물이 μ•„λ‹Œ
02:05
actually it's a space,
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κ·Έμ € κ³΅κ°„μ΄λΌλŠ” κ²ƒμž…λ‹ˆλ‹€.
02:06
and it's kind of just defined by a line of buildings
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그리고 이건 κΈΈ 양츑에
02:09
on either side.
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λŠ˜μ–΄μ„  건물듀에 μ˜ν•΄ μ •μ˜λ©λ‹ˆλ‹€.
02:11
It's a space where citizens can voice their discontent
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그곳은 μ‹œλ―Όλ“€μ˜ κ·Έλ“€μ˜ λΆˆλ§Œμ„
02:15
and show their power.
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μ΄μ•ΌκΈ°ν•˜κ³ , λŒ€μ€‘μ˜ νž˜μ„ λ³΄μ—¬μ£ΌλŠ” μž₯μ†Œμž…λ‹ˆλ‹€.
02:16
It's a place where pivotal moments in American history
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이곳은 λ―Έκ΅­ 역사에 μžˆμ–΄
02:19
have taken place.
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쀑좔적인 μˆœκ°„λ“€μ΄ μΌμ–΄λ‚¬λ˜ μž₯μ†Œμž…λ‹ˆλ‹€.
02:21
And they're inscribed in there forever --
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μ΄λŸ¬ν•œ 일듀, 직업과 자유λ₯Ό μœ„ν•œ μ›Œμ‹±ν„΄μ˜ 행진과
02:24
like the march on Washington for jobs and freedom
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λ§ˆν‹΄ 루터 킹이 κ·Έ κ³³μ—μ„œ ν–ˆλ˜ μ—°μ„€μ΄λ‚˜
02:26
and the great speech that Martin Luther King gave there.
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λ² νŠΈλ‚¨μ „ μ°Έμ „ λ°˜λŒ€ μ‹œμœ„,
02:29
The Vietnam protests, the commemoration of all that died
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μ—μ΄μ¦ˆμ— μ˜ν•œ μ‚¬λ§μž μΆ”λͺ¨,
02:33
in the pandemic of AIDS,
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μ—¬μ„±μ˜ 성적 ꢌ리λ₯Ό μœ„ν•œ 행진,
02:36
the march for women's reproductive rights,
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ν˜„μž¬μ—λ„ λ°œμƒν•˜λŠ” μ—¬λŸ¬ ꢌ리 μ¦μ§„μš΄λ™ 등이
02:38
right up until almost the present.
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μƒˆκ²¨μ Έ μžˆλŠ” 곳이죠.
02:42
The Mall is the greatest civic stage
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내셔널 λͺ°μ€ 이 λ‚˜λΌμ—μ„œμ˜ ν•­μ˜λ₯Ό μœ„ν•œ
02:45
in this country for dissent.
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κ°€μž₯ μœ„λŒ€ν•œ μ‹œλ―Όμ˜ λ¬΄λŒ€μž…λ‹ˆλ‹€.
02:48
And it's synonymous with free speech,
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그리고 그건 ν‘œν˜„μ˜ μžμœ μ™€ λ™μ˜μ–΄μ΄κΈ°λ„ ν•˜μ£ .
02:52
even if you're not sure what it is that you have to say.
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비둝 μ—¬λŸ¬λΆ„μ΄ 무슨 말을 할지에 λŒ€ν•œ 확신이 μ„œμ§€ μ•Šλ”λΌλ„ λ§μž…λ‹ˆλ‹€.
02:55
It may just be a place for civic commiseration.
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그곳은 μ‹œλ―Όλ“€μ΄ 애도λ₯Ό ν‘œν•˜λŠ” μž₯μ†ŒμΌ μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
03:00
There is a huge disconnect, we believe,
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λ‹€μ–‘ν•œ μ˜κ²¬μ„ ν‘œμΆœν•˜λŠ” 곳으둜의 λͺ°κ³Ό
03:04
between the communicative and discursive space of the Mall
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μ–‘μͺ½ 길에 λŠ˜μ–΄μ„  λ°•λ¬Όκ΄€λ“€ μ‚¬μ΄μ—λŠ”
03:08
and the museums that line it to either side.
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μ»€λ‹€λž€ λΆˆμΌμΉ˜κ°€ μžˆμŠ΅λ‹ˆλ‹€.
03:12
And that is that those museums are usually passive,
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이 λΆˆμΌμΉ˜λŠ” λ°•λ¬Όκ΄€λ“€ λŒ€λΆ€λΆ„μ΄ μˆ˜λ™μ μΈ,
03:15
they have passive relationships between the museum
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λ‹€μ‹œλ§ν•΄ λ°•λ¬Όκ΄€λ“€ μ‚¬μ΄μ—μ„œ
03:19
as the presenter and the audience,
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μ „μ‹œμž, 청쀑,
03:20
as the receiver of information.
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정보 μˆ˜μš©μžλ‘œμ„œ μˆ˜λ™μ  관계λ₯Ό ν˜•μ„±ν•œλ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€.
03:23
And so you can see dinosaurs
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그리고 μ—¬λŸ¬λΆ„μ€ κ³΅λ£‘μ΄λ‚˜
03:24
and insects and collections of locomotives
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κ³€μΆ©λ“€, ν˜Ήμ€ 증기기관차 μˆ˜μ§‘ν’ˆλ“€κ³Ό 같은 것듀을
03:29
and all of that,
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κ΄€λžŒν•  수 μžˆμŠ΅λ‹ˆλ‹€.
03:30
but you're really not involved;
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ν•˜μ§€λ§Œ μ—¬λŸ¬λΆ„μ€ μ΄λŸ¬ν•œ 것듀에 κ΄€μ—¬λ˜μ–΄μžˆμ§€λŠ” μ•Šμ£ --
03:31
you're being talked to.
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μ—¬λŸ¬λΆ„μ€ κ·Έμ € λ“€λ €μ£ΌλŠ” 이야기λ₯Ό 듀을 λΏμž…λ‹ˆλ‹€.
03:33
When Richard Koshalek took over as director of the Hirshhorn
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λ¦¬μ± λ“œ 코샬렉(Richard Koshalek)이 2009λ…„ ν—ˆμ‰¬ν˜Ό(Hirshhorn)의 κ΄€μž₯으둜
03:38
in 2009,
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μž¬μ§ν–ˆμ„ λ•Œ,
03:40
he was determined to take advantage
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κ·ΈλŠ” λ―Έκ΅­ λ‚΄μ—μ„œ ꢌλ ₯의 μ€‘μ‹¬λΆ€μ΄μž
03:42
of the fact that this museum was sited
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κ°€μž₯ λ…νŠΉν•œ μœ„μΉ˜μ— μžλ¦¬ν•œ λ°•λ¬Όκ΄€μ˜ 이점을
03:45
at the most unique place:
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μ΄μš©ν•΄ 보자고 κ²°μ‹¬ν–ˆμŠ΅λ‹ˆλ‹€.
03:47
at the seat of power in the U.S.
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그리고 예술과 μ •μΉ˜κ°€ 늘
03:49
And while art and politics
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λŒ€λŒ€λ‘œ 은연쀑에 ν•¨κ»˜ μ‘΄μž¬ν•΄ μ™”κ³ 
03:51
are inherently and implicitly together always and all the time,
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μ–΄λ–€ 맀우 νŠΉλ³„ν•œ 관계λ₯Ό
03:57
there could be some very special relationship
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ν˜•μ„±ν•  수 μžˆμ—ˆλŠ”λ°
04:01
that could be forged here in its uniqueness.
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λ°”λ‘œ μ—¬κΈ°μ„œ κ·Έ λ…νŠΉν•¨μ„ ꡬ좕할 수 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
04:05
The question is, is it possible ultimately
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μ—¬κΈ°μ„œ λ¬Έμ œλŠ”, ꡭ가와 μ„Έκ³„μ˜ ν˜„μ•ˆλ“€μ„
04:07
for art to insert itself
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μ˜ˆμˆ μ—
04:09
into the dialogue of national and world affairs?
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λΌμ›Œ λ„£λŠ” 것이 κ°€λŠ₯ν•œκ°€ λΌλŠ” 것과
04:12
And could the museum be an agent of cultural diplomacy?
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박물관이 κ³Όμ—° 문화적 외ꡐ관이 될 수 μžˆλŠ”κ°€ ν•˜λŠ” κ²ƒμž…λ‹ˆλ‹€.
04:16
There are over 180 embassies in Washington D.C.
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μ›Œμ‹±ν„΄μ—λŠ” 180개 μ΄μƒμ˜ λŒ€μ‚¬κ΄€μ΄ 있고
04:21
There are over 500 think tanks.
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500개 μ΄μƒμ˜ 씽크 탱크, 즉 λ‘λ‡Œ 집단이 μžˆμŠ΅λ‹ˆλ‹€.
04:24
There should be a way
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이 λͺ¨λ“  μ„Έκ³„μ˜ 지적 μ—λ„ˆμ§€λ₯Ό
04:26
of harnessing all of that intellectual and global energy
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박물관에 ν™œμš©ν•  수 μžˆλŠ”
04:28
into, and somehow through, the museum.
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방법이 μžˆμ–΄μ•Ό ν•©λ‹ˆλ‹€.
04:31
There should be some kind of brain trust.
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μΌμ’…μ˜ μ •μ±…μžλ¬Έμœ„μ›νšŒμ™€ 같은 역할을 ν•΄μ•Ό ν•˜λŠ” 것이죠.
04:34
So the Hirshhorn, as we began to think about it,
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κ·Έλž˜μ„œ μ €ν¬λŠ” μ΄λŸ¬ν•œ μƒκ°μ˜ μ‹œλ°œμ μœΌλ‘œμ„œ ν—ˆμ‰¬ν˜Όμ—μ„œ
04:37
and as we evolved the mission,
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이런 λ―Έμ…˜μ„ μ§„ν™”μ‹œν‚€λŠ” ν”Όλ•€ν˜λ¦¬λŠ”μž‘μ—…μ„
04:39
with Richard and his team --
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λ¦¬μ± λ“œμ™€ 그의 νŒ€κ³Ό
04:41
it's really his life blood.
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ν•¨κ»˜ μ§„ν–‰μ€‘μž…λ‹ˆλ‹€.
04:43
But beyond exhibiting contemporary art,
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ν˜„λŒ€ 미술 μ „μ‹œλ₯Ό λ„˜μ–΄μ„œ,
04:48
the Hirshhorn will become a public forum,
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ν—ˆμ‰¬ν˜Ό 박물관은
04:50
a place of discourse
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예술, λ¬Έν™”, μ •μΉ˜, 정책을 μ•„μš°λ₯΄λŠ” μ£Όμ œμ— λŒ€ν•œ
04:52
for issues around arts,
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λ‹΄ν™”μ˜ μž₯μ†Œλ‘œμ„œ
04:55
culture, politics and policy.
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곡곡 ν† λ‘ μž₯이 될 κ²ƒμž…λ‹ˆλ‹€.
05:00
It would have the global reach of the World Economic Forum.
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이 곳은 세계 경제 포럼의 세계적 접근성도 κ°€μ§€κ²Œ 될 κ²ƒμž…λ‹ˆλ‹€.
05:04
It would have the interdisciplinarity of the TED Conference.
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λ˜ν•œ TED의 λ‹€μ–‘ν•œ 학문뢄야도 μ•„μš°λ₯Ό 수 μžˆμŠ΅λ‹ˆλ‹€.
λ•Œλ‘œλŠ” 격의 μ—†λŠ” λŒ€ν™”κ°€ μ˜€κ°€λŠ” λ§ˆμ„ κ΄‘μž₯도 될 κ²ƒμž…λ‹ˆλ‹€.
05:07
It would have the informality of the town square.
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05:11
And for this new initiative,
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이런 μƒˆλ‘œμš΄ κ³„νšμ„ μœ„ν•΄
05:13
the Hirshhorn would have to expand
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ν—ˆμ‰¬ν˜Ό 박물관은
05:15
or appropriate a site
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ν˜„λŒ€μ μ΄κ³  효율적인 건물을 μœ„ν•΄
05:16
for a contemporary, deployable structure.
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뢀지λ₯Ό ν™•μž₯ν•˜κ±°λ‚˜ μ΅œμ ν™”ν•΄μ•Όλ§Œ ν•©λ‹ˆλ‹€.
05:19
This is it. This is the Hirshhorn --
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λ„€, λ°”λ‘œ μ΄κ³³μž…λ‹ˆλ‹€. 이것이 70λ…„λŒ€ 초
05:21
so a 230-foot-diameter concrete doughnut
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κ³ λ“  λ²ˆμƒ€ν”„νŠΈ(Gordon Bunshaft)κ°€ λ””μžμΈν•œ
05:24
designed in the early '70s
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지름 230ν”ΌνŠΈμ˜ 콘크리트 도넛 λͺ¨μ–‘μ˜
05:26
by Gordon Bunshaft.
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ν—ˆμ‰¬ν˜Ό λ°•λ¬Όκ΄€μž…λ‹ˆλ‹€.
05:28
It's hulking, it's silent,
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박물관은 μ—„μ²­λ‚˜κ²Œ 크고, κ³ μš”ν•˜λ©°
05:29
it's cloistered, it's arrogant,
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νšŒλž‘λ„ 있고, μ˜€λ§Œν•˜κΈ°κΉŒμ§€ν•œ
05:31
it's a design challenge.
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λ””μžμΈμ  λ„μ „μž…λ‹ˆλ‹€.
05:33
Architects love to hate it.
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건좕가듀은 이 건물을 λΉ„λ‚œν•˜λŠ” 것을 μ’‹μ•„ν•˜μ£ .
05:35
One redeeming feature
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결점을 λ³΄μ™„ν•˜λŠ” ν•œκ°€μ§€μ˜ νŠΉμ§•μ€
05:37
is it's lifted up off the ground
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이곳이 λ•…μœΌλ‘œλΆ€ν„° λ“€μ–΄μ˜¬λ €μ§„
05:39
and it's got this void,
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곡간을 가지고 μžˆλ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€.
05:40
and it's got an empty core
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그리고 μ€‘μ•™μ—λŠ” λ‚΄ 외뢀에 κΈ°μ—…κ³Ό μ—°λ°© μŠ€νƒ€μΌμ˜
05:42
kind of in the spirit and that facade
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건좕양식을 가진
05:45
very much corporate and federal style.
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λΉ„μ–΄μžˆλŠ” 쀑심뢀가 μžˆμŠ΅λ‹ˆλ‹€.
05:49
And around that space,
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곡간 μ£Όλ³€μ˜ κ³ λ¦¬λŠ”
05:51
the ring is actually galleries.
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μ‹€μ œλ‘œλŠ” 가러리둜 μ‚¬μš©λ˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
05:52
Very, very difficult to mount shows in there.
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이 κ³³μ—μ„œ μ „μ‹œνšŒλ₯Ό κ°œμ΅œν•˜κΈ°λž€ 정말 λ¬΄μ²™μ΄λ‚˜ κΉŒλ‹€λ‘­μŠ΅λ‹ˆλ‹€.
05:55
When the Hirshhorn opened,
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ν—ˆμ‰¬ν˜Όμ΄ 개μž₯ ν–ˆμ„λ•Œ,
05:57
Ada Louise Huxstable, the New York Times critic,
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λ‰΄μš• νƒ€μž„μ¦ˆμ˜ 평둠가 μ•„λ‹€ 루이슀 ν—‰μŠ€ν…Œμ΄λΈ”(Ada Louise Huxstable)은
λ‹€μŒκ³Ό 같은 λͺ‡ 가지 단어듀을 μ„ νƒν–ˆμŠ΅λ‹ˆλ‹€
05:59
had some choice words:
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06:00
"Neo-penitentiary modern."
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"μƒˆλ‘œμš΄ ν˜„λŒ€μ‹ κ΅λ„μ†Œ"
06:02
"A maimed monument and a maimed Mall
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"λΆˆκ΅¬κ°™μ€ 기념비이며 λΆˆκ΅¬κ°€ 된 μ „μ‹œλ¬Όλ“€μ„
06:05
for a maimed collection."
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μœ„ν•œ 뢈ꡬ 건물"
06:07
Almost four decades later,
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거의 40λ…„ ν›„
06:08
how will this building expand
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μƒˆλ‘œμš΄ 진보적 ν”„λ‘œκ·Έλž¨λ“€μ„ μœ„ν•΄
06:10
for a new progressive program?
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이 λΉŒλ”©μ΄ μ–΄λ–»κ²Œ ν™•μž₯ν•΄ λ‚˜κ°€κ²Œ λ κΉŒμš”?
06:12
Where would it go?
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이 건물은 μ–΄λ””λ‘œ λ‚˜μ•„κ°€κ²Œ λ κΉŒμš”?
06:14
It can't go in the Mall.
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μ•„λ§ˆ λͺ° μ•ˆμœΌλ‘œ 듀어가진 μ•Šμ„κ²λ‹ˆλ‹€.
06:15
There is no space there.
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κ·Έ κ³³μ—λŠ” 더 이상 곡간이 μ—†μ£ .
06:16
It can't go in the courtyard.
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μ •μ›μ²˜λŸΌ λ˜μ§€λ„ μ•Šμ„ κ²λ‹ˆλ‹€.
06:18
It's already taken up by landscape and by sculptures.
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그곳은 이미 κ²½μΉ˜μ™€ μ‘°κ°λ“€λ‘œ λ‘˜λŸ¬μŒ“μ—¬ μžˆμŠ΅λ‹ˆλ‹€.
06:23
Well there's always the hole.
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κ°€μš΄λ°μ˜ 빈 곡간은 μ–Έμ œλ‚˜ μ‘΄μž¬ν–ˆμŠ΅λ‹ˆλ‹€.
06:24
But how could it take the space of that hole
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κ·Έλ ‡λ‹€λ©΄ μ–΄λ–»κ²Œ 이 홀을
06:29
and not be buried in it invisibly?
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λ©”μš°μ§€ μ•Šκ³  곡간을 μ–»μ–΄λ‚Ό 수 μžˆμ„κΉŒμš”?
06:31
How could it become iconic?
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μ–΄λ–»κ²Œ ν˜•νƒœλ₯Ό 가진 λͺ¨μŠ΅μ΄ λ κΉŒμš”?
06:33
And what language would it take?
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그리고 μ–΄λ–€ μ–Έμ–΄λ₯Ό μ·¨ν•΄μ•Ό ν• κΉŒμš”?
06:36
The Hirshhorn sits among the Mall's monumental institutions.
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ν—ˆμ‰¬ν˜Ό 박물관은 내셔널 λͺ° 기념관 사이에 μœ„μΉ˜ν•©λ‹ˆλ‹€.
06:39
Most are neoclassical, heavy and opaque,
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λŒ€λΆ€λΆ„μ€ μ‹  고전주이이고, λŒμ΄λ‚˜ 콘크리트둜 λ§Œλ“€μ–΄μ„œ
06:42
made of stone or concrete.
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크고 뢈투λͺ…ν•˜μ£ .
06:45
And the question is,
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λ¬Έμ œλŠ” λ°”λ‘œ
06:47
if one inhabits that space,
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λ§Œμ•½ λˆ„κ΅°κ°€ 거기에 μ‚°λ‹€λ©΄,
06:48
what is the material of the Mall?
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λͺ°μ˜ μž¬λ£ŒλŠ” λ¬΄μ—‡μœΌλ‘œ ν•΄μ•Όν• κΉŒ ν•˜λŠ” κ²ƒμž…λ‹ˆλ‹€.
06:52
It has to be different from the buildings there.
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κ·Έ 곳에 이미 μžˆλŠ” κ±΄λ¬Όλ“€κ³ΌλŠ” 달라야겠죠.
06:54
It has to be something entirely different.
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μ™„μ „νžˆ λ‹¬λΌμ•Όλ§Œ ν•  κ²λ‹ˆλ‹€.
06:56
It has to be air.
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κ·Έ 곳은 곡기가 톡해야 ν•©λ‹ˆλ‹€.
06:58
In our imagination, it has to be light.
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우리의 μƒμƒμœΌλ‘œλŠ”, 그곳은 밝아야 ν•˜κΈ°λ„ ν•˜μ£ .
07:01
It has to be ephemeral. It has to be formless.
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λ˜ν•œ 수λͺ…은 짧아야 ν•˜λ©° ν˜•νƒœλ„ μ—†μ–΄μ•Ό ν•©λ‹ˆλ‹€.
그리고 μžμœ λ‘œμ›Œμ•Ό ν•˜κ΅¬μš”.
07:03
And it has to be free.
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07:05
(Video)
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(λ™μ˜μƒ)
07:16
So this is the big idea.
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이것은 ꡉμž₯ν•œ μ•„μ΄λ””μ–΄μž…λ‹ˆλ‹€.
07:19
It's a giant airbag.
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κ±°λŒ€ν•œ 에어백이죠.
07:22
The expansion takes the shape of its container
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νŒ½μ°½ν•˜κ²Œ 되면 μ»¨ν…Œμ΄λ„ˆμ˜ λͺ¨μ–‘을
07:25
and it oozes out wherever it can --
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λ”°λ₯΄κ³  μ–΄λ””λ“  팩이 λΉ μ Έλ‚˜κ°ˆ μˆ˜λ„
07:27
the top and sides.
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μžˆμŠ΅λ‹ˆλ‹€.
07:29
But more poetically,
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보닀 μ‹œμ μΈ 사싀은,
07:31
we like to think of the structure
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이곳이 슀슀둜 내셔널 λͺ°μ˜ 민주주의적인
07:33
as inhaling the democratic air of the Mall,
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곡기λ₯Ό λ“€μ΄λ§ˆμ‹œλŠ”κ²ƒμ²˜λŸΌ 보일 수 μžˆλ‹€λŠ”
07:35
bringing it into itself.
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κ²ƒμž…λ‹ˆλ‹€.
07:39
The before and the after.
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에어백을 λ„£κΈ° μ „κ³Ό ν›„μž…λ‹ˆλ‹€.
07:43
It was dubbed "the bubble" by the press.
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이것은 언둠에 μ˜ν•΄ "곡기방울"이라고 λͺ…λͺ…λ˜μ—ˆμ£ .
07:46
That was the lounge.
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이 곳은 λΌμš΄μ§€μ˜€μŠ΅λ‹ˆλ‹€.
07:49
It's basically one big volume of air
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이것은 기본적으둜 λͺ¨λ“  λ°©ν–₯으둜 λΉ μ Έλ‚˜κ°€λŠ”
07:52
that just oozes out in every direction.
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μ»€λ‹€λž€ λΆ€ν”Όμ˜ κ³΅κΈ°μž…λ‹ˆλ‹€.
07:54
The membrane is translucent.
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이 얇은 막은 반투λͺ…μž…λ‹ˆλ‹€.
07:56
It's made of silcon-coated glass fiber.
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μ‹€λ¦¬μ½˜μ„ μž…νžŒ μœ λ¦¬μ„¬μœ λ‘œ λ§Œλ“€μ—ˆμ£ .
08:00
And it's inflated twice a year for one month at a time.
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이 곡기방을은 ν•œλ‹¬μ— ν•œλ²ˆμ”© 1년에 두 번 λΆ€ν’€λ €μ§‘λ‹ˆλ‹€.
08:04
This is the view from the inside.
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이 사진은 λ‚΄λΆ€ λͺ¨μŠ΅μž…λ‹ˆλ‹€.
08:07
So you might have been wondering
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μ—¬λŸ¬λΆ„κ»˜μ„œλŠ” μ•„λ§ˆλ„
08:09
how in the world
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μ–΄λ–»κ²Œ 저희가 이 ν”„λ‘œμ νŠΈλ₯Ό
08:11
did we get this approved by the federal government.
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μ—°λ°©μ •λΆ€λ‘œλΆ€ν„° ν—ˆλ½μ„ λ°›μ•˜λŠ”μ§€ κΆκΈˆν•˜μ‹€ κ²λ‹ˆλ‹€.
08:13
It had to be approved by actually two agencies.
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μ‹€μ œλ‘œ 두 개의 κΈ°κ΄€μ—μ„œ ν—ˆλ½μ„ λ°›μ•„λ‚΄μ•Όλ§Œ ν–ˆμŠ΅λ‹ˆλ‹€.
08:17
And one is there to preserve
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λͺ°μ˜ μœ„μ—„κ³Ό 고결함을
08:21
the dignity and sanctity of the Mall.
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보쑴해야 ν–ˆμŠ΅λ‹ˆλ‹€.
08:23
I blush whenever I show this.
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μ €λŠ” 이걸 λ³΄μ—¬λ“œλ¦΄λ•Œ λ§ˆλ‹€ μ‘₯μ“°λŸ½μŠ΅λ‹ˆλ‹€.
08:26
It is yours to interpret.
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이 것을 ν•΄μ„ν•˜λŠ” 것은 μ—¬λŸ¬λΆ„μ˜ λͺ«μž…λ‹ˆλ‹€.
08:30
But one thing I can say
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ν•˜μ§€λ§Œ μ œκ°€ λ§μ”€λ“œλ¦΄ 수 μžˆλŠ” ν•œ κ°€μ§€λŠ”
08:32
is that it's a combination
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μΈμŠ΅νƒ€νŒŒμ™€
08:34
of iconoclasm
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λ™κ²½μ˜
08:37
and adoration.
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μ‘°ν™”μž…λ‹ˆλ‹€.
08:40
There was also some creative interpretation involved.
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λ˜ν•œ κ΄€λ ¨λ˜μ–΄μžˆλŠ” λͺ‡ κ°€μ§€μ˜ 창의적 해석이 있죠.
08:43
The Congressional Buildings Act of 1910
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1910λ…„ 발의된 κ΅­νšŒμ˜μ‚¬λ‹Ήμ˜ μ•ˆκ±΄μ€
08:46
limits the height of buildings in D.C.
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μ²¨νƒ‘μ΄λ‚˜ 탑, 돔 등을 μ œμ™Έν•˜κ³ 
08:48
to 130 feet,
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μ›Œμ‹±ν„΄ λ‚΄μ˜ κ±΄λ¬Όλ“€μ˜
08:50
except for spires, towers, domes and minarets.
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고도λ₯Ό 130ν”ΌνŠΈλ‘œ μ œν•œν•˜λŠ” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
08:53
This pretty much exempts monuments of the church and state.
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κ΅νšŒμ™€ 주립 기념관 같은 것듀은 맀우 λ§Žμ€ 면제 사둀가 λ˜μ—‡μŠ΅λ‹ˆλ‹€.
08:58
And the bubble is 153 ft.
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μ €ν¬μ˜ κ³΅κΈ°λ°©μšΈμ€ 153ν”ΌνŠΈμž…λ‹ˆλ‹€.
09:01
That's the Pantheon next to it.
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μ‚¬μ§„μ—μ„œ λ³΄μ‹œλŠ” 곡기방울 μ˜†μ— μžˆλŠ” 것은 νŒν…Œμ˜¨μž…λ‹ˆλ‹€.
09:03
It's about 1.2 million cubic feet of compressed air.
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κ³΅κΈ°λ°©μšΈμ—λŠ” μ•½ 120만 ν‰λ°©ν”ΌνŠΈμ˜ 압좕곡기가 λ“€μ–΄μžˆμ£ .
09:07
And so we argued it
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μ €ν¬λŠ” 돔 ν˜•νƒœμ˜ μž₯점듀에 λŒ€ν•΄μ„œ
09:09
on the merits of being a dome.
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μ£Όμž₯ν–ˆμŠ΅λ‹ˆλ‹€.
09:11
So there it is,
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μ €ν¬μ˜ μ£Όμž₯은
09:13
very stately,
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내셔널 λͺ° 내에 μžˆλŠ”
09:14
among all the stately buildings in the Mall.
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돔 건물 μ€‘μ—μ„œλ„ 단연 μœ„μ—„μžˆλ‹€λŠ” κ²ƒμ΄μ—ˆμ£ .
09:17
And while this Hirshhorn is not landmarked,
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비둝 ν—ˆμ‰¬ν˜Ό 박물관이 λžœλ“œλ§ˆν¬λŠ” 아닐지라도,
09:20
it's very, very historically sensitive.
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μ—­μ‚¬μ μœΌλ‘  맀우, 맀우 λ―Όκ°ν•œ μž₯μ†Œμ΄λ©°
09:23
And so we couldn't really touch its surfaces.
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λ”°λΌμ„œ μ €ν¬λŠ” λ°•λ¬Όκ΄€μ˜ μ™Έν˜•μ„ μ†λŒˆμˆ˜λŠ” μ—†λ‹€κ³  ν–ˆμŠ΅λ‹ˆλ‹€.
09:25
We couldn't leave any traces behind.
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μ €ν¬λŠ” 뒀에 μ–΄λ–€ 흔적도 남길 수 μ—†μ—ˆμ£ .
09:27
So we strained it from the edges,
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κ·Έλž˜μ„œ μ €ν¬λŠ” κ°€μž₯μžλ¦¬λ‘œλΆ€ν„° νŒ½νŒ½ν•˜κ²Œ μž‘μ•„λ‹ΉκΈ°κ³  λ‚˜μ„œ
09:29
and we held it by cables.
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μΌ€μ΄λΈ”λ‘œ κ³ μ •μ‹œμΌ°μŠ΅λ‹ˆλ‹€.
09:31
It's a study of some bondage techniques,
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이것은 λ¬ΆλŠ” κΈ°μˆ μ— λŒ€ν•œ
09:35
which are actually very important
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맀우, 맀우 μ€‘μš”ν•œ μ—°κ΅¬μ˜€μŠ΅λ‹ˆλ‹€.
09:36
because it's hit by wind all the time.
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μ™œλƒν•˜λ©΄ κ³΅κΈ°λ°©μšΈμ€ μ–Έμ œλ‚˜ λ°”λžŒμ„ 맞기 λ•Œλ¬Έμž…λ‹ˆλ‹€.
09:38
There's one permanent steel ring at the top,
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곡기방울 μ •μƒμ—λŠ” 영ꡬ적인 μ‡  고리가 μžˆμ§€λ§Œ,
09:40
but it can't be seen from any vantage point on the Mall.
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λͺ°μ˜ 잘 λ³΄μ΄λŠ” μž₯μ†Œ μ–΄λ””μ—μ„œλ„ κ·Έ 쇠고리λ₯Ό λ³Ό μˆ˜λŠ” μ—†μ£ .
09:43
There are also some restrictions
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μ‘°λͺ…λŸ‰μ΄ μ–Όλ§ˆλ‚˜ λ˜λŠλƒλŠ” 것에 λŒ€ν•΄μ„œλŠ”
09:45
about how much it could be lit.
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λͺ‡ 가지 ν•œκ³„μ μ΄ μžˆμŠ΅λ‹ˆλ‹€.
09:47
It glows from within, it's translucent.
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λ‚΄λΆ€μ—μ„œ 빛이 λ‚˜μ˜¬ 수 있고, 반투λͺ…ν•©λ‹ˆλ‹€λ§Œ
09:49
But it can't be more lit than the Capitol
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κ΅­νšŒμ˜μ‚¬λ‹Ήμ΄λ‚˜ λ‹€λ₯Έ 기념관보닀
09:52
or some of the monuments.
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더 λ°μ„μˆ˜λŠ” μ—†μŠ΅λ‹ˆλ‹€.
09:53
So it's down the hierarchy on lighting.
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κ·Έλž˜μ„œ μ‘°λͺ… λ¬Έμ œμ— μžˆμ–΄μ„œλŠ” μ•½μžμ˜ μž…μž₯이죠.
κ³΅κΈ°λ°©μšΈμ€ 1년에 두 번 λ“€μ–΄μ˜΅λ‹ˆλ‹€.
09:56
So it comes to the site twice a year.
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09:58
It's taken off the delivery truck.
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트럭으둜 λ°°λ‹¬ν•˜μ£ .
10:01
It's hoisted.
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곡기방울이 λ“€μ–΄μ˜¬λ €μ§‘λ‹ˆλ‹€.
10:02
And then it's inflated
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그리고 μ €κΈ°μ•• 곡기둜
10:05
with this low-pressure air.
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λΆ€ν’€κ²Œ 되죠.
10:06
And then it's restrained with the cables.
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κ·Έλ¦¬κ³ λ‚˜μ„œλŠ” μΌ€μ΄λΈ”λ‘œ λ¬Άμ–΄λ‘‘λ‹ˆλ‹€.
10:08
And then it's ballasted with water at the very bottom.
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κ·Έ λ‹€μŒ λ°”λ‹₯에 물둜된 μ•ˆμ „μž₯치λ₯Ό μ„€μΉ˜ν•©λ‹ˆλ‹€.
10:11
This is a very strange moment
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이것은 맀우 λ‚―μ„  κ΄‘κ²½μž…λ‹ˆλ‹€.
10:16
where we were asked by the bureaucracy at the Mall
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κ·Έ λ•Œ μš°λ¦¬λŠ” κ΄€λ£Œλ“€λ‘œλΆ€ν„° μ„€μΉ˜μ‹œκ°„μ΄ μ–Όλ§ˆλ‚˜ 걸릴지
10:18
how much time would it take to install.
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μ§ˆλ¬Έμ„ λ°›μ•˜μŠ΅λ‹ˆλ‹€.
10:21
And we said, well the first erection would take one week.
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μ €ν¬λŠ” 처음 μ„Έμš°λŠ” 데에 일주일이 κ±Έλ¦°λ‹€κ³  λŒ€λ‹΅ν–ˆμŠ΅λ‹ˆλ‹€.
10:24
And they really connected with that idea.
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그듀은 μ €ν¬μ˜ μ˜κ²¬μ— μˆ˜κΈν–ˆμŠ΅λ‹ˆλ‹€.
10:27
And then it was really easy all the way through.
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κ·Έλ¦¬κ³ λ‚˜μ„  λͺ¨λ“  것이 μˆ˜μ›”ν–ˆμ£ .
10:31
So we didn't really have that many hurdles, I have to say,
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κ·Έλž˜μ„œ 저희가 일을 μ§„ν–‰ν• λ•Œ μž₯애물듀이 λ§Žμ§€λŠ” μ•Šμ•˜μ—ˆλ‹€κ³ 
10:35
with the government and all the authorities.
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μ €λŠ” 정뢀와 λͺ¨λ“  κ΄€κ³„κΈ°κ΄€λ“€μ—κ²Œ 이야기해야 ν•©λ‹ˆλ‹€.
10:37
But some of the toughest hurdles
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κ·ΈλŸ¬λ‚˜ κ°€μž₯ νž˜λ“  μž₯μ• λ¬Ό 쀑 λͺ‡λͺ‡μ€
10:39
have been the technical ones.
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λ°”λ‘œ 기술적인 κ²ƒλ“€μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
10:40
This is the warp and weft.
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λ’€ν‹€λ¦Όμ˜ λ¬Έμ œμ²˜λŸΌμš”.
10:42
This is a point cloud.
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이것은 운점(μ„¬μœ κ³΅ν•™μš©μ–΄)μž…λ‹ˆλ‹€.
10:44
There are extreme pressures.
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κ·Ήλ„μ˜ μ••λ ₯이 μ‘΄μž¬ν•˜μ£ .
10:46
This is a very, very unusual building
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이것은 쀑λ ₯의 μ••λ ₯이 μ—†λ‹€λŠ” μ μ—μ„œ
정말 맀우 νŠΉμ΄ν•œ κ±΄λ¬Όμž…λ‹ˆλ‹€.
10:48
in that there's no gravity load,
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10:50
but there's load in every direction.
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κ·ΈλŸ¬λ‚˜ λͺ¨λ“  λ°©ν–₯μ—μ„œ ν•˜μ€‘μ΄ 걸리게 되죠.
10:51
And I'm just going to zip through these slides.
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μ €λŠ” 경사면을 따라 λΉ λ₯΄κ²Œ λ‚΄λ €κ°‘λ‹ˆλ‹€.
10:56
And this is the space in action.
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그리고 이곳은 ν™œλ™ κ³΅κ°„μž…λ‹ˆλ‹€.
10:59
So flexible interior for discussions,
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ꡬ μ•ˆμ— 빛이 있고, ꡬ쑰변경이
11:02
just like this, but in the round --
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κ°€λŠ₯ν•œ μ΄λŸ¬ν•œ κ²ƒμ²˜λŸΌ
11:04
luminous and reconfigurable.
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토둠을 μœ„ν•œ μœ μ—°ν•œ λ‚΄λΆ€κ³΅κ°„μž…λ‹ˆλ‹€.
11:06
Could be used for anything,
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κ³΅μ—°μ΄λ‚˜ μ˜ν™”,
11:08
for performances, films,
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μ„€μΉ˜ λ“±
11:10
for installations.
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μ–΄λ–€ μš©λ„λ‘œλ“  μ‚¬μš©μ΄ κ°€λŠ₯ν•©λ‹ˆλ‹€.
11:12
And the very first program
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그리고 졜초 ν”„λ‘œκ·Έλž¨μ€
11:15
will be one of cultural dialogue and diplomacy
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외ꡐ뢀와 같이
11:17
organized in partnership
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νŒŒνŠΈλ„ˆμ‹­μœΌλ‘œ μ‘°μ§ν•œ
11:18
with the Council on Foreign Relations.
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문화적 담화와 외ꡐ가 될 κ²ƒμž…λ‹ˆλ‹€.
11:21
Form and content are together here.
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양식과 λ‚΄μš©μ€ 여기에 μžˆμŠ΅λ‹ˆλ‹€.
11:23
The bubble is an anti-monument.
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κ³΅κΈ°λ°©μšΈμ€ 반-κΈ°λ…κ΄€μ μž…λ‹ˆλ‹€.
11:25
The ideals of participatory democracy
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μ°Έμ—¬λ―Όμ£Όμ£Όμ˜μ˜ 이상은
11:28
are represented through suppleness
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μ™„κ³ ν•¨μ΄λΌκΈ°λ³΄λ‹€λŠ”
11:30
rather than rigidity.
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μœ μ—°ν•¨μ„ 톡해 λŒ€ν‘œλ  κ²ƒμž…λ‹ˆλ‹€.
11:31
Art and politics
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예술과 μ •μΉ˜λŠ”
11:33
occupy an ambiguous site outside the museum walls,
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λ°•λ¬Όκ΄€ λ²½ λ°–μ˜ μ• λ§€ν•œ 곳을 차지할 κ²ƒμž…λ‹ˆλ‹€.
11:37
but inside of the museum's core,
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κ·ΈλŸ¬λ‚˜ λ°•λ¬Όκ΄€ λ‚΄λΆ€ 핡심은
11:40
blending its air
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내셔널 λͺ°μ˜ 민주주의적 곡기와
11:42
with the democratic air of the Mall.
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μ„žμ΄κ² μ§€μš”.
11:44
And the bubble will inflate
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그리고 κ³΅κΈ°λ°©μšΈμ€ 2013λ…„ 말에
11:50
hopefully for the first time
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희망차게
11:52
at the end of 2013.
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λΆ€ν’€μ–΄ 였λ₯Ό κ²ƒμž…λ‹ˆλ‹€.
11:54
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
11:56
(Applause)
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이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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