Joshua Prince-Ramus: Building a theater that remakes itself

48,058 views ใƒป 2010-01-26

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Jaeyoon Gimm ๊ฒ€ํ† : Jinjoo Roh
00:15
I'm going to speak to you today about architectural agency.
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์ €๋Š” ์˜ค๋Š˜ ๊ฑด์ถ•๊ฐ€์˜ ์ค‘์žฌ์  ์—ญํ• ์— ๋Œ€ํ•ด ์–˜๊ธฐํ•ด๋ณด๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
00:19
What I mean by that is that it's time for architecture
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๋ฌด์Šจ ๋ง์ธ๊ฐ€ ํ•˜๋ฉด ์ด์ œ ๊ฑด์ถ•๊ฐ€๋“ค์ด
00:21
to do things again, not just represent things.
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๋‹จ์ˆœํžˆ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ‘œํ˜„ํ•˜๊ธฐ์— ๊ทธ์น˜์ง€ ์•Š๊ณ  ๋‹ค์‹œ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•ด์•ผํ•  ๋•Œ๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:25
This is a construction helmet that I received two years ago
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์ด๊ฑด ์ œ๊ฐ€ 2๋…„์ „ ๋ฐ›์€ ์•ˆ์ „๋ชจ์ž…๋‹ˆ๋‹ค.
00:29
at the groundbreaking of the largest project
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์ €์™€ ์ œ ํšŒ์‚ฌ๊ฐ€ ์ฐธ์—ฌํ•œ ๊ฐ€์žฅ ํฐ ํ”„๋กœ์ ํŠธ์˜
00:31
I, and my firm, have ever been involved in.
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๊ธฐ๊ณต์‹ ๋•Œ์˜€์ฃ .
00:34
I was thrilled to get it. I was thrilled to be the only person
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๋›ธ ๋“ฏ์ด ๊ธฐ๋ปค์Šต๋‹ˆ๋‹ค. ๋‹จ์ƒ ์œ„์˜ ์‚ฌ๋žŒ๋“ค ์ค‘
00:36
standing on the stage with a shiny silver helmet.
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์ด๋Ÿฐ ๋ฐ˜์ง๊ฑฐ๋ฆฌ๋Š” ์€์ƒ‰์„ ์”Œ์›Œ ์ค€ ์‚ฌ๋žŒ์€ ์ € ํ•˜๋‚˜์˜€๊ฑฐ๋“ ์š”.
00:39
I thought it represented the importance of the architect.
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๊ฑด์ถ•๊ฐ€๊ฐ€ ์ค‘์š”ํ•œ ์‚ฌ๋žŒ์ž„์„ ์‚ฌ๋žŒ๋“ค์ด ์•Œ์•„์ฃผ๋Š” ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
00:42
I stayed thrilled until I got home,
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์ง‘์— ์™€์„œ
00:44
threw the helmet onto my bed,
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์•ˆ์ „๋ชจ๋ฅผ ์นจ๋Œ€์— ๋˜์ง€๊ณ  ์นจ๋Œ€์—
00:46
fell down onto my bed and realized inside
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๋“œ๋Ÿฌ๋ˆ„์šธ ๋•Œ๋งŒ ํ•ด๋„ ๊ธฐ๋ปค์Šต๋‹ˆ๋‹ค.
00:49
there was an inscription.
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์•ˆ์— ์”Œ์—ฌ์ง„ ์ด ์„ค๋ช…์„ ๋ณด๊ธฐ ์ „๊นŒ์ง€๋งŒ ํ•ด๋„ ๋ง์ด์ฃ .
00:52
(Laughter)
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(์›ƒ์Œ)
00:55
Now, I think that this is a great metaphor
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์ €๋Š” ์ด๊ฒŒ ๊ฑด์ถ•๊ณ„์™€ ๊ฑด์ถ•๊ฐ€๋“ค์˜ ํ˜„์ฃผ์†Œ๋ฅผ
00:57
for the state of architecture and architects today.
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์ž˜ ๋งํ•ด์ฃผ๋Š” ๋น„์œ ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
00:59
We are for decorative purposes only.
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์šฐ๋ฆฌ๋Š” ๋ง ๊ทธ๋Œ€๋กœ ์žฅ์‹์šฉ์ผ ๋ฟ์ด์ฃ .
01:02
(Laughter)
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(์›ƒ์Œ)
01:03
Now, who do we have to blame?
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๋ˆ„๊ตฌ๋ฅผ ๋น„๋‚œํ•ด์•ผ ํ• ๊นŒ์š”?
01:05
We can only blame ourselves. Over the last 50 years
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์šฐ๋ฆฌ ์ž์‹  ๋ฐ–์— ๋น„๋‚œํ•  ์‚ฌ๋žŒ์ด ์—†์Šต๋‹ˆ๋‹ค. ์ง€๋‚œ 50์—ฌ ๋…„๊ฐ„
01:08
the design and construction industry has gotten much more complex
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๋””์ž์ธ๊ณผ ๊ฑด์„ค์—…๊ณ„๋Š” ํ›จ์”ฌ ๋” ๋ณต์žกํ•ด์กŒ์Šต๋‹ˆ๋‹ค.
01:11
and has gotten much more litigious.
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ํ›จ์”ฌ ๋” ์†Œ์†ก๊ฑฐ๋ฆฌ๊ฐ€ ๋งŽ์•„์กŒ์ฃ .
01:13
And we architects are cowards.
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๊ฑฐ๊ธฐ๋‹ค ์šฐ๋ฆฌ ๊ฑด์ถ•๊ฐ€๋“ค์€ ๊ฒ์ด ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ž…๋‹ˆ๋‹ค.
01:15
So, as we have faced liability,
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๊ทธ๋ž˜์„œ ์ฑ…์ž„์ด๋ž€ ๊ฒƒ์ด ์ƒ๊ฒจ๋‚˜์ž
01:17
we have stepped back and back,
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๋’ค๋กœ ํ•œ๋ฐœ ํ•œ๋ฐœ ๋ฌผ๋Ÿฌ์„œ๊ธฐ ์‹œ์ž‘ํ–ˆ์ฃ .
01:20
and unfortunately, where there is liability, guess what there is:
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๊ทธ๋ฆฌ๊ณ  ๋ถˆํ–‰ํžˆ๋„ ์ฑ…์ž„์„ ๊ฐ–๋Š” ์‚ฌ๋žŒ์— ๋ฌด์—‡์ด ์žˆ์„๊นŒ์š”.
01:22
power.
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ํŒŒ์›Œ์ž…๋‹ˆ๋‹ค.
01:25
So, eventually we have found ourselves
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๊ทธ๋ž˜์„œ ๊ฒฐ๊ณผ์ ์œผ๋กœ ์šฐ๋ฆฌ๋Š”
01:27
in a totally marginalized position, way over here.
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์™„์ „ํžˆ ์ฃผ๋ณ€์ ์ธ ์กด์žฌ๊ฐ€ ๋˜์–ด๋ฒ„๋ ธ์Šต๋‹ˆ๋‹ค. ์ด๋ ‡๊ฒŒ ๋ฌผ๋Ÿฌ๋‚˜์„œ ๋ง์ด์ฃ .
01:30
Now, what did we do? We're cowards,
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์šฐ๋ฆฌ๊ฐ€ ์–ด๋–ค์ผ์„ ๋ฒŒ์˜€์„๊นŒ์š”. ์šฐ๋ฆฌ๋Š” ๊ฒ์Ÿ์ด์˜€์Šต๋‹ˆ๋‹ค.
01:32
but we're smart cowards.
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ํ•˜์ง€๋งŒ ์˜๋ฆฌํ•œ ๊ฒ์Ÿ์ด์˜€์ฃ .
01:35
And so we redefined this marginalized position as the place of architecture.
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ์ด ์ฃผ๋ณ€์ ์ธ ์—ญํ• ์„ ๊ฑด์ถ•์ด๋ผ๊ณ  ์ƒˆ๋กญ๊ฒŒ ์ •์˜๋‚ด๋ ธ์Šต๋‹ˆ๋‹ค.
01:38
And we announced, "Hey, architecture, it's over here,
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๊ทธ๋ฆฌ๊ณ  ์ด๋ ‡๊ฒŒ ์™ธ์ณค์ฃ . '์ด๋ด๋“ค, ์ด๊ฒŒ ๋ฐ”๋กœ ๊ฑด์ถ•์ด๋ž€๊ฑฐ์•ผ
01:41
in this autonomous language
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๋…๋ฆฝ์ ์ธ ์–ธ์–ด๋ผ๊ณ  ํ• ์ˆ˜์žˆ์ง€.
01:43
we're going to seed control of processes."
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์šฐ๋ฆฌ๋Š” ํ”„๋กœ์„ธ์Šค๋ฅผ ์ง€ํœ˜ํ•˜๊ธฐ๋งŒ ํ•˜๋ฉด๋ผ.'
01:46
And we were going to do something that was horrible for the profession.
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๊ทธ๋ฆฌ๊ณ  ๊ฑด์ถ•์—…์— ์•”์ ์ธ ์ผ์„ ์ €์ง€๋ฅด๊ณ  ๋ง์•˜์Šต๋‹ˆ๋‹ค.
01:51
We actually created an artificial schism
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๋ถ€์ž์—ฐ์Šค๋Ÿฌ์šด ๋ถ„์—ด์„ ์ผ์œผ์ผฐ์ฃ .
01:53
between creation and execution,
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์ฐฝ์กฐ์  ์ž‘์—…๊ณผ ๊ทธ ์‹คํ–‰ ์‚ฌ์ด์— ๋ง์ž…๋‹ˆ๋‹ค.
01:57
as if you could actually create without knowing how to execute
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์‹คํ–‰์— ๊ด€ํ•œ ๊ฒƒ์„ ์ „ํ˜€ ๋ชจ๋ฅด๋ฉด์„œ ์ฐฝ์กฐ๋ฅผ ํ•  ์ˆ˜ ์žˆ๊ณ 
01:59
and as if you could actually execute
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์–ด๋–ป๊ฒŒ ์ฐฝ์กฐํ•˜๋Š”์ง€ ๋ชจ๋ฅธ ์ฑ„
02:01
without knowing how to create.
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์‹คํ–‰ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ง์ž…๋‹ˆ๋‹ค.
02:03
Now, something else happened.
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๋˜ ๋‹ค๋ฅธ ์ผ์ด ํ•˜๋‚˜ ๋ฒŒ์–ด์กŒ๋Š”๋ฐ.
02:05
And that's when we began to sell the world
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๊ทธ๊ฑด ๋ฐ”๋กœ ์šฐ๋ฆฌ๊ฐ€ ์„ธ์ƒ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ
02:07
that architecture was created by individuals
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๊ฑด์ถ•์ด๋ž€ ๊ฒƒ์€ ์ฒœ์žฌ์ ์ธ ์Šค์ผ€์น˜๋ฅผ ๊ทธ๋ ค๋‚ด๋Š”
02:10
creating genius sketches.
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๊ฐœ์ธ์— ์˜ํ•ด์„œ ์ฐฝ์กฐ๋˜๋Š” ๊ฒƒ์ด๋ผ๊ณ  ๋งˆ์ผ€ํŒ…ํ–ˆ์ฃ .
02:12
And that the incredible amount of effort to deliver those sketches
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๊ทธ ์Šค์ผ€์น˜๋ฅผ ์‹ค์ œ๋กœ ์ดํ–‰ํ•˜๊ธฐ ์œ„ํ•ด
02:16
for years and years and years is not only something
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์ˆ˜๋…„์— ๊ฑธ์ณ ๋“ค์–ด๊ฐ„ ๋…ธ๋ ฅ์€
02:18
to be derided,
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ํ•˜์ฐฎ์€ ์ผ๋กœ ์น˜๋ถ€ํ–ˆ์„ ๋ฟ๋”๋Ÿฌ
02:20
but we would merely write it off as
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์ง€์–ด์˜ฌ๋ฆฌ๋Š” ๊ฒƒ์€ ์ง€์–ด์˜ฌ๋ฆฌ๋Š” ๊ฒƒ์ผ ๋ฟ์ด๋ผ๊ณ 
02:22
merely execution.
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๊ฐ„์ฃผํ–ˆ์Šต๋‹ˆ๋‹ค.
02:25
Now I'd argue that that is as absurd as stating
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์ €๋Š” ์ด๊ฒƒ์ด ํ„ฐ๋ฌด๋‹ˆ์—†๋Š” ์ƒ๊ฐ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค
02:28
that 30 minutes of copulation is the creative act,
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30๋ถ„์˜ ์„ฑ์  ๊ฒฐํ•ฉ๋งŒ์„ ์ฐฝ์กฐ ํ–‰์œ„๋ผ๊ณ  ํ•˜๊ณ 
02:32
and nine months of gestation,
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9๊ฐœ์›” ๊ฐ„์˜ ์ž„์‹ ๊ณผ
02:34
and, God forbid, 24 hours of child labor
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์ ˆ๋Œ€ ๋นผ๋†“์„ ์ˆ˜ ์—†๋Š” ์Šค๋ฌผ ๋„ค์‹œ๊ฐ„์˜ ์ถœ์‚ฐ์„
02:39
is merely execution.
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๋‹จ์ˆœํžˆ ์‹คํ–‰์ด๋ผ๊ณ  ํ•˜๋Š” ๊ฒƒ์ด๋‚˜ ๋งˆ์ฐฌ๊ฐ€์ง€์ฃ .
02:41
So, what do we architects need to do? We need to stitch back
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์ž ๊ทธ๋Ÿผ ์šฐ๋ฆฌ ๊ฑด์ถ•๊ฐ€๋“ค์€ ์–ด๋–ค ์ผ๋“ค์„ ํ•ด ๋‚˜๊ฐ€์•ผ ํ• ๊นŒ์š”? ์šฐ๋ฆฌ๋Š” ๋–จ์–ด๋œจ๋ ค์„œ ์ƒ๊ฐํ–ˆ๋˜
02:43
creation and execution.
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'์ฐฝ์กฐ'์™€ '์‹คํ–‰'์„ ์žฌ๋ด‰ํ•ฉํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:46
And we need to start authoring processes again
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์šฐ๋ฆฌ๋Š” ๋‹จ์ˆœํžˆ ๊ฒฐ๊ณผ๋ฌผ๋งŒ ๋‚ด๋‹ค๋ณด๋Š” ์‚ฌ๋žŒ์ด ์•„๋‹ˆ๋ผ
02:49
instead of authoring objects.
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๋‹ค์‹œ ์˜ˆ์ „์ฒ˜๋Ÿผ ํ”„๋กœ์„ธ์Šค ์ „์ฒด๋ฅผ ๋‚ด๋‹ค๋ณด๋Š” ์‚ฌ๋žŒ๋“ค์ด ๋˜์–ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:51
Now, if we do this, I believe we can go back 50 years
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๊ทธ๋ ‡๊ฒŒ๋งŒ ๋œ๋‹ค๋ฉด ์šฐ๋ฆฌ๋Š” 50๋…„ ์ „ ์ฒ˜๋Ÿผ
02:54
and start reinjecting agency,
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๋‹ค์‹œ ์ค‘์žฌ์  ์—ญํ• ์„,
02:56
social engineering, back into architecture.
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์‚ฌํšŒ ๊ณตํ•™์„ ๊ฑด์ถ•์— ๋ถˆ์–ด ๋„ฃ์„ ์ˆ˜ ์žˆ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:00
Now, there are all kinds of things that we architects need to learn how to do,
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์ž ์ด์ œ ๊ฑด์ถ•๊ฐ€๋“ค์ด ์ƒˆ๋กœ ๋ฐฐ์›Œ์•ผ ํ•  ๊ฒƒ์ด ์ฐธ ๋งŽ์Šต๋‹ˆ๋‹ค.
03:02
like managing contracts, learning how to write contracts,
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์–ด๋–ป๊ฒŒ ๊ณ„์•ฝ์„ ์ด์šฉํ•˜๋Š”๊ฐ€ ํ•˜๋Š” ๊ฒƒ์ด๋‚˜ ๊ณ„์•ฝ์„œ๋ฅผ ์ž‘์„ฑํ•˜๋Š” ๋ฒ•๋„ ๋ฐฐ์›Œ์•ผํ•˜๊ณ 
03:06
understanding procurement processes,
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์กฐ๋‹ฌ ์—…๋ฌด๋ฅผ ์ดํ•ดํ•  ์ˆ˜ ์žˆ์–ด์•ผ ํ•˜๊ณ ,
03:09
understanding the time value of money and cost estimation.
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๋ˆ์˜ ์‹œ๊ฐ„ ๋Œ€๋น„ ๊ฐ€์น˜๋ฅผ ์ดํ•ดํ•˜๊ณ , ๋น„์šฉ์„ ๊ฐ€๋Š ํ•  ์ˆ˜ ์žˆ์–ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
03:12
But I'm going to reduce this to the beginning of the process,
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ํ•˜์ง€๋งŒ ์ €๋Š” ์ด ๋ชจ๋“  ๊ฒƒ์„ ํ”„๋กœ์„ธ์Šค์˜ ์‹œ๋ฐœ์ ์— ์ค„์—ฌ ๋„ฃ๊ณ ,
03:15
into three very pedantic statements.
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3๊ฐœ์˜ ๋งค์šฐ ๊ณ ์ง€์‹ํ•œ ์šฉ์–ด๋กœ ์„ค๋ช…ํ•ด ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
03:18
The first is: Take core positions with your client.
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๊ทธ ์ฒซ๋ฒˆ์งธ๋Š” ํ•ต์‹ฌ์ด ๋˜๋Š” ์ž…์žฅ์„ ๊ฑด์ถ•์ฃผ์™€ ํ•จ๊ป˜ ๋ฐœ๊ฒฌํ•˜๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:21
I know it's shocking, right, that architecture would actually say that.
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๋†€๋ž์ฃ , ๊ทธ๋ ‡์ฃ ? ๊ฑด์ถ•ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ด๋Ÿฐ๋ง ์ž˜ ์•ˆ ํ•ฉ๋‹ˆ๋‹ค.
03:24
The second position is: Actually take positions.
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๊ทธ๋ฆฌ๊ณ  ๋‘๋ฒˆ์งธ๋Š” ์‚ฌ์‹ค ์ž…์žฅ์„ ๋‚ด์„ธ์šฐ๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:27
Take joint positions with your client.
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ํด๋ผ์ด์–ธํŠธ์™€ ํ•จ๊ป˜ ๊ณต๋™์˜ ์ž…์žฅ์„ ๋‚ด์„ธ์šฐ๋Š” ๊ฒƒ์ด์ฃ .
03:29
This is the moment in which you as the architect
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์ง€๊ธˆ์€ ๊ฑด์ถ•๊ฐ€๋กœ์„œ ๋‹น์‹ ์ด
03:31
and your client can begin to inject
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๊ทธ๋ฆฌ๊ณ  ๋‹น์‹ ์˜ ๊ณ ๊ฐ์ด
03:33
vision and agency.
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๋น„์ ผ๊ณผ ์ค‘์žฌ์  ์—ญํ• ์„ ํ•จ๊ป˜ ๋ถˆ๋Ÿฌ๋“ค์—ฌ์˜ฌ ๋•Œ ์ž…๋‹ˆ๋‹ค.
03:35
But it has to be done together.
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๊ฑด์ถ•์ฃผ์™€ ๊ฐ™์ด ํ•ด์•ผ๋งŒ ์ด๋ฃฐ ์ˆ˜ ์žˆ๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
03:37
And then only after this is done
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์ด ์ด๋ฃจ์–ด์ ธ์•ผ๋งŒ
03:39
are you allowed to do this, begin to put forward
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๋‹ค์Œ ์ผ์ด ๊ฐ€๋Šฅํ•ด ์ง‘๋‹ˆ๋‹ค. ๋ฐ”๋กœ ๊ฑด์ถ•์  ์‹ค์žฌ๋ฅผ
03:41
architectural manifestations
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๋งŒ๋“ค์–ด๋‚ด๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ์ผ์ด์ฃ 
03:43
that manifest those positions.
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์ง€๊ธˆ๊นŒ์ง€ ๋‚ด์„ธ์šด ๋ชจ๋“  ์ž…์žฅ๋“ค์„ ๋Œ€๋ณ€ํ•˜๋Š” ์‹ค์ฒด๋ฅผ ๋ง์ž…๋‹ˆ๋‹ค.
03:45
And both owner and architect alike
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๊ทธ๋Ÿฌ๋ฉด ๊ฑด์ถ•๊ฐ€์™€ ๊ฑด์ถ•์ฃผ ๋ชจ๋‘
03:48
are empowered to critique those manifestations
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๊ทธ ์‹ค์ฒด๋ฅผ ๋น„ํ‰ํ•  ๋Šฅ๋ ฅ์„ ๊ฐ–์ถ”๊ฒŒ ๋ฉ๋‹ˆ๋‹ค
03:50
based on the positions that you've taken.
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์—ฌํƒœ๊นŒ์ง€ ๊ฐ™์ด ๋‚ด์„ธ์šด ์ž…์žฅ์— ๋ถ€ํ•ฉํ•˜๋Š”์ง€๋ฅผ ๊ธฐ์ค€์œผ๋กœ ๋ง์ž…๋‹ˆ๋‹ค.
03:52
Now, I believe that one really amazing thing will happen if you do this.
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์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ์ด๊ฒƒ์„ ์ด๋ค„๋‚ธ๋‹ค๋ฉด ๊ต‰์žฅํ•œ ์ผ์ด ๋ฒŒ์–ด์งˆ ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
03:57
I'd like to call it the lost art of productively losing control.
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์ €๋Š” ์ด๊ฒƒ์„ ์ƒ์‚ฐ์ ์œผ๋กœ ์ปจํŠธ๋กค์„ ์žƒ์–ด๋‚˜๊ฐ€๋Š” ์žŠํ˜€์ง„ ๊ธฐ์ˆ ์ด๋ผ๊ณ  ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
04:01
You do not know what the end result is.
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์—ฌ๋Ÿฌ๋ถ„์€ ๋์— ๊ฒฐ๊ณผ๋ฌผ์ด ์–ด๋–ค ๋ชจ์Šต์ธ์ง€ ๋ชจ๋ฅธ ์ฑ„๋กœ ๋›ฐ์–ด๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:04
But I promise you, with enough brain power
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ํ•˜์ง€๋งŒ ์•ฝ์†๋“œ๋ฆฌ๊ฑด๋Œ€, ์ถฉ๋ถ„ํ•œ ์ง€์  ์žฌ์›๊ณผ,
04:06
and enough passion and enough commitment,
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์ถฉ๋ถ„ํ•œ ์—ด์˜์™€, ์ถฉ๋ถ„ํ•œ ์˜์ง€๊ฐ€ ์žˆ์œผ๋ฉด
04:09
you will arrive at conclusions
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์—ฌ๋Ÿฌ๋ถ„์€ ๊ธฐ์กด์˜ ๊ด€์Šต์„
04:11
that will transcend convention,
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๋›ฐ์–ด๋„˜๋Š” ๊ฒฐ๋ก ์— ๋„๋‹ฌํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:13
and will simply be something
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๊ทธ๊ฒƒ์€ ๋งํ•˜์ž๋ฉด ์‹œ์ž‘๋‹จ๊ณ„์—์„œ๋Š”,
04:16
that you could not have initially
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๊ฐœ์ธ์˜ ๋Šฅ๋ ฅ์œผ๋กœ๋Š” ๋„์ €ํžˆ ์ƒ๊ฐํ•ด ๋‚ผ ์ˆ˜ ์—†์—ˆ๋˜
04:18
or individually conceived of.
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๋ฌด์–ธ๊ฐ€์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:21
Alright, now I'm going to reduce all of this to a series
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์ข‹์•„์š”. ์ €๋Š” ์ด์ œ ์ด ๋ชจ๋“  ๊ฒƒ์„
04:23
of simple dumb sketches.
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๋งค์šฐ ๋‹จ์ˆœํ•˜๊ณ  ๋ฉ์ฒญํ•œ ๊ทธ๋ฆผ ๋ช‡ ๊ฐœ๋กœ ์ •๋ฆฌํ•ด ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
04:25
This is the modus operandi that we have today.
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์ด๊ฒƒ์ด ์š”์ฆ˜ ์‚ฌ๋ž๋“ค์ด ์ƒํˆฌ์ ์œผ๋กœ ์‚ฌ์šฉํ•˜๋Š” ์ˆ˜๋ฒ•์ž…๋‹ˆ๋‹ค.
04:28
We roll 120-foot Spartan,
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์šฐ๋ฆฌ๋Š” 120ํ”ผํŠธ์˜ (๊ฑฐ๋Œ€ํ•œ) ์ŠคํŒŒ๋ฅดํƒ€ ์ธํ˜•
04:32
i.e. our vision, up to our clients' gates of Troy.
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์ฆ‰ ์šฐ๋ฆฌ์˜ ๋น„์ „์„, ํด๋ผ์ด์–ธํŠธ์˜ ๋ฌธ์ „์— ๋“ค์ด๋ฐ‰๋‹ˆ๋‹ค.
04:37
And we don't understand why they won't let us in. Right?
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๊ทธ๋ฆฌ๊ณ ๋Š” ์šฐ๋ฆฌ๋Š” ๋„๋Œ€์ฒด ์™œ ์•ˆ์œผ๋กœ ๋“ค์—ฌ๋ณด๋‚ด์ฃผ์ง€ ์•Š๋Š”์ง€ ์˜๋ฌธ์„ ๋ชฐ๋ผํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ ‡์ฃ ?
04:42
Well, how about instead of doing that,
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์ž ๊ทธ๋ ‡๊ฒŒ ํ•˜๋Š” ๋Œ€์‹ ์—
04:44
we roll up to the gates something they want.
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๋Œ€๋ฌธ์•ž์— ๊ทธ๋“ค์ด ์ข‹์•„๋ผ ํ•  ๋งŒํ•œ ๊ฒƒ์„ ๊ตด๋ ค ๋ณด๋‚ด๋ฉด ์–ด๋–จ๊นŒ์š”.
04:47
Now this is a little bit of a dangerous metaphor,
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๋ฌผ๋ก  ์œ„ํ—˜ํ•œ ๋น„์œ ๋ผ๋Š” ๊ฒƒ์€ ์ž˜ ์••๋‹ˆ๋‹ค.
04:50
because of course we all know that inside
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์šฐ๋ฆฌ ๋ชจ๋‘ ํŠธ๋กœ์ด ๋ชฉ๋งˆ์—
04:52
of the Trojan Horse were a bunch of people with spears.
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์ฐฝ์„ ๋“ค๊ณ  ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์ด ๋“ค์–ด์žˆ์—ˆ๋‹ค๋Š” ๊ฒƒ์€ ์ž˜ ์•Œ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
04:54
So, we can change the metaphor. Let's call the Trojan Horse
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๊ทธ๋ž˜์„œ ๊ทธ ๋น„์œ ๋ฅผ ์กฐ๊ธˆ ๋ฐ”๊ฟ”๋ณด๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค. ํŠธ๋กœ์ด ๋ชฉ๋งˆ๋ฅผ
04:56
the vessel by which
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๊ด€๋ฌธ์„ ํ†ต๊ณผํ•˜๋Š”๋ฐ ํ•„์š”ํ•œ
04:58
you get through the gate,
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ํ•จ์„ ์ด๋ผ๊ณ  ํ•ฉ์‹œ๋‹ค.
05:00
get through the constraints of a project.
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ํ•ด๋‹น ํ”„๋กœ์ ํŠธ์— ๋”ธ๋ฆฐ ์ œ์•ฝ๋“ค์„ ๋ชจ๋‘ ๋งž์ถฐ ์ค„ ๋ฌผ๊ฑด ๋ง์ด์ฃ .
05:03
At which point, you and your client
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๊ทธ๋ ‡๊ฒŒ ๊ด€๋ฌธ์„ ํ†ต๊ณผํ•˜๊ณ  ๋‚˜์„œ์•ผ ๋น„๋กœ์†Œ, ์—ฌ๋Ÿฌ๋ถ„๊ณผ ์—ฌ๋Ÿฌ๋ถ„์˜ ํด๋ผ์ด์–ธํŠธ๊ฐ€
05:05
have the ability to start considering what
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๊ทธ ํ•จ์„ ์— ๋Œ€์ฒด ๋ฌด์—‡์„ ์ง‘์–ด๋„ฃ์„ ๊ฒƒ์ธ์ง€
05:07
you're going to put inside that vessel,
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๊ณ ๋ฏผํ•  ๋Šฅ๋ ฅ์ด ์ƒ๊น๋‹ˆ๋‹ค.
05:09
the agency, the vision.
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์ค‘์žฌ์  ์—ญํ• ๊ณผ ๋น„์ ผ๋ง์ž…๋‹ˆ๋‹ค.
05:11
And if you do that, you do that responsibly,
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๊ทธ๋ ‡๊ฒŒ ํ•˜๋ฉด, ์ฑ…์ž„๊ฐ์„ ๊ฐ€์ง€๊ณ  ๊ทธ๋ ‡๊ฒŒ ํ•œ๋‹ค๋ฉด
05:14
I believe that instead of delivering Spartans,
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๋”์ด์ƒ ์ŠคํŒŒ๋ฅดํƒ€์ธ์„ ๋“ค์—ฌ๋ณด๋‚ด๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
05:16
you can deliver maidens.
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์•„๋ฆ„๋‹ค์šด ์—ฌ์ธ๋“ค์„ ๋“ค์—ฌ๋ณด๋‚ด๋ ค๊ณ  ํ•˜๊ฒŒ ๋  ๊ฒ๋‹ˆ๋‹ค.
05:18
And if I could summarize that all up into one single sketch it would be this.
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์ œ๊ฐ€ ์ง€๊ธˆ๊นŒ์ง€ ๋งํ•œ ๋‚ด์šฉ์„ ๊ทธ๋ฆผ ํ•˜๋‚˜๋กœ ํ‘œํ˜„ ํ•˜์ž๋ฉด ๋ฐ”๋กœ ์ด๋Ÿฐ ๋ชจ์Šต์ผ ๊ฒ๋‹ˆ๋‹ค.
05:21
If we are so good at our craft
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์šฐ๋ฆฌ๊ฐ€ ์ •๋ง ์‹ค๋ ฅ์ด ์žˆ๋‹ค๋ฉด
05:23
shouldn't we be able to conceive
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๊ณ ์•ˆํ•ด ๋‚ผ ์ˆ˜ ์žˆ์ง€ ์•Š์„๊นŒ์š”?
05:26
of an architectural manifestation
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ํด๋ผ์ด์–ธํŠธ์˜ ์š”๊ตฌ์™€
05:28
that slides seamlessly through
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ํ•ด๋‹น ํ”„๋กœ์ ํŠธ์˜ ์ œ์•ฝ์— ๋งž์•„๋–จ์–ด์ง€๋Š”
05:30
the project's and the client's constraints?
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๊ฑด์ถ•์  ์‹ค์ฒด๋ฅผ ๊ณ ์•ˆํ•ด ๋‚ผ ์ˆ˜ ์žˆ์ง€ ์•Š์„๊นŒ์š”?
05:32
Now, with that in mind, I'm going to show a project
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์ด๋Ÿฐ ์ƒ๊ฐ์„ ์—ผ๋‘์— ๋‘๊ณ , ํ”„๋กœ์ ํŠธ๋ฅผ ํ•˜๋‚˜ ์†Œ๊ฐœํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
05:34
that's very dear to many people in this room--
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์—ฌ๊ธฐ ๊ณ„์‹  ๋งŽ์€ ๋ถ„๋“ค์ด ์‚ฌ๋ž‘ํ•ด ์ฃผ์‹œ๋Š”,
05:36
well, maybe not dear, but certainly close to many people in this room.
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๋ญ ์‚ฌ๋ž‘๊นŒ์ง€๋Š” ์•„๋‹ˆ๋”๋ผ๋„, ํ™•์‹คํžˆ ์—ฌ๊ธฐ ๊ณ„์‹  ๋งŽ์€ ๋ถ„๋“ค๊ณผ ์•„์ฃผ ๊ฐ€๊นŒ์ด ์žˆ๋Š” ํ”„๋กœ์ ํŠธ์ž…๋‹ˆ๋‹ค.
05:39
And that's a project that is just about to open next week,
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๋ณด์‹œ๋Š” ๊ฒƒ์ด ๋‹ค์Œ์ฃผ์— ๊ฐœ์žฅ์„ ์ค€๋น„์ค‘์ธ ํ”„๋กœ์ ํŠธ์ž…๋‹ˆ๋‹ค.
05:42
the new home for the Dallas Theater Center,
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๋‹ฌ๋ผ์Šค ์—ฐ๊ทน ์„ผํ„ฐ์˜ ์ƒˆ ์ง‘์ด์ฃ .
05:45
the Dee and Charles Wyly Theatre.
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๋”” ์•ค ์ฐฐ์Šค ์™€์ผ๋ฆฌ ๊ทน์žฅ์ž…๋‹ˆ๋‹ค.
05:47
Now, I'm going to present it on the same terms:
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์•„๊นŒ ๋‚˜์˜จ ์„ธ๊ฐ€์ง€ ์Ÿ์ ๋“ค์„ ๊ฐ€์ง€๊ณ  ์†Œ๊ฐœ๋ฅผ ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
05:49
issue, position and architectural manifestation.
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ํ•ต์‹ฌ ํŒŒ์•…ํ•˜๊ธฐ, ์ž…์žฅ ๋‚ด์„ธ์šฐ๊ธฐ, ๊ทธ๋ฆฌ๊ณ  ๊ฑด์ถ•์  ์‹ค์ฒด.
05:52
Now, the first issue that we faced
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์šฐ๋ฆฌ๊ฐ€ ์ฒซ๋ฒˆ์งธ๋กœ ๋งˆ์ฃผํ•œ ๊ณผ์ œ๋Š”
05:54
was that the Dallas Theater Center
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๋ฐ”๋กœ ๋‹ฌ๋ผ์Šค ์—ฐ๊ทน ์„ผํ„ฐ๊ฐ€
05:57
had a notoriety that was beyond what you would expect
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(์–ด๋–ค ์ด์œ ๋กœ) ์•…๋ช…์ด ๋†’์•˜๋‹ค๋ผ๋Š” ๊ฒƒ์ธ๋ฐ.
06:00
of some place outside of the triumvirate
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๋‰ด์š•์ด๋‚˜ ์‹œ์นด๊ณ , ์‹œ์• ํ‹€ ์—ฐ๊ทน๊ณ„์˜ ์ฃผ์š” 3 ๋„์‹œ ๋ฐ–์—์„œ๋Š”
06:02
of New York, Chicago and Seattle.
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๊ธฐ๋Œ€ํ•˜๊ธฐ ํž˜๋“  ๊ฒƒ์ด์—ˆ์ฃ .
06:05
And this had to do with the ambitions of the leadership.
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์ด๊ฒƒ์€ ์•ผ์‹ฌ๊ณผ ๋ฆฌ๋”์‰ฝ ๋•๋ถ„์ด์—ˆ์ฃ .
06:07
But it also had to do with something rather unusual,
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ํ•˜์ง€๋งŒ ๋‹ฌ๋ผ์Šค ์—ฐ๊ทน ์„ผํ„ฐ์—๋Š” ํ™•์‹คํžˆ ๋‚จ๋‹ค๋ฅธ ๋ฌด์–ธ๊ฐ€๊ฐ€ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:10
and that was this horrible little building that they'd been performing in.
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๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ, ๊ทธ๋“ค์ด ๊ณต์—ฐ์„ ํ•˜๋˜ ๋‚ก์•„๋น ์ง„ ์กฐ๊ทธ๋งŒ ๊ฑด๋ฌผ์ด์—ˆ์ฃ .
06:14
Why was this horrible little building
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์ด ๋‚ก์•„๋น ์ง„ ์กฐ๊ทธ๋งŒ ๊ฑด๋ฌผ์ด
06:17
so important to their renown and their innovation?
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๊ทธ๋“ค์˜ ๋ช…์„ฑ๊ณผ ๊ทธ๋“ค์ด ์ผ์œผํ‚จ ํ˜์‹ ์— ๋ฌด์Šจ ๊ทธ๋ฆฌ ์ค‘์š”ํ•œ ์—ญํ• ์„ ํ–ˆ์„๊นŒ์š”?
06:20
Because they could do whatever they wanted to to this building.
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๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ ๊ทธ๋“ค์ด ์ด ๊ฑด๋ฌผ์„ ๊ฐ€์ง€๊ณ  ์›ํ•˜๋Š” ๊ฑธ ๋‹ค ํ•  ์ˆ˜ ์žˆ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
06:23
When you're on Broadway, you cannot tear the proscenium down.
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๋ธŒ๋กœ๋“œ์›จ์ด์—์„œ ์—ฐ์ถœ์„ ํ•˜๋ฉด ๋ฌด๋Œ€๋ฅผ ๋œฏ์–ด ๋‚ธ๋‹ค๋˜์ง€ ํ•˜๋Š” ์ผ์€ ํ•  ์ˆ˜ ์—†์ฃ .
06:28
This building, when an artistic director
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์ด ๊ฑด๋ฌผ์—์„œ๋Š”, ์˜ˆ์ˆ ๊ฐ๋…์ด
06:30
wanted to do a "Cherry Orchard" and wanted people
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<Cherry Orchard>๋ฅผ ํ•˜๊ณ  ์‹ถ์–ดํ•˜๊ณ  ์‚ฌ๋žŒ๋“ค์ด ์‹ค์ œ๋กœ
06:32
and wanted people to come out of a well on the stage,
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๋ฌด๋Œ€์— ์žˆ๋Š” ์šฐ๋ฌผ์—์„œ ๊ธฐ์–ด๋‚˜์˜ค๊ธธ ๋ฐ”๋ž€๋‹ค๋ผ๊ณ  ํ•˜๋ฉด
06:34
they brought a backhoe in, and they simply dug the hole.
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๊ตด์‚ญ๊ธฐ๋ฅผ ๋“ค์—ฌ์™€์„œ ๊ตฌ๋ฉ์„ ํŒŒ๊ธฐ๋งŒ ํ•˜๋ฉด ๋˜์—ˆ์ฃ .
06:37
Well, that's exciting.
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์ด๋Ÿฐ๊ฒŒ ์žฌ๋ฏธ์˜€๋˜๊ฑฐ์ฃ .
06:39
And you can start to get the best artistic directors,
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๊ทธ๋ž˜์„œ ๋ฏธ๊ตญ๋‚ด์—์„œ ๋‚ด๋กœ๋ผ ํ•˜๋Š” ์˜ˆ์ˆ ๊ฐ๋…๋“ค,
06:41
scenic designers and actors from around the country
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๋ฌด๋Œ€๋ฐฐ๊ฒฝ ๋””์ž์ด๋„ˆ๋“ค, ๋ฐฐ์šฐ๋“ค์„ ์—ฌ๊ธฐ ๋Œ€๋ ค ์™€์„œ
06:43
to come to perform here
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๊ณต์—ฐํ•˜๊ฒŒ ํ•  ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒ๋‹ˆ๋‹ค.
06:45
because you can do things you can't do elsewhere.
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์™œ๋‚˜ํ•˜๋ฉด ๋‹ค๋ฅธ๋ฐ์„œ ๋ถˆ๊ฐ€๋Šฅ ํ•œ ์ผ๋“ค์ด ์ด๊ณณ์—์„œ๋Š” ๊ฐ€๋Šฅํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
06:47
So, the first position we took was,
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๊ฐ€ ์ฒ˜์Œ์œผ๋กœ ๋‚ด์„ธ์šด '์ž…์žฅ'์€
06:49
"Hey, we as architects had better not show up
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์šฐ๋ฆฌ๊ฐ€ ๊ฑด์ถ•๊ฐ€๋ผ๊ณ  ์™€์„œ๋Š”
06:52
and do a pristine building
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๊ทน๋‹จ์ด ๋‚ก์€ ๊ฑด๋ฌผ์—์„œ ๋ˆ„๋ฆฌ๋˜
06:54
that doesn't engender the same freedoms that this
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์ž์œ ๋กœ์›€์„ ๋‚ด๋†“์ง€ ๋ชปํ•˜๋Š”
06:56
old dilapidated shed provided the company."
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์˜ˆ์˜์žฅ ํ•˜๊ธฐ๋งŒ ํ•œ ๊ฑด๋ฌผ์€ ํ•˜์ง€ ๋ง์ž๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
06:59
The second issue is a nuance of the first.
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๋‘๋ฒˆ์งธ ์ž…์žฅ์€ ์ฒซ๋ฒˆ์งธ์™€ ๋น„์Šทํ–ˆ์ฃ .
07:02
And that's that the company and the building was multiform.
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๊ทน๋‹จ๊ณผ ๊ฑด๋ฌผ์ด ๋ฉ€ํ‹ฐํผ ์ด์—ฌ์•ผ ํ•œ๋‹ค๋Š” ๊ฑฐ์ฃ .
07:05
That meant that they were able to perform,
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์–ด๋–ค ๋ง์ธ๊ฐ€ ํ•˜๋ฉด ๊ณต์—ฐ์„ ํ•  ์ˆ˜ ์žˆ์–ด์•ผ ํ•œ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค...
07:08
as long as they had labor
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ํ•„์š”ํ•œ ์šฉ์—ญ์ด ์ถฉ๋‹น ๋˜๋Š” ํ•œ
07:10
they were able to go between proscenium, thrust, flat floor,
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์ „๋ฉด๋ฌด๋Œ€(proscenium), ๋Œ์ถœ๋ฌด๋Œ€, ์—ฐํšŒ์žฅ(flat floor)
07:13
arena, traverse, you name it.
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์ค‘์•™๋ฌด๋Œ€, ์ค‘์•™๊ฐ€๋กœ์ง€๋ฅด๊ธฐ ๋ฌด๋Œ€ ๋“ฑ๋“ฑ์„ ์˜ค๊ฐ€๋ฉฐ ๊ณต์—ฐํ•  ์ˆ˜ ์žˆ์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:15
All they needed was labor.
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์šฉ์—ญ๋งŒ ์ถฉ๋‹น ํ•  ์ˆ˜ ์žˆ์œผ๋ฉด ๊ฐ€๋Šฅํ•œ ์ผ์ด์—ˆ์ฃ .
07:17
Well, something happened. In fact something happened to all institutions
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ํ•˜์ง€๋งŒ ํ•œ๊ฐ€์ง€ ๋ฌธ์ œ๊ฐ€ ์žˆ์—ˆ๋Š”๋ฐ. ์‚ฌ์‹ค ์ด ๋ฌธ์ œ๋Š” ์„ธ๊ณ„ ์–ด๋Š ๊ธฐ๊ด€์—๋‚˜
07:19
around the world.
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ํ•ด๋‹นํ•˜๋Š” ๋ฌธ์ œ์ž…๋‹ˆ๋‹ค.
07:21
It started to become hard to raise operational costs,
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์šด์˜๋น„๋ฅผ ๋งˆ๋ จํ•˜๋Š” ๊ฒƒ์ด ์–ด๋ ค์›Œ์กŒ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:24
operational budgets.
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์šด์˜์˜ˆ์‚ฐ์„ ๋ง์ด์ฃ .
07:26
So, they stopped having inexpensive labor.
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๊ทธ๋ž˜์„œ ์šฉ์—ญ๋น„๊ฐ€ ๋งŽ์ด ๋“œ๋Š” ์ผ์€ ํ”ผํ•˜๊ฒŒ ๋˜์—ˆ์ฃ .
07:28
And eventually they had to freeze their organization
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๊ฒฐ๊ตญ์—๋Š” ์šด์˜์ด ๋งˆ๋น„๋˜๊ณ 
07:31
into something called a bastardized thruscenium.
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๋ฐ”๋ณด๊ฐ™์ด ์•ž์—๋งŒ ๋ด์•ผํ•˜๋Š” ๊ณต์—ฐ์žฅ(bastardized thruscenium)์ด ๋˜์–ด๋ฒ„๋ฆฌ์ฃ .
07:34
So, the second position we took is that the freedoms that we provided,
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๊ทธ๋ž˜์„œ ๋‘๋ฒˆ์งธ๋กœ ๋‚ด์„ธ์šด ์ž…์žฅ์€, ์šฐ๋ฆฌ๊ฐ€ ์ œ๊ณตํ•˜๋Š” ์ž์œ ๋กœ์›€์ด
07:37
the ability to move between stage configurations,
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๋‹ค๋ฅธ ๋ฌด๋Œ€ ๋ฐฐ์น˜๋ฅผ ์™”๋‹ค ๊ฐ”๋‹คํ•˜๋Š” ๋Šฅ๋ ฅ์ด
07:40
had better be able to be done
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ํฐ ์šด์˜๋น„ ์—†์ด ๊ฐ€๋Šฅํ•˜๊ฒŒ
07:42
without relying on operational costs. Alright? Affordably.
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ํ•˜๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค. ์ดํ•ดํ•˜์…จ์ฃ ? ์ฃผ์–ด์ง„ ์˜ˆ์‚ฐ ์•ˆ์—์„œ ๋ง์ž…๋‹ˆ๋‹ค.
07:46
The architectural manifestation
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๊ฑด์ถ•์ ์œผ๋กœ ์ €ํฌ๊ฐ€ ๋‚ด๋†“์€ ๊ฒƒ์€
07:48
was frankly just dumb.
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์†”์งํžˆ ๋ง์”€๋“œ๋ฆฌ์ž๋ฉด ๋งค์šฐ ๋‹จ์ˆœํ•ฉ๋‹ˆ๋‹ค.
07:50
It was to take all the things that are known as front of house and back of house
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ํ”„๋ก ํŠธ ์˜ค๋ธŒ ํ•˜์šฐ์Šค(๋ฌด๋Œ€ ๋ง‰์„ ๊ฒฝ๊ณ„๋กœ ๊ด€๊ฐ์„ ์ชฝ)์™€ ๋ฐฑ ์˜ค๋ธŒ ํ•˜์šฐ์Šค (๋ฌด๋Œ€ ๋’ท ๋ถ€๋ถ„)์œผ๋กœ ๊ตฌ๋ถ„๋˜์–ด ์˜ค๋˜ ๊ฒƒ์„
07:53
and redefine them as above house and below house.
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์–ด๋ณด๋ธŒ ํ•˜์šฐ์Šค(๋ฌด๋Œ€ ์œ„)์™€ ๋นŒ๋กœ์šฐ ํ•˜์šฐ์Šค (๋ฌด๋Œ€ ์•„๋ž˜)๋กœ ์žฌ๊ตฌ์„ฑ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:56
At first blush you think, "Hey it's crazy,
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์ฒซ ๋ˆˆ์— ๋ณด๊ธฐ์—๋Š”, "์ด๋ด ์ œ์ •์‹ ์ด์•ผ?
07:58
what could you possibly gain?"
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์ด๋ ‡๊ฒŒ ํ•œ๋‹ค๊ณ  ๋‹ฌ๋ผ์ง€๋Š”๊ฒŒ ๋ญ๊ฐ€ ์žˆ๋Š”๋ฐ?" ๋ผ๊ณ  ํ•˜๊ธฐ ๋งˆ๋ จ์ด์ฃ .
08:00
We created what we like to call superfly.
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์šฐ๋ฆฌ๋Š” '์ˆ˜ํผํ”Œ๋ผ์ด'๋ผ๋Š” ๊ฒƒ์„ ๊ณ ์•ˆํ–ˆ์Šต๋‹ˆ๋‹ค.
08:03
(Laughter)
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(์›ƒ์Œ)
08:04
Now, superfly, the concept is
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'์ˆ˜ํผํ”Œ๋ผ์ด'๋ผ๋Š” ๊ฒƒ์€ ๋งํ•˜์ž๋ฉด
08:06
you take all the freedoms you normally associate with the flytower,
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ํ”Œ๋ผ์ดํƒ€์›Œ ํ•˜๋ฉด ๋– ์˜ฌ๋ฆฌ๋˜ ์ž์œ ๋กœ์›€์„ ๋ชจ๋‘ ๊ฐ€์ ธ๋‹ค๊ฐ€
08:08
and you smear them across flytower and auditorium.
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ํ”Œ๋ผ์ดํƒ€์›Œ๋Š” ๋ฌผ๋ก  ๊ด€๊ฐ์„ ์ชฝ ๊นŒ์ง€ ๋ฒˆ์ง€๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
08:11
Suddenly the artistic director
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์ด๋กœ ์ธํ•ด ์˜ˆ์ˆ ๊ฐ๋…์€ ๊ฐ‘์ž๊ธฐ
08:13
can move between different stage
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์—ฌ๋Ÿฌ ๋ฌด๋Œ€ ๋ฐฐ์น˜์™€ ์ขŒ์„ ๋ฐฐ์น˜๋ฅผ
08:15
and audience configurations.
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์™”๋‹ค ๊ฐ”๋‹ค ํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
08:18
And because that flytower has the ability to pick up
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ํ”Œ๋ผ์ดํƒ€์›Œ๊ฐ€ ๋ชจ๋“  ๊ท€์ค‘ํ•œ ๊ฒƒ๋“ค์„ ๋“ค์–ด์˜ฌ๋ฆด ์ˆ˜
08:20
all the pristine elements, suddenly the rest of the environment
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๋“ค์–ด์˜ฌ๋ฆด ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์—, ๋‹ค๋ฅธ ๋ชจ๋“  ๋ฌด๋Œ€ ๋ฐฐ๊ฒฝ ์žฅ์น˜๋“ค์„
08:23
can be provisional. And you can drill, cut, nail, screw
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๊ทธ๋•Œ ๊ทธ๋•Œ ์ˆ˜์ •ํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ๊ตฌ๋ฉ์„ ๋‚ด๊ณ , ์ž๋ฅด๊ณ , ๋ชป์„ ๋ฐ•๊ณ , ๋‚˜์‚ฌ๋กœ ์กฐ์ด๊ณ 
08:26
paint and replace,
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ํŽ˜์ธํŠธ ์น ํ•˜๊ณ , ๋ฐ”๊พธ๊ณ  ํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
08:28
with a minimum of cost.
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์ตœ์†Œํ•œ์˜ ๋น„์šฉ์œผ๋กœ ๋ง์ž…๋‹ˆ๋‹ค.
08:30
But there was a third advantage that we got by doing this move
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ํ•˜์ง€๋งŒ ์—ฌ๊ธฐ์—๋‹ค๊ฐ€ ๋˜ ๋‹ค๋ฅธ ์„ธ๋ฒˆ์งธ ์žฅ์ ์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
08:32
that was unexpected.
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๋ฏธ์ฒ˜ ๊ธฐ๋Œ€์กฐ์ฐจ ๋ชปํ•œ ๊ฒƒ์ด์—ˆ์ฃ .
08:34
And that was that it freed up the perimeter of the auditorium
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๋ฐ”๋กœ (๋ฌด๋Œ€์™€) ๊ด€๊ฐ์„์˜ ๊ฒฝ๊ณ„๋ฅผ ๋ฌด๋„ˆ๋œจ๋ ธ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:37
in a most unusual way.
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๊ฐ€์žฅ ๋…ํŠนํ•œ ๋ฐฉ์‹์œผ๋กœ ๋ง์ด์ฃ .
08:40
And that provided the artistic director suddenly
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๊ทธ๋ฆฌ๊ณ  ์˜ˆ์ˆ ๊ฐ๋…์€ ๊ฐ‘์ž๊ธฐ
08:42
the ability to define suspension of disbelief.
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์–ด๋””์„œ๋ถ€ํ„ฐ๊ฐ€ ํ™˜์ƒ์˜ ์„ธ๊ณ„์ธ์ง€ ์ •์˜๋‚ด๋ฆด ์ˆ˜ ์žˆ๊ฒŒ ๋˜์—ˆ์ฃ .
08:45
So, the building affords artistic directors the freedom
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๊ทธ๋ž˜์„œ ๊ฑด๋ฌผ์€ ์˜ˆ์ˆ ๊ฐ๋…์—๊ฒŒ
08:47
to conceive of almost any kind of activity
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์œ„์— ๋–  ์žˆ๋Š” ๋ฌผ๊ฑด (์ˆ˜ํผํ”Œ๋ผ์ด) ์•„๋ž˜์—์„œ
08:50
underneath this floating object.
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๋ฌด์Šจ ์ผ์ด๋“  ๋ฒŒ์ผ ์ˆ˜ ์žˆ๋Š” ์ž์œ ๋ฅผ ๋ถ€์—ฌํ•ฉ๋‹ˆ๋‹ค.
08:52
But also to challenge the notion of suspension of disbelief
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๋˜ ๋ฌด๋Œ€์—์„œ ๋ฒŒ์–ด์ง€๋Š” ์ผ์€ ์ƒ์ƒ ์†์˜ ์„ธ๊ณ„๋ผ๋Š” ๊ธฐ์กด์˜ "suspension of disbelief"๋ผ๋Š” ๊ฐœ๋…์— ๋„์ „ํ•ฉ๋‹ˆ๋‹ค.
08:55
such that in the last act of Macbeth,
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์˜ˆ๋ฅผ ๋“ค๋ฉด ๋งฅ๋ฒ ์Šค์˜ ๋งˆ์ง€๋ง‰ ์žฅ์—์„œ
08:58
if he or she wants you to associate
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์˜ˆ์ˆ ๊ฐ๋…์ด ์ด ์žฅ๋ฉด์„
09:00
the parable that you're seeing with Dallas, with your real life,
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์‹ค์ œ ์‚ถ๊ณผ ํˆฌ์˜ํ•˜๊ธฐ ์œ„ํ•ด ๋‹ฌ๋ผ์Šค๋ฅผ ๋ฐฐ๊ฒฝ์œผ๋กœ ์ง„ํ–‰ํ•˜๊ณ  ์‹ถ๋‹ค๋ฉด
09:04
he or she can do so.
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๊ทธ๋ ‡๊ฒŒ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:06
Now, in order to do this we and the clients
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์ด๋ ‡๊ฒŒ ํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์ €ํฌ ๊ฑด์ถ•๊ฐ€๋“ค๊ณผ ํด๋ผ์ด์–ธํŠธ๊ฐ€
09:08
had to do something fairly remarkable.
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๊ฝค ๋†€๋ž„๋งŒํ•œ ์ผ์„ ํ•ด์•ผ๋งŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:10
In fact it really was the clients who had to do it.
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์‚ฌ์‹ค์ƒ ํด๋ผ์ด์–ธํŠธ๊ฐ€ ํ•ด๋‚ธ ์ผ์ด์ฃ .
09:13
They had to make a decision, based on the positions we took
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์šฐ๋ฆฌ๊ฐ€ ๋‚ด์„ธ์šด ์ž…์žฅ์„ ๋ฐ”ํƒ•์œผ๋กœ ๊ฒฐ์ •์„ ๋‚ด๋ ค์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:16
to redefine the budget being from two thirds capital-A architecture
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์˜ˆ์‚ฐ์˜ 2/3์„ ์œ„๋Œ€ํ•˜์‹  ๊ฑด์ถ•์— ์“ฐ๊ณ 
09:19
and one-third infrastructure,
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1/3์„ ์ธํ”„๋ผ์ŠคํŠธ๋Ÿญ์ณ๋ฅผ ๊ตฌ์ถ•ํ•˜๊ธฐ ์œ„ํ•ด ์“ฐ๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
09:21
to actually the inverse,
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๊ทธ ๋ฐ˜๋Œ€๋กœ ํ•ด์•ผํ–ˆ์ฃ .
09:23
two-thirds infrastructure and one-third capital-A architecture.
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2/3์„ ์ธํ”„๋ผ์ŠคํŠธ๋Ÿญ์ณ์— ์‚ฌ์šฉํ•˜๊ณ  1/3์„ ์œ„๋Œ€ํ•˜์‹  ๊ฑด์ถ•์— ์“ฐ๊ธฐ๋กœ ๊ฒฐ์ •ํ•ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:26
That's a lot for a client to commit to
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ํด๋ผ์ด์–ธํŠธ์—๊ฒŒ๋Š” ์ „์ฒด ์ปจ์…‰์ด ์–ด๋–ป๊ฒŒ ๋Œ์•„๊ฐ€๋Š”์ง€ ๋ณด๊ธฐ๋„ ์ „์—
09:28
before you actually see the fruition of the concept.
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๋‚ด๋ฆฌ๊ธฐ์—” ๊ฝค ๋ถ€๋‹ด ์Šค๋Ÿฌ์šด ๊ฒฐ์ •์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:31
But based on the positions,
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๊ฐ€ ์„ธ์šด ์ž…์žฅ์„ ํ† ๋Œ€๋กœ
09:33
they took the educated leap of faith to do so.
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๊ทธ๋“ค์€ ์ œ๋Œ€๋กœ ๊ฒ€ํ† ํ•˜๊ณ  ์–ป์€ ๋ฏฟ์Œ์œผ๋กœ ๊ทธ๋ ‡๊ฒŒ ํ•˜๊ธฐ๋กœ ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:36
And effectively we created what we like to call
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์šฐ๋ฆฌ๋Š” ์‹ค์ œ๋กœ
09:38
a theater machine.
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๊ทน์žฅ ๊ธฐ๊ณ„๋ผ๋Š” ๊ฒƒ์„ ๋งŒ๋“ค์–ด ๋ƒˆ์Šต๋‹ˆ๋‹ค.
09:40
Now, that theater machine has ability
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์ž, ์ด ๊ทน์žฅ ๊ธฐ๊ณ„๋Š”
09:42
to move between a whole series of configurations
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์ •๋ง๋กœ ๋ฌด๋Œ€/์ขŒ์„ ๋ฐฐ์น˜๋ฅผ ๋‹ค์–‘ํ•œ ํ˜•ํƒœ๋กœ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:45
at the push of a button and a few stagehands
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๋ฒ„ํŠผ๋งŒ ๋ˆ„๋ฅด๋ฉด, ๊ทน์žฅ ์ง์› ๋‘์–ด๋ช…๋งŒ ๊ฐ€์ง€๊ณ 
09:48
in a short amount of time.
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์•„์ฃผ ์งง์€ ์‹œ๊ฐ„ ์•ˆ์— ๋ง์ž…๋‹ˆ๋‹ค.
09:50
But it also has the potential
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๊ทน์žฅ์€ ์—ฌ๋Ÿฌ ๋ฌด๋Œ€/์ขŒ์„ ํ˜•ํƒœ๋ฅผ ์ œ๊ณตํ•  ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
09:52
to not only provide multiform but multi-processional sequences.
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๋‹ค์–‘ํ•œ ์ง„ํ–‰ ์ˆœ์„œ๋„ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
09:56
Meaning: The artistic director
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๋ฌด์Šจ๋ง์ธ๊ฐ€ ํ•˜๋ฉด ์˜ˆ์ˆ  ๊ฐ๋…์ด
09:58
doesn't necessarily need to go through our lobby.
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(๊ณต์—ฐ์žฅ์œผ๋กœ ๋“ค์–ด๊ฐ€๊ธฐ ์œ„ํ•ด) ๋กœ๋น„๋ฅผ ๊ฑฐ์ณ๊ฐˆ ํ•„์š”๊ฐ€ ์—†๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
10:01
One of the things that we learned when we visited various theaters
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์šฐ๋ฆฌ๊ฐ€ ์—ฌ๋Ÿฌ ๊ทน์žฅ๋“ค์„ ๋ฐฉ๋ฌธํ–ˆ์„ ๋•Œ ์•Œ๊ฒŒ ๋œ ๊ฒƒ์€
10:03
is they hate us architects,
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๊ทธ๋“ค์ด ์šฐ๋ฆฌ ๊ฑด์ถ•๊ฐ€๋“ค์„ ๋งค์šฐ ์‹ซ์–ดํ•œ๋‹ค๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค
10:05
because they say the first thing they have to do,
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์™œ๋ƒํ•˜๋ฉด ์–ด๋–ค ๊ทน์ด๋˜ ๊ทน์ด ์‹œ์ž‘ํ•˜๊ณ 
10:07
the first five minutes of any show,
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5๋ถ„์ด ์ฑ„ ๋ชป ๋ผ์„œ
10:09
is they have to get our architecture
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๊ด€์ค‘๋“ค์ด ๊ฑด์ถ•๋ฌผ์ด๋ผ๋Š” ๊ฒƒ ์•ˆ์— ์žˆ๋‹ค๋Š” ๊ฒƒ์„
10:11
out of the mind of their patron.
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์žŠ์–ด๋ฒ„๋ฆฌ๋„๋ก ํ•ด์•ผํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
10:13
Well now there are potentials of this building
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๊ทธ์— ๋ฐ˜ํ•ด ์ด ๊ฑด๋ฌผ์€
10:15
to allow the artistic director
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์˜ˆ์ˆ ๊ฐ๋…์œผ๋กœ ํ•˜์—ฌ๊ธˆ
10:17
to actually move into the building
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๊ฑด์ถ•์˜ ๋„์›€ ํ˜น์€ ๋ฐฉํ•ด๋ฅผ ๋ฐ›์ง€ ์•Š๊ณ 
10:19
without using our architecture.
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๊ฑด๋ฌผ ์•ˆ์œผ๋กœ ๋“ค์–ด ์˜ฌ ์ˆ˜ ์žˆ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
10:21
So, in fact, there is the building, there is what we call the draw.
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๊ทธ๋ž˜์„œ ๋ณด์‹œ๋ฉด ์ด๊ฒƒ์ด ๊ฑด๋ฌผ์ด๊ณ , ์—ฌ๊ธฐ๊ฐ€ ์ €ํฌ๊ฐ€ ์„œ๋ž์ด๋ผ๊ณ  ๋ถ€๋ฅด๋Š” ๊ฒƒ์ด์ฃ .
10:24
You're going down into our lobby,
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์˜ค์‹œ๋ฉด ๋กœ๋น„๋กœ ๊ฑธ์–ด๋‚ด๋ ค๊ฐ€์„œ
10:26
go through the lobby with our own little dangly bits, whether you like them or not,
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์ €ํฌ๊ฐ€ ๋งŒ๋“  ๋Œ•๊ธ€๋Œ•๊ธ€ ๋งค๋‹ฌ๋ ค ์žˆ๋Š” ์ „๊ตฌ๋“ค์„ ์‹ซ๋“  ์ข‹๋“  ์ง€๋‚˜์…”์„œ
10:30
up through the stair that leads you into the auditorium.
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์ € ๊ณ„๋‹จ์„ ๊ฑธ์–ด ์˜ฌ๋ผ์„œ ๊ด€๊ฐ์„์œผ๋กœ ๊ฐ€๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
10:32
But there is also the potential
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ํ•˜์ง€๋งŒ ๊ด€๊ฐ๋“ค์„
10:34
to allow people to move directly from the outside,
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๋ฐ”๊นฅ์ชฝ์—์„œ ๋ฐ”๋กœ ๋“ค์–ด๊ฐ€๊ฒŒ ํ•˜๋Š” ๊ฒƒ๋„ ๊ฐ€๋Šฅํ•˜์ฃ .
10:36
in this case suggesting kind of Wagnerian entrance,
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๋ฐ”๊ทธ๋„ˆํ’์˜ ์ž…๊ตฌ์ฒ˜๋Ÿผ
10:40
into the interior of the auditorium.
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๊ด€๊ฐ์„ ๋‚ด๋ถ€๋กœ ๋“ค์–ด์„œ๊ฒŒ ํ•˜๋Š” ๊ฑฐ์ฃ .
10:42
And here is the fruition of that in actuality.
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์—ฌ๊ธฐ ๋ณด์‹œ๋Š” ๊ฒƒ์ด ์‹ค์ œ๋กœ ์ง€์–ด์ง„ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
10:44
These are the two large pivoting doors
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์ €๊ธฐ ์ € ๋Œ€ํ˜• ํšŒ์ „ํ˜• ๋ฌธ์„ ์—ด์–ด์„œ
10:46
that allow people to move directly from the outside, in
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์‚ฌ๋žŒ๋“ค๋กœ ํ•˜์—ฌ๊ธˆ ๋ฐ–์—์„œ ์•ˆ์œผ๋กœ ๋“ค์–ด๊ฐ€๊ฑฐ๋‚˜
10:49
or from the inside, out,
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์•ˆ์—์„œ ๋ฐ–์œผ๋กœ ๋‚˜๊ฐ€๋„๋ก ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:51
performers or audience alike.
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๋ฐฐ์šฐ๋“ค์ด๋‚˜ ๊ด€๊ฐ๋“ค์ด๋‚˜ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ์š”.
10:54
Now, imagine what that could be. I have to say honestly
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์ด๊ฒƒ์ด ๋ฌด์—‡์„ ์˜๋ฏธํ• ๊นŒ์š”. ์†”์งํžˆ ๋ง์”€๋“œ๋ฆฌ์ž๋ฉด
10:56
this is not something yet the building can do because it takes too long.
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๋„ˆ๋ฌด ์˜ค๋ž˜ ๊ฑธ๋ ค์„œ ์ด๊ฒƒ๊นŒ์ง€๋Š” ์•„์ง ์–ด๋ ต์Šต๋‹ˆ๋‹ค.
10:59
But imagine the freedoms
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ํ•˜์ง€๋งŒ ์–ผ๋งˆ๋‚˜ ์ž์œ ๋กœ์šด์ง€ ํ•œ ๋ฒˆ ์ƒ๊ฐํ•ด๋ณด์„ธ์š”
11:01
if you could take this further, that in fact you could consider
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์ž˜๋งŒ ํ™œ์šฉํ•˜๋ฉด
11:04
a Wagnerian entry,
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๋ฐ”๊ทธ๋„ˆ ์‹์œผ๋กœ ์ž…์žฅํ•ด์„œ
11:06
a first act in thrust,
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1์žฅ์„ ๋Œ์ถœ๋ฌด๋Œ€ ํ˜•์‹์œผ๋กœ ํ•˜๊ณ 
11:08
an intermission in Greek, a second act in arena,
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์ค‘๊ฐ„ ํœด์‹์„ ๊ทธ๋ฆฌ์Šค ์‹์œผ๋กœ ํ–ˆ๋‹ค๊ฐ€, 2์žฅ์€ ์•„๋ ˆ๋‚˜ ํ˜•์‹์œผ๋กœ ํ•˜๊ณ 
11:10
and you leave through our lobby with dangly bits.
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๋Œ•๊ธ€๋Œ•๊ธ€ ์ „๊ตฌ๊ฐ€ ๋‹ฌ๋ฆฐ ๋กœ๋น„๋กœ ํ‡ด์žฅ ํ•˜๋Š” ๊ฑฐ์ฃ .
11:14
Now that, I would say, is architecture performing.
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์ด๋Ÿฐ๊ฒŒ ์ œ๊ฐ€ ๋ดค์„๋•Œ ๊ฑด์ถ•์ด ์ œ๋ชซ์„ ๋‹คํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:16
It is taking the hand of the architect
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๊ฑด์ถ•๊ฐ€์˜ ์†์œผ๋กœ
11:18
to actually remove the hand of the architect
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์˜ˆ์ˆ ๊ฐ๋…์˜ ํŽธ์˜๋ฅผ ์œ„ํ•ด
11:20
in favor of the hand of the artistic director.
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๊ฑด์ถ•๊ฐ€์˜ ์˜ํ–ฅ์„ ์ œ๊ฑฐ ํ•ด์•ผ ํ•˜์ฃ .
11:24
I'll go through the three basic configurations.
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์„ธ๊ฐ€์ง€ ๊ธฐ๋ณธ์ ์ธ ๋ฌด๋Œ€ ๋ฐฐ์น˜ ์œ ํ˜•๋“ค์„ ๋ณด์—ฌ ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
11:26
This is the flat floor configuration.
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์ด๊ฒƒ์ด ์—ฐํšŒ์žฅ/ํ”Œ๋žซํ”Œ๋กœ์–ด ๋ฐฐ์น˜ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
11:28
You notice that there is no proscenium,
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๋ฌด๋Œ€๊ฐ€ ๋”ฐ๋กœ ์—†๋‹ค๋Š” ๊ฒƒ์„ ์•Œ์ˆ˜ ์žˆ์ฃ .
11:30
the balconies have been raised up, there are no seats,
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์ขŒ์„ ๋ฐœ์ฝ”๋‹ˆ๋Š” ์œ„๋กœ ์˜ฌ๋ ค๋†“์€ ์ƒํƒœ๊ณ  ์ขŒ์„๋„ ๋ชจ๋‘ ์น˜์šด ์ƒํƒœ์ž…๋‹ˆ๋‹ค.
11:33
the floor in the auditorium is flat.
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๊ด€๊ฐ์„ ๋ฐ”๋‹ฅ์€ ํ‰ํ‰ํ•  ๋ฟ์ž…๋‹ˆ๋‹ค.
11:35
The first configuration is easy to understand.
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์ด ์ฒซ๋ฒˆ์งธ ๋ฐฐ์น˜๋Š” ์ดํ•ดํ•˜๊ธฐ๊ฐ€ ์‰ฌ์šฐ์‹ค ๊ฒ๋‹ˆ๋‹ค.
11:38
The balconies come down, you see that the orchestra
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์ž ์ด์ œ ์—ฌ๊ธฐ์— ๋ฐœ์ฝ”๋‹ˆ๊ฐ€ ๋‚ด๋ ค์˜ค๊ณ , ์˜ค์ผ€์ŠคํŠธ๋ผ ์ž๋ฆฌ๊ฐ€
11:41
begins to have a rake that's frontal towards the end stage,
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์•ž์ชฝ์„ ํ–ฅํ•ด์„œ ์•„๋ž˜๋กœ ๋“ค์–ด๊ฐ€๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ๊ฒƒ์ด ๋ณด์ด์‹ค ๊ฒ๋‹ˆ๋‹ค.
11:44
and the seats come in.
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์ž ์ด์ œ ์ขŒ์„์ด ๋“ค์–ด์˜ต๋‹ˆ๋‹ค.
11:46
The third configuration is a little harder to understand.
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์„ธ๋ฒˆ์งธ ๋ฐฐ์น˜๋Š” ์กฐ๊ธˆ ์ดํ•ดํ•˜๊ธฐ ์–ด๋ ค์šธ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
11:48
Here you see that the balconies actually have to move out of the way
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์—ฌ๊ธฐ์„œ๋Š” ๋ฐœ์ฝ”๋‹ˆ๊ฐ€ ์˜†์ชฝ์œผ๋กœ ๋ฐ€๋ ค๋‚˜ ์žˆ๋Š”๊ฒŒ ๋ณด์ด์‹ค ๊ฒ๋‹ˆ๋‹ค.
11:52
in order to bring a thrust into the space.
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๋Œ์ถœ๋ฌด๋Œ€๋ฅผ ์„ค์น˜ํ•˜๊ธฐ ์œ„ํ•ด์„œ์ฃ .
11:54
And some of the seats need to actually change their direction,
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๊ทธ๋ฆฌ๊ณ  ์ขŒ์„ ๋ช‡๋ช‡์€ ๋ฐฉํ–ฅ์„ ์•„์ง ๋ฐฉํ–ฅ์„ ๋Œ๋ ค ๋†“์ง€ ์•Š์€ ์ƒํƒœ์ž…๋‹ˆ๋‹ค.
11:57
and change their rake, to allow that to happen.
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๋ฐ”๋‹ฅ ๋†’์ด๋ฅผ ์กฐ์ •ํ•ด์„œ ๊ทธ๋ ‡๊ฒŒ ํ•˜๊ณ  ์žˆ์ฃ .
12:00
I'll do it again so you can see it.
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๋‹ค์‹œํ•œ๋ฒˆ ์‹คํ–‰ํ•ด์„œ ๋ณด์‹ค ์ˆ˜ ์žˆ๊ฒŒ ํ•ด๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
12:02
There you see it's the side balconies for the proscenium.
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ํ”„๋กœ์‹œ๋‹ˆ์—„ ํ˜•์‹์„ ์œ„ํ•œ ๋ฐœ์ฝ”๋‹ˆ๊ฐ€ ๋ณด์ด์‹ค ๊ฒ๋‹ˆ๋‹ค.
12:06
And there it is in the thrust configuration.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฑด ๋Œ์ถœ๋ฌด๋Œ€ ํ˜•์‹์ด์ฃ .
12:08
In order to do that,
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์ด ๋ชจ๋“  ๊ฒƒ์ด, ๋‹ค์‹œํ•œ๋ฒˆ ๊ฐ•์กฐํ•˜๊ฑด๋ฐ
12:10
again, we needed a client who was willing to take educational risks.
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์šฐ๋ฆฌ๋Š” ์กฐ์–ธ๊ฐ€๋“ค์— ๊ท€๋ฅผ ๊ธฐ์šธ์ด๊ณ  ํ˜„๋ช…ํ•œ ๋ชจํ—˜์„ ํ•  ์ค„ ์•„๋Š” ํด๋ผ์ด์–ธํŠธ๊ฐ€ ์—†์ด๋Š” ๋ถˆ๊ฐ€๋Šฅ ํ–ˆ์Šต๋‹ˆ๋‹ค.
12:13
And they told us one important thing:
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๊ทธ๋“ค์ด ์ค‘์š”ํ•œ ๊ฒƒ ํ•œ๊ฐ€์ง€๋ฅผ ๋งํ•ด์ฃผ์—ˆ๋Š”๋ฐ์š”.
12:15
"You shall not beta-test."
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"์šฐ๋ฆฌ๋ฅผ ๋ฒ ํƒ€-ํ…Œ์ŠคํŠธ๋ผ๊ณ  ์ƒ๊ฐํ•˜์ง€๋งˆ๋ผ" ์˜€์Šต๋‹ˆ๋‹ค.
12:17
Meaning, nothing that we do
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๋ฌด์Šจ๋œป์ธ๊ฐ€ ํ•˜๋ฉด ๋ญ˜ ํ•˜๋“ 
12:19
can we be the first ones to do it.
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์ด๋ฏธ ์‹ค์ œ๋กœ ํ…Œ์ŠคํŒ… ํ•ด๋ณธ ๊ฒƒ์„ ํ•ด์•ผํ•œ๋‹ค๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
12:21
But they were willing for us to apply technologies
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ํ•˜์ง€๋งŒ ๊ฑด์ถ•์ฃผ๋Š” ๋‹ค๋ฅธ ๋ถ„์•ผ์—์„œ ์‚ฌ์šฉํ•˜๋Š” ๊ธฐ์ˆ ์ผ ์ง€๋ผ๋„
12:23
from other areas that already had failsafe mechanisms to this building.
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์œ„ํ—˜์•ˆ์ „ ํ…Œ์ŠคํŠธ๊ฐ€ ๋๋‚œ ๊ฒƒ์ด๋ฉด ์‚ฌ์šฉํ•  ์˜ํ–ฅ์ด ์žˆ์—ˆ์ฃ .
12:27
And the solution in terms of the balconies
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์ขŒ์„ ๋ฐœ์ฝ”๋‹ˆ ๊ฐ™์€ ๊ฒฝ์šฐ์—๋Š”
12:30
was to use something that we all know as a scoreboard lift.
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์Šค์ฝ”์–ด๋ณด๋“œ ๋ฆฌํ”„ํŠธ ๋ผ๊ณ  ํ”ํžˆ๋“ค ์•Œ๊ณ  ์žˆ๋Š” ๊ฒƒ์„ ์ด์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
12:33
Now, if you were to take a scoreboard
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์Šค์ฝ”์–ด๋ณด๋“œ๋ฅผ ๋–ผ์–ด๋‚ด์„œ
12:36
and drop it on dirt and whiskey,
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์ง„ํ™ํƒ•์ด๋‚˜ ์œ„์Šคํ‚ค ๊ฐ™์€ ๊ฒƒ์— ๋น ๋œจ๋ฆฌ๋ฉด
12:38
that would be bad.
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์•ˆ ๋˜๊ฒ ์ฃ .
12:40
If you were not able to take the scoreboard out of the arena
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๊ฒฝ๊ธฐ์žฅ์—์„œ ์Šค์ฝ”์–ด ๋ณด๋“œ๋ฅผ ๋–ผ์–ด๋‚ด์ง€ ๋ชปํ•œ ์ƒํƒœ์—์„œ
12:43
and be able to do the Ice Capades the next night,
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๋‹ค์Œ๋‚  ๋ฐค ์•„์ด์Šค ์บํŒจ๋””์Šค(Ice Capades, ์ผ์ข…์˜ ์•„์ด์Šค์‡ผ)๋ฅผ ํ•˜๋ ค๊ณ  ํ•œ๋‹ค๋ฉด
12:45
that would also be bad.
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๊ทธ๊ฒƒ๋„ ์ข‹์ง€ ์•Š์„๊ฒ๋‹ˆ๋‹ค.
12:47
And so this technology already had all the failsafe mechanisms
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๊ทธ๋ž˜์„œ ์ €ํฌ๊ฐ€ ์ ์šฉํ•œ ๊ธฐ์ˆ  ๊ฐ™์€ ๊ฒฝ์šฐ์—” ์•ˆ์ „์žฅ์น˜๊ฐ€ ๋˜์–ด์žˆ๊ธฐ ๋•Œ๋ฌธ์—
12:51
and allowed the theater and our client
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๊ทน์žฅ ์ธก์ด๋‚˜ ๊ฑด์ถ•์ฃผ๋„
12:53
to actually do this with confidence
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์ผ์ •ํ•œ ์ž์‹ ๊ฐ์„ ๊ฐ€์ง€๊ณ 
12:56
that they would be able to change over their configurations at will.
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๋ฌด๋Œ€๋ฐฐ์น˜๋ฅผ ๋ณ€ํ˜•ํ•  ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒ๋‹ˆ๋‹ค.
13:00
The second technology that we applied
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์ €ํฌ๊ฐ€ ์ ์šฉํ•œ ๋‘๋ฒˆ์งธ ๊ธฐ์ˆ ์€
13:02
was actually using things that you know from
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์—ฌ๋Ÿฌ๋ถ„์ด ์ž˜ ์•Œ๊ณ  ๊ณ„์‹œ๋Š” ๊ฒƒ์œผ๋กœ
13:05
the stage side of an opera house.
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์˜คํŽ˜๋ผ ํ•˜์šฐ์Šค์˜ ๋ฌด๋Œ€์— ์žˆ๋Š” ๊ฒƒ์„ ๋ณด์…จ์„๊ฒ๋‹ˆ๋‹ค.
13:07
In this case what we're doing is we're taking
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์ €ํฌ๊ฐ€ ํ•œ ์ผ์€ ์˜ค์ผ€์ŠคํŠธ๋ผ ํ”Œ๋กœ์–ด๋ฅผ
13:09
the orchestra floor, lifting it up, spinning it,
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๋“ค์–ด์˜ฌ๋ ค์„œ ๋ฐฉํ–ฅ์„ ์ „ํ™˜ํ•˜๊ณ 
13:13
changing the rake, taking it back to flat floor,
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๋†’์ด๋ฅผ ์กฐ์ •ํ•˜๊ณ , ํ‰ํ‰ํ•œ ๋ฐ”๋‹ฅ์œผ๋กœ ๋ฐ”๋‹ฅ์œผ๋กœ ์ „ํ™˜ํ•˜๊ณ 
13:16
changing the rake again. In essence, you can begin to define
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๋‹ค์‹œ ๋†’์ด๋ฅผ ์กฐ์ •ํ•˜์ฃ . ์‚ฌ์‹ค์ƒ ๊ด€๊ฐ์˜
13:19
rakes and viewing angles
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๋ˆˆ๋†’์ด์™€ ์‹œ์„ ๊ฐ์„ ๋งˆ์Œ๋Œ€๋กœ
13:21
of people in the orchestra seating, at will.
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์กฐ์ •ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
13:24
Here you see the chairs being spun around to go from proscenium or end stage
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์ง€๊ธˆ ๋ชจ์‹œ๋Š” ๊ฒƒ์€ ํ”„๋กœ์‹œ๋‹ˆ์—„ ๋˜๋Š” ์ „๋ฉดํ˜• ๋ฌด๋Œ€ ๋ฐฐ์น˜์—์„œ ๋Œ์ถœํ˜• ๋ฌด๋Œ€๋กค ์ „ํ™˜ํ•˜๊ธฐ ์œ„ํ•ด
13:28
to thrust configuration.
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์˜์ž๋“ค์„ ๋ฐฉํ–ฅ์ „ํ™˜ํ•˜๊ณ  ์žˆ๋Š” ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
13:31
The proscenium, also. As far as we know this is the first building in the world
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๋ฌด๋Œ€ ๋˜ํ•œ. ์ €ํฌ๊ฐ€ ์•Œ๊ณ  ์žˆ๋Š” ๋ฐ”๋กœ๋Š” ๋ฌด๋Œ€ ์ „์ฒด๊ฐ€
13:35
in which the proscenium can entirely fly out of the space.
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๊ณต์ค‘์œผ๋กœ ์‚ฌ๋ผ์ง€๊ฒŒ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ณณ์€ ์—ฌ๊ธฐ ๋ฟ์ž…๋‹ˆ๋‹ค.
13:38
Here you see the various acoustic baffles as well as
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์—ฌ๊ธฐ์— ๋ณด์‹œ๋Š” ๊ฒƒ์€ ์—ฌ๋Ÿฌ ์Œํ–ฅ ์กฐ์ ˆ ์žฅ์น˜์™€
13:40
the flying mechanisms and catwalks over the auditorium.
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๊ณต์ค‘ ๋ถ€์–‘์„ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ•˜๋Š” ์‹œ์Šคํ…œ, ๊ทธ๋ฆฌ๊ณ  ๊ฐ์„ ์œ„์— ์œ„์น˜ํ•œ ์บฃ์›Œํฌ(catwalk)์ž…๋‹ˆ๋‹ค.
13:45
And ultimately, up in the flytower,
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๊ทธ๋ฆฌ๊ณ  ์ตœ์ข…์ ์œผ๋กœ ๊ฐ€์žฅ ์œ„์ชฝ ํ”Œ๋ผ์ดํƒ€์›Œ์—๋Š”
13:47
the scene sets that allow the transformations to occur.
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๋ฌด๋Œ€ ๋ฐฐ์น˜ ๋ณ€ํ™”๋ฅผ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ•˜๋Š” ์žฅ๋ฉด ์„ธํŠธ๋“ค์ด ๋งˆ๋ จ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
13:51
As I said, all that was in service of creating a flexible
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์ œ๊ฐ€ ๋ง์”€๋“œ๋ ธ๋“ฏ, ์ด ๋ชจ๋“  ๊ฒƒ๋“ค์ด ์œ ์—ฐํ•˜์ง€๋งŒ
13:55
yet affordable configuration.
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์—ฌ์ „ํžˆ ์ €๋ ดํ•œ ๋ฌด๋Œ€ ๋ฐฐ์น˜๋“ค์„ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ•˜๊ธฐ ์œ„ํ•œ ๊ฒƒ๋“ค์ž…๋‹ˆ๋‹ค.
13:58
But we got this other benefit, and that was
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ํ•˜์ง€๋งŒ ๊ฑฐ๊ธฐ์— ๋”ฐ๋ผ์˜จ ๋˜ ๋‹ค๋ฅธ ์ด์ ์ด ์žˆ์Šต๋‹ˆ๋‹ค. ๋ฌด์—‡์ธ๊ฐ€ ํ•˜๋ฉด
14:00
the ability of the perimeter to suddenly engage
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๊ทน ์•ˆ์œผ๋กœ ๋ฐ”๊นฅ์„ธ์ƒ์ธ
14:02
Dallas on the outside.
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๋‹ฌ๋ผ์Šค๋ฅผ ๋Œ์–ด์˜ฌ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
14:04
Here you see the building in its current state
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๋ณด์‹œ๋Š” ๊ฒƒ์ด ํ˜„์žฌ ๊ฑด๋ฌผ์˜ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
14:06
with blinds closed. This is a trompe l'oeil.
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๋ธ”๋ผ์ธ๋“œ๊ฐ€ ๋‹ซํ˜€ ์žˆ๋Š” ๋ชจ์Šต์ด์ฃ . ์ด๊ฑด ํŠธ๋กฑํ”„ ๋ขฐ์œ  (์†์ž„ ๊ทธ๋ฆผ) ์ž…๋‹ˆ๋‹ค.
14:09
Actually this is not a curtain. These are vinyl blinds
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์‚ฌ์‹ค ์ด๊ฑด ์ปคํŠผ์ด ์•„๋‹™๋‹ˆ๋‹ค. ๋น„๋‹ ์†Œ์žฌ๋กœ ๋œ ๋ธ”๋ผ์ธ๋“œ์ฃ .
14:12
that are integrated into the windows themselves,
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์œ ๋ฆฌ ์•ˆ์— ๋‚ด์žฌ ๋˜์–ด ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:14
again with failsafe mechanisms
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์—ญ์‹œ ๋˜ ์•ˆ์ „์žฅ์น˜ ๋•๋ถ„์—
14:17
that can be lifted such that you can completely demystify,
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์œ„๋กœ ๋“ค์–ด์˜ฌ๋ ค์„œ ์›ํ•œ๋‹ค๋ฉด ๊ทน์žฅ์•ˆ์—์„œ ๋ฒŒ์–ด์งˆ๋Š” ์ผ์ด๋‚˜
14:20
if you chose, the operations of the theater
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๋ฆฌํ—ˆ์„ค ๊ฐ™์€ ๊ฒƒ๋“ค์„ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ
14:22
going on behind, rehearsals and so forth.
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๊ณต๊ฐœํ•˜์— ์ง„ํ–‰ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
14:24
But you also have the ability
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๋ณด๋‹ค ์ค‘์š”ํ•œ ๊ฒƒ์€
14:27
to allow the audience to see Dallas,
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๊ด€๊ฐ๋“ค๋กœ ํ•˜์—ฌ๊ธˆ ๋‹ฌ๋ผ์Šค๋ฅผ ๋ณผ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๊ณ 
14:30
to perform with Dallas as the backdrop of your performance.
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๋‹ฌ๋ผ์Šค๋ฅผ ๋’ท ๋ฐฐ๊ฒฝ์œผ๋กœ ๊ณต์—ฐ์„ ํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
14:33
Now, if I'll take you through --
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์ž ์ญ‰ ํ•œ๋ฒˆ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
14:35
this is an early concept sketch --
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์ด๊ฒƒ์ด ์ดˆ๊ธฐ ์ปจ์…‰ ์Šค์ผ€์น˜์ž…๋‹ˆ๋‹ค.
14:37
take you through kind of a mixture of all these things together.
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์ œ๊ฐ€ ์„ค๋ช…ํ•œ ๋ชจ๋“  ๊ฒƒ์„ ํ•˜๋‚˜ํ•˜๋‚˜ ๋ฌ˜์‚ฌํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
14:40
Effectively you would have something like this.
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๊ฒฐ๊ณผ ์ ์œผ๋กœ ์ด๋Ÿฐ ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
14:42
You would be allowed to bring objects or performers into the performing chamber:
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๋ฌผ๊ฑด์ด๋‚˜ ๋ฐฐ์šฐ๋“ค์„ ์•ˆ์œผ๋กœ ๋“ค์—ฌ์˜ฌ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:46
"Aida," their elephants, you can bring the elephants in.
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'์•„์ด๋‹ค'์™€ ๊ทธ๋“ค์˜ ์ฝ”๋ผ๋ฆฌ ์ž…๋‹ˆ๋‹ค. ์ฝ”๋ผ๋ฆฌ๋“ค์„ ๋ฐ๋ฆฌ๊ณ  ๋“ค์–ด์˜ฌ ์ˆ˜๋„ ์žˆ์ฃ .
14:48
You would be able to expose the auditorium to Dallas
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๊ณต์—ฐ์žฅ์„ ๋‹ฌ๋ผ์Šค์— ๋…ธ์ถœ ์‹œํ‚ฌ ์ˆ˜ ์žˆ๊ณ 
14:53
or vice versa, Dallas to the auditorium.
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๋‹ฌ๋ผ์Šค๋ฅผ ๊ณต์—ฐ์žฅ์— ๋…ธ์ถœ์‹œํ‚ฌ ์ˆ˜ ์žˆ์ฃ .
14:56
You'd be able to open portions in order to
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๋ถ€๋ถ„๋งŒ ์—ด์–ด์„œ
14:58
change the procession,
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์ง„ํ–‰ ์ˆœ์„œ๋ฅผ ๊ฒฐ์ •ํ•  ์ˆ˜๋„ ์žˆ๊ณ .
15:00
allow people to come in and out for an intermission,
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์ค‘๊ฐ„ ํœด์‹์„ ์œ„ํ•ด ์‚ฌ๋žŒ๋“ค์ด ๋“œ๋‚˜๋“œ๋Š” ํ†ต๋กœ๋กœ ํ™œ์šฉํ•  ์ˆ˜๋„ ์žˆ๊ณ ,
15:02
or to enter for the beginning or the end of a performance.
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๊ทน์ด ์‹œ์ž‘ํ•  ๋•Œ๋‚˜ ๋๋‚  ๋•Œ ์ถœ์ž…๊ตฌ๋กœ ํ™œ์šฉํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
15:05
As I said, all the balconies can move,
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๋ง์”€๋“œ๋ ธ๋“ฏ์ด, ๋ชจ๋“  ๋ฐœ์ฝ”๋‹ˆ๋“ค์€ ์ด๋™์ด ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค.
15:07
but they can also be disappeared completely.
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๋˜ํ•œ ์™„์ „ํžˆ ์‚ฌ๋ผ์ง€๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ์ฃ .
15:09
The proscenium can fly.
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ํ”„๋กœ์‹œ๋‹ˆ์—„๋„ ์œ„๋กœ ๋ณด๋‚ด๋ฒ„๋ฆด ์ˆ˜ ์žˆ๊ณ .
15:11
You can bring large objects into the chamber itself.
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์•„์ฃผ ์ปค๋‹ค๋ž€ ๋ฌผ๊ฑด์„ ๊ณต์—ฐ์žฅ์œผ๋กœ ๋“ค์—ฌ์˜ฌ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
15:14
But most convincingly when we had to confront the idea
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ํ•˜์ง€๋งŒ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ฒƒ์€
15:17
of changing costs from architecture to infrastructure,
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์šฐ๋ฆฌ๊ฐ€ ๊ฑด์ถ•์  ์˜ˆ์‚ฐ์„ ์ธํ”„๋ผ์ŠคํŠธ๋Ÿญ์ฒ˜ ์˜ˆ์‚ฐ์œผ๋กœ ์˜ฎ๊ธฐ๋ ค๋Š” ๋ฌธ์ œ์™€ ์”จ๋ฆ„ํ• ๋•Œ
15:20
is something that is represented by this.
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๊ทธ๋ ‡๊ฒŒ ์ฃผ์žฅํ•  ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒƒ์€ ์ด๊ฒƒ ๋•๋ถ„์ž…๋‹ˆ๋‹ค.
15:22
And again, this is not all the flexibilities of the building that is actually built,
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์‹œ ๋งํ•˜์ง€๋งŒ ์‹ค์ œ๋กœ ์ง€์–ด์ง„ ๊ฑด๋ฌผ์— ์ด ์œ ์—ฐ์„ฑ์„ ๋ชจ๋‘ ๋‹ด์ง€๋Š” ๋ชปํ–ˆ์ง€๋งŒ
15:25
but at least suggests the ideas.
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์ €ํฌ๊ฐ€ ์–ด๋–ค ์•„์ด๋””์–ด๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ๋Š”์ง€๋Š” ๋ณด์—ฌ์ฃผ์ฃ .
15:28
This building has the ability, in short order,
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์ด ๊ฑด๋ฌผ์€, ๊ฐ„๋‹จํžˆ๋งŒ ์–˜๊ธฐ ํ•˜์ž๋ฉด
15:30
to go back to a flat floor organization
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ํ‰ํ‰ํ•œ ๋ฐ”๋‹ฅ์œผ๋กœ ๋งŒ๋“ค์–ด์„œ
15:32
such that they can rent it out.
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์ž„๋Œ€๋ฅผ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
15:34
Now, if there is anyone here from American Airlines,
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์–ด๋ฉ”๋ฆฌ์นธ ์—์–ด๋ผ์ธ์—์„œ ์˜ค์‹  ๋ถ„์ด ์žˆ๋‹ค๋ฉด
15:36
please consider doing your Christmas party here.
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ํฌ๋ฆฌ์Šค๋งˆ์Šค ํŒŒํ‹ฐ๋ฅผ ์—ฌ๊ธฐ์„œ ํ•˜์‹œ๋Š” ๊ฒƒ์€ ์–ด๋–จ๊นŒ์š”?
15:39
(Laughter)
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(์›ƒ์Œ)
15:40
That allows the company to raise operational budgets
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์™œ๋ƒํ•˜๋ฉด ๊ทน์žฅ์ด ๋‹ค๋ฅธ ๋” ๋„“์€ ํ™€์„ ๊ฐ€์ง„ ๊ณณ๋“ค๊ณผ
15:43
without having to compete with other venues
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๊ฒฝ์Ÿํ•  ํ•„์š”์—†์ด
15:45
with much larger auditoriums.
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์šด์˜๋น„๋ฅผ ๋ฒŒ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
15:47
That's an enormous benefit.
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์ด๊ฒƒ์€ ์•„์ฃผ ํฐ ์ด์ ์ด์ฃ .
15:49
So, the theater company has the ability
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์ด ๊ทน์žฅ์—์„œ๋Š”
15:51
to do totally hermetic,
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์•„์ฃผ ๊ณ ์š”ํ•จ ์†์—์„œ
15:53
light-controlled, sound-controlled, great acoustics,
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์กฐ๋ช…์„ ์กฐ์ ˆํ•˜๊ณ  ์†Œ๋ฆฌ๋ฅผ ์กฐ์ ˆํ•˜๊ณ , ์ตœ๊ณ ์˜ ์Œํ–ฅ์„ ๊ฐ–์ถ”๊ณ 
15:55
great intimacy Shakespeare,
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์•„์ฃผ ์นœ๋ฐ€ํ•œ ๋ถ„์œ„๊ธฐ ์†์—์„œ ์…ฐ์ต์Šคํ”ผ์–ด ๊ทน์„ ์˜ฌ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
15:58
but can also do Beckett
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๋˜ Becket ๊ณต์—ฐ์„ ํ•  ์ˆ˜๋„ ์žˆ์ฃ .
16:00
with the skyline of Dallas sitting behind it.
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๋‹ฌ๋ผ์Šค ํ•˜๋Š˜์„ ๋ฐ”๋กœ ๋’ค์— ๋‘๊ณ  ๋ง์ž…๋‹ˆ๋‹ค.
16:03
Here it is in a flat floor configuration.
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์ด๊ฒƒ์ด ํ‰ํ‰ํ•œ ๋ฐ”๋‹ฅ์„ ํ•œ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
16:05
The theater has been going through its kind of paces.
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๊ทน์žฅ์ด ๊ทน์žฅ ๋‚˜๋ฆ„๋Œ€๋กœ์˜ ํŽ˜์ด์Šค๋Œ€๋กœ ๊ตด๋Ÿฌ๊ฐ€๊ณ  ์žˆ์ฃ .
16:07
Here it is in an end stage configuration.
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์ด๊ฒƒ์ด ํ•œ์ชฝ๋์— ๋ฌด๋Œ€๊ฐ€ ์žˆ๋Š” ๋ฐฐ์น˜ ์ž…๋‹ˆ๋‹ค.
16:10
It's actually beautiful. There was a rock band.
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์‹ค์ œ๋กœ ๋ณด๋ฉด ๋งค์šฐ ์•„๋ฆ„๋‹ต์Šต๋‹ˆ๋‹ค. ๋ฝ ๋ฐด๋“œ๊ฐ€ ์™€ ์žˆ์—ˆ์ฃ .
16:12
We stood outside trying to see if the acoustics worked,
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์šฐ๋ฆฌ๋Š” ๋ฐ–์— ์„œ์„œ ์Œํ–ฅ์ด ์ œ๋Œ€๋กœ ์ž‘๋™ํ•˜๋Š”์ง€ ๋ณด๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
16:14
and you could see the guys doing this but you couldn't hear them.
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์•ˆ์—์„œ ํ—ค๋“œ๋ฑ…์ž‰์„ ํ•˜๋ฉฐ ์—ฐ์ฃผ๋ฅผ ํ•˜๊ณ  ์žˆ์—ˆ์ง€๋งŒ ๋ฐ–์—์„œ๋Š” ๋“ค๋ฆฌ์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
16:16
It was very unusual.
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์•„์ฃผ ํŠน๋ณ„ํ•œ ๊ฒฝํ—˜์ด์—ˆ์ฃ .
16:18
Here it is in a thrust configuration.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฑด ๋Œ์ถœ๋ฌด๋Œ€ ํ˜•์‹์ž…๋‹ˆ๋‹ค.
16:20
And last but not least,
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๊ทธ๋ฆฌ๊ณ  ๋งˆ์ง€๋ง‰์ด์ง€๋งŒ ๋œ ์ค‘์š”ํ•˜๋‹ค๊ณ ๋Š” ํ• ์ˆ˜ ์—†๋Š”,
16:22
you see this already has the ability to create events
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๋ฒŒ์จ๋ถ€ํ„ฐ ๋ณด์‹œ๋ฉด ์•Œ๊ฒ ์ง€๋งŒ ํ–‰์‚ฌ๋ฅผ ์—ด์–ด์„œ
16:24
in order to generate operational budgets
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์šด์˜๋น„์— ๋ณดํƒฌ์ด ๋˜๊ณ 
16:26
to overcome the building in fact performing
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๋‹จ์ˆœํžˆ ๊ฑด๋ฌผ์„ ๋„˜์–ด์„œ์„œ
16:29
to allow the company to overcome their biggest problem.
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๊ทน์žฅ์œผ๋กœ ํ•˜์—ฌ๊ธˆ ๊ฐ€์žฅ ํฐ ์–ด๋ ค์›€์„ ๋›ฐ์–ด๋„˜์„ ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
16:31
I'm going to show you a brief time lapse.
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์‹œ๊ฐ„์ฐจ ์˜์ƒ ํ•˜๋‚˜๋ฅผ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
16:35
As I said, this can be done with only two people,
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๋ง์”€๋“œ๋ ธ๋“  ์‚ฌ์‹ค ๋‘์–ด ๋ช… ๋งŒ์œผ๋กœ๋„ ๊ฐ€๋Šฅํ•œ ์ผ์ž…๋‹ˆ๋‹ค.
16:37
and with a minimum amount of time.
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์‹œ๊ฐ„๋„ ์–ผ๋งˆ ๋“ค์ง€ ์•Š์ฃ .
16:39
This is the first time that actually the changeover was done
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์ฒ˜์Œ ๋ฌด๋Œ€ ๋ฐฐ์น˜๋ฅผ ๋ฐ”๊ฟ” ๋ณธ ๋‚ ์ด์–ด์„œ
16:41
and so there is literally thousands of people because
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์ˆ˜์ฒœ๋ช…์ด ๋‹ฌ๋ ค๋“ค์–ด์„œ ์„œ๋กœ ํ•˜๊ฒ ๋‹ค๊ณ  ํ•˜๊ณ  ์žˆ๋Š” ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
16:43
everyone was excited and wanted to be a part of it.
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์‚ฌ๋žŒ๋“ค์ด ์‹ ๋‚˜์„œ ๋„ˆ๋„๋‚˜๋„ ํ•˜๊ธธ ์›ํ–ˆ์œผ๋‹ˆ๊นŒ์š”.
16:45
So, in a way try to disregard all the thousands of ants running around.
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๊ทธ๋Ÿฌ๋‹ˆ ์—ฌ๋Ÿฌ ์‚ฌ๋žŒ์ด ์™”๋‹ค๊ฐ”๋‹ค ํ•˜๋Š”๊ฒƒ์€ ์‹ ๊ฒฝ์“ฐ์ง€ ๋งˆ์‹ญ์‹œ์˜ค.
16:49
And think of it being done with just a few people.
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์ด๊ฒƒ์„ ํ•œ๋‘์‚ฌ๋žŒ์ด ํ•˜๋Š” ๊ฒƒ์ด ๊ฐ€๋Šฅํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ•ด ๋ณด์‹ญ์‹œ์˜ค.
17:22
Again, just a couple people are required.
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๋‹ค์‹œ ๊ฐ•์กฐํ•˜์ง€๋งŒ ๋‘๋ช… ์ •๋„ ์‚ฌ๋žŒ์ด ์žˆ์œผ๋ฉด ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค.
17:25
(Laughter)
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(์›ƒ์Œ)
17:26
I promise.
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์•ฝ์†๋“œ๋ฆฌ์ฃ .
17:39
Et voila.
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๋‹ค ๋์Šต๋‹ˆ๋‹ค.
17:41
(Applause)
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(๋ฐ•์ˆ˜)
17:48
So, just in conclusion, a few shots.
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๋งˆ์ง€๋ง‰์œผ๋กœ ๋ช‡์žฅ ๋” ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
17:50
This is the AT&T Performing Arts Center's
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์ด๊ฒƒ์ด AT&T ๊ณต์—ฐ์˜ˆ์ˆ ์„ผํ„ฐ์˜
17:53
Dee and Charles Wyly Theater.
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๋”” ์•ค ์ฐฐ์Šค ์™€์ผ๋ฆฌ ์—ฐ๊ทน ๊ณต์—ฐ์žฅ ์ž…๋‹ˆ๋‹ค.
17:55
There it is at night.
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์ด ๊ฒƒ์ด ๋ฐค์˜ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
17:57
And last but not least the entire AT&T Performing Arts Center.
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๊ทธ๋ฆฌ๊ณ  ๋งˆ์ง€๋ง‰์œผ๋กœ ๋นผ๋†“์„ ์ˆ˜ ์—†๋Š” AT&T ๊ณต์—ฐ์˜ˆ์ˆ ์„ผํ„ฐ ์ „์ฒด ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
18:01
You can see the Winspear Opera House on the right
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์œˆ์Šคํ”ผ์–ด ์˜คํŽ˜๋ผ ํ•˜์šฐ์Šค๊ฐ€ ์˜ค๋ฅธ์ชฝ์ด๊ณ .
18:03
and the Dee and Charles Wyly Theater on the left.
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๋”” ์•ค ์ฐฐ์Šค ์™€์ผ๋ฆฌ ์—ฐ๊ทน ๊ณต์—ฐ์žฅ์ด ์™ผ์ชฝ์ž…๋‹ˆ๋‹ค.
18:06
And to remind you that here is an example in which
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๋‹ค์‹œํ•œ๋ฒˆ ๊ฐ•์กฐ์ปจ๋ฐ, ์ด๊ฒƒ์€ ๊ฑด์ถ•์ด ์ •๋ง ๋ฌด์–ธ๊ฐ€๋ฅผ 'ํ•ด ๋‚ธ'
18:09
architecture actually did something.
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์˜ˆ๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
18:11
But we got to that conclusion
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์ค‘์š”ํ•œ ๊ฒƒ์€ ์šฐ๋ฆฌ๋Š”
18:13
without understanding where we were going,
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์ฒ˜์Œ ๋ถ€ํ„ฐ ์ด๋Ÿฐ ๊ฒƒ์„ ํ•˜๊ฒ ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๊ณ  ์‹œ์ž‘ํ•œ ๊ฒŒ ์•„๋‹ˆ๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
18:15
what we knew were a series of issues that the company
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์šฐ๋ฆฌ๋Š” ๊ทน๋‹จ์ธก๊ณผ ํด๋ผ์ด์–ธํŠธ๊ฐ€ ๋‹น๋ฉดํ•œ ๊ณผ์ œ๋“ค๋งŒ์„
18:18
and the client was confronted with.
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์•Œ๊ณ  ์žˆ์—ˆ์„ ๋ฟ์ž…๋‹ˆ๋‹ค.
18:20
And we took positions with them, and it was through those positions
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์šฐ๋ฆฌ๋Š” ๊ทธ๋“ค๊ณผ ๊ฐ™์ด ์ฃผ์•ˆ์ ์„ ์žก์•˜๊ณ . ๊ทธ ์ฃผ์•ˆ์ ์œผ๋กœ
18:22
that we began to take architectural manifestations
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๊ฑด์ถ•์ ์ธ ์‹ค์ฒด๋ฅผ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ์—ˆ์ฃ .
18:25
and we arrived at a conclusion that none of us,
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ ํ•˜๋‚˜ํ•˜๋‚˜๊ฐ€
18:27
really none of us could ever
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ํ”„๋กœ์ ํŠธ๋ฅผ ์‹œ์ž‘ํ–ˆ์„๋•Œ๋Š” ์ƒ๊ฐํ•  ์ˆ˜ ์—†์—ˆ๋˜
18:29
have conceived of initially or individually.
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ํ˜น์€ ๊ฐœ์ธ์ ์œผ๋กœ๋Š” ์ƒ๊ฐํ•  ์ˆ˜ ์—†๋˜ ๊ฒฐ๋ก ์— ๋„๋‹ฌ ํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
18:32
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
18:34
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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