A stealthy reimagining of urban public space | Elizabeth Diller

84,650 views ・ 2021-02-16

TED


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

λ²ˆμ—­: Eugene Chung κ²€ν† : Jihyeon J. Kim
곡곡 κ³΅κ°„μ΄λž€ 곡기처럼 λΉ„μš©μ΄ 듀지 μ•Šκ³  흔해야 ν•΄μš”.
κ°œλ°œμ΄λΌλŠ” λͺ…λͺ©ν•˜μ—
점점 더 λ§Žμ€ 도심 속 곡곡 곡간이
00:12
Public space must be as free and abundant as the air we breathe.
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마치 μƒν’ˆμ²˜λŸΌ 거래되며 사라지고 있죠.
κ±΄μΆ•κ°€λŠ” 곡곡 곡간을 지킀고
00:17
In our real estate-driven cities,
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더 많이 λ§Œλ“€ 것을 μš”κ΅¬ν•˜λ©°
00:19
where open space is increasingly carved up,
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λ°©μΉ˜λ˜κ±°λ‚˜ 잘λͺ»λœ νŒλ‹¨μœΌλ‘œ μ‚¬λΌμ§€λŠ” 곡간을 λ˜μ°Ύμ•„μ•Ό ν•΄μš”.
00:22
traded and sold as a commodity,
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00:24
architects must defend public space,
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κ±΄μΆ•κ°€λŠ”
00:27
advocate for more of it,
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고객과 μ •λ©΄μœΌλ‘œ λ§žμ„œλŠ” ν•œμ΄ μžˆλ”λΌλ„
00:29
and reclaim space that's been squandered by neglect
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곡곡 곡간을 λ§Œλ“€μ–΄μ•Ό ν•˜λ©°
00:32
or lack of vision.
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가끔은 κΈ°λ°œν•˜κ³  κ΅λ¬˜ν•œ λ°©λ²•μœΌλ‘œ
00:34
In our practice,
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00:35
this sometimes means openly sparring with a client
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사섀 건좕 ν”„λ‘œμ νŠΈ μ•ˆμ— 곡곡 곡간을 μ†Œκ°œν•΄μ•Ό ν•˜μ£ .
00:39
to carve out public space,
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λͺ¨λ“  민주적 ν–‰μœ„μ—λŠ” κ·Έλ₯Ό μœ„ν•΄ μ‹Έμš°λŠ” μ‚¬λžŒμ΄ μžˆμ–΄μš”.
00:41
or inventing stealthy, under-the-radar ways
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00:43
of insinuating space for the public into otherwise private building projects.
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λ„μ‹œ μ˜μ—­μ„ μ±…μž„μ§€λŠ” κ±΄μΆ•κ°€λŠ”
곡곡 κ³΅κ°„μ˜ μ‹€ν˜„μ— μ•žμž₯μ„œμ„œ
00:49
Either way, all democracies need champions.
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점차 μ‚¬μœ ν™”λ˜μ–΄ κ°€λŠ” λ„μ‹œμ˜ λ―Όμ£Όν™”λ₯Ό 이뀄야 ν•΄μš”.
00:52
It's our role, as stewards of the urban realm,
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2004년에
00:55
to will public space into existence
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우리 사무싀은 두 λͺ…μ˜ μ‹œλ―Ό ν™œλ™κ°€λ₯Ό λ§Œλ‚¬λŠ”λ°
00:58
and to democratize our progressively privatized cities.
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2.4km에 λ‹¬ν•˜λŠ” 버렀진 μ‹œμ„€λ¬Όμ„ κ΅¬ν•˜κΈ°λ‘œ κ²°μ‹¬ν•œ
01:02
In 2004,
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κ·Έλ“€μ˜ μΊ νŽ˜μΈμ— 동참해
01:03
my studio came into the orbit of two inspired citizen activists
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μ‹œλ―Όμ„ μœ„ν•œ 곡원화λ₯Ό μΆ”μ§„ν–ˆμ–΄μš”.
01:07
who launched a campaign to save a 1.5-mile stretch
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지역 κ°œλ°œμ—…μžλ“€μ˜ λ°˜λŒ€μ— λ§žμ„  μˆ˜λ…„μ˜ λ…Έλ ₯ 끝에
01:11
of derelict infrastructure
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ν•˜μ΄ 라인의 μ² κ±°λ₯Ό 막을 수 μžˆμ—ˆκ³ 
01:13
and convert it into a public park.
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μ œμž„μŠ€ μ½”λ„ˆ, ν”ΌνŠΈ μ•„μš°λŒν”„μ™€ ν•¨κ»˜
01:16
After years of struggle and mounting pressure
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우리 μ‚¬λ¬΄μ‹€μ—μ„œ 섀계λ₯Ό λ§‘μ•˜μ–΄μš”
01:18
from local developers,
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01:19
the High Line was saved from demolition,
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μš°μ—°νžˆ μƒκ²¨λ‚œ 그곳의 μƒνƒœκ³„λŠ” λͺΉμ‹œ μ•„λ¦„λ‹€μ› λŠ”λ°
01:22
and we, along with our partners James Corner and Piet Oudolf,
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그건 μˆ˜λ…„μ˜ 방치둜 λ°œμƒν•œ κ±°μ˜€μ£ .
01:26
were put in charge of designing it.
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μƒˆλ‘œμš΄ 건좕물을 μ†Œκ°œν•˜μ§€ μ•Šκ³ 
01:28
We fell in love with the accidental ecosystem
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κ·ΈλŒ€λ‘œμ˜ λͺ¨μŠ΅μ„ μ§€μΌœμ•Όκ² λ‹€κ³  λ‹€μ§ν–ˆμ–΄μš”.
01:31
that developed there after years of neglect.
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곧μž₯ μ‹œλ―Όλ“€μ—κ²Œ κ³΅κ°œν•˜κΈ°μ—” λ„ˆλ¬΄ μ·¨μ•½ν•œ μƒνƒœμ—¬μ„œ
01:35
Rather than making architecture,
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μžμ—°μŠ€λ ˆ λΏŒλ¦¬λ‚΄λ¦° κ·Έκ³³ μƒνƒœκ³„μ˜ μœ μ „μžλ₯Ό μž¬ν•΄μ„ν•˜μ—¬
01:36
we vowed to protect this place from architecture.
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λ°˜μ€ μžμ—°μ μ΄κ³  λ°˜μ€ 인곡적인
01:41
The site was too fragile to share with the public,
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β€˜μ• κ·Έλ¦¬ν…μ²˜β€™λ₯Ό λ§Œλ“€μ—ˆμ–΄μš”.
01:44
so we reinterpreted the DNA of this weird, self-seeded ecosystem
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일반적으둜 λ„μ‹œμ—μ„œ 곡원은 νƒˆμΆœκ΅¬ 역할을 ν•˜λŠ”λ°
01:48
that was half natural and half man-made,
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이 곡원은 λ„μ‹œλ‘œ λ“€μ–΄κ°€λŠ” μž…κ΅¬μ™€ 같은
01:51
into a hybrid we called agritecture.
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λ„μ‹œμ˜ λ¬΄μ˜μ‹μœΌλ‘œ λ“€μ–΄κ°€λŠ” μΌμ’…μ˜ 문으둜 해석됐죠.
01:54
Typically, parks serve as an escape from the city.
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λΉ λ₯΄κ²Œ μ›€μ§μ΄λŠ” λ„μ‹œ μœ„μ— λ–  μžˆλŠ”
01:58
But this park was conceived as an entry into the city,
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ν•˜μ΄ 라인 곡원은 μƒˆλ‘œμš΄ λ°©μ‹μœΌλ‘œ λ‰΄μš•μ„ κ²½ν—˜ν•˜λŠ” μž₯μ†Œκ°€ λ˜μ–΄
02:02
a portal into the city's subconscious.
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μ—½μ„œ ν‘œμ§€μ—μ„œ 싀릴 만큼 전망이 쒋은 건 μ•„λ‹ˆμ§€λ§Œ
02:05
Floating over the fast-paced streets below,
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쉴 μƒˆ 없이 μƒμ‚°ν•˜λŠ” 것에 κ°€μΉ˜λ₯Ό λ‘λŠ” λ¬Έν™” μ†μ—μ„œ
02:08
the High Line became a place to experience an alternative New York,
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μž μ‹œ 아무것도 ν•˜μ§€ μ•Šκ³  λ“€μ–΄κ°€ 쉴 수 μžˆλŠ” β€˜κ΄„ν˜Έβ€™μ²˜λŸΌ
02:12
with views that could never make it onto a postcard.
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λ„μ‹œκ°€ μ£ΌλŠ” 즐거움과 κ³΅μ‘΄ν•˜λŠ” 곡간이 λμ–΄μš”.
02:16
In a culture that rewards relentless productivity,
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ν•˜μ΄ 라인 곡원은 λ‹Ήμ΄ˆ μ˜ˆμƒκ³Ό 달리
02:19
the High Line became a parenthesis in the day for doing nothing
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λ‰΄μš• 인기 λͺ…μ†Œλ‘œ κΈ‰λΆ€μƒν•˜λ©°
02:23
but sharing in the pleasures of being urban.
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μ „ 세계 관광객듀이 μ°ΎλŠ” 곳이 λ˜μ—ˆμ£ .
02:27
Unexpectedly, the High Line became one of the most popular destinations
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μž‘λ…„μ—λŠ” 8백만 λͺ… 이상이 λ°©λ¬Έν–ˆμ–΄μš”.
02:31
in New York
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μΈν„°λ„·μ—μ„œλ„ κΈ‰μ†λ„λ‘œ 퍼져
02:32
and a landmark on the world tourist map.
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μˆ˜λ§Žμ€ λ„μ‹œλ“€μ΄ μžμ‹ λ§Œμ˜ ν•˜μ΄ 라인을 λ§Œλ“€κ³ μž ν–ˆμ–΄μš”.
02:35
Last year, over eight million people came.
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λͺ¨λ‘κ°€ κ³΅κ°ν•˜λŠ” 뢀뢄을 μžκ·Ήν•œ κ±°μ£ .
02:39
The High Line also went viral.
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μ „ μ„Έκ³„μ μœΌλ‘œ ν™˜κ²½ λ¬Έμ œκ°€ λŒ€λ‘λ˜κ³  있으며
02:42
Hundreds of cities around the world were inspired to build one of their own.
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μ²œμ—° μžμ›μ€ 점차 κ³ κ°ˆλ˜λŠ” κ°€μš΄λ°
λ‹€λ₯Έ λ„μ‹œλ“€λ„ 재발견의 기회λ₯Ό λ³Έ κ±°μ˜ˆμš”.
02:47
We touched a global nerve.
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λ‚™ν›„λœ μ‹œμ„€μ„ λ˜μ‚΄λ €
02:49
In a time of environmental awareness
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지속가λŠ₯ν•œ 곡곡 κ³΅κ°„μœΌλ‘œ μž¬νƒ„μƒμ‹œν‚€λŠ” κ±°μ˜ˆμš”.
02:51
and shrinking resources on the planet,
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02:53
cities realized they could seize the opportunity to reimagine
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결둠적으둜
녹색 곡간을 보μž₯ν•˜λŠ” 건 ν™˜κ²½μ  κ³΅μ •μ„±μ˜ 문제죠.
02:57
aging infrastructure
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02:59
as a sustainable way to give back space to the public.
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2013λ…„ μš°λ¦¬λŠ” λͺ¨μŠ€ν¬λ°” μ€‘μ‹¬μ˜ 곡원 섀계 곡λͺ¨μ— λ‹Ήμ„ λλŠ”λ°
03:02
After all,
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03:03
access to green space is an environmental justice issue.
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λ‹€ν–‰νžˆ λŒ€ν˜• 상업 μ‹œμ„€μ΄ λ“€μ–΄μ˜¬ μ›λž˜μ˜ κ³„νšμ„ μ‹œμ—μ„œ λ¬΄μ‚°μ‹œν‚¨ κ±°μ£ .
03:07
In 2013, we were selected to design a park in central Moscow.
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곡원 μ˜ˆμ •μ§€λŠ” 역사, μ •μΉ˜μ μœΌλ‘œ λ―Όκ°ν•œ κ³΅κ°„μœΌλ‘œ
뢀지 인근에 크렘린과 뢉은 κ΄‘μž₯
03:13
Thankfully, the city pivoted from its plan to build a giant commercial development
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μ„± 바싀리 λŒ€μ„±λ‹Ήμ΄ μœ„μΉ˜ν–ˆμ–΄μš”.
03:17
on this historically sensitive and politically charged site,
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곡원 μ˜ˆμ •μ§€λŠ”
흐루쇼프 μ‹œλŒ€μ— 지어진 λŒ€ν˜• ν˜Έν…” β€˜λ‘œμ‹œμ•Όβ€™κ°€ 있던 자리둜
03:20
adjacent to the Kremlin, Red Square
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03:23
and St. Basil's Cathedral.
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우리λ₯Ό 도덕적 κ°ˆλ“±μ— λΉ λœ¨λ Έμ–΄μš”.
민주적 곡곡 곡간을 λ§Œλ“œλŠ” 것이
03:26
It would sit on the footprint
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03:27
of the former massive Khrushchev-era hotel "Rossiya."
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μ •μΉ˜μ  얡압이 κ·Ήμ‹¬ν•œ λ‚˜λΌμ—μ„œ κ³Όμ—° κ°€λŠ₯ν• κΉŒμš”?
03:31
We faced a moral dilemma.
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크렘린이 κ°€κΉŒμ΄μ— μžˆμ—ˆμ§€λ§Œ
03:33
Was it possible to make a democratic public space
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λͺ¨μŠ€ν¬λ°” μ‹œλ―Όλ“€μ˜ λ°”λžŒμ— μ§‘μ€‘ν•˜κΈ°λ‘œ ν–ˆμ–΄μš”
03:36
in the context of a repressive regime?
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그듀은 진보적이고 세계적인 λ„μ‹œκ°€ λ˜λŠ” κ±Έ ν¬λ§ν–ˆμ–΄μš”.
03:39
Despite being a stone's throw from the Kremlin,
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쀑앙 μ •λΆ€κ°€ 제 역할을 ν•˜μ§€ λͺ»ν•  λ•Œ
03:42
we decided to focus on Moscow's aspirations
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μ‚¬νšŒ κ°œν˜μ€ λ„μ‹œμ—μ„œλΆ€ν„° μΌμ–΄λ‚˜μ•Ό ν•˜μ£ .
03:45
of becoming a progressive, cosmopolitan city.
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μ‹œλ―Όλ“€μ—κ²Œ 이 곡원은 ν‘œν˜„μ˜ μž₯으둜
03:49
As national governments are failing us,
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뢉은 κ΄‘μž₯의 ꡰ사 νΌλ ˆμ΄λ“œλ‚˜
03:51
cities hold the promise of social reform.
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ꢌλ ₯을 μƒμ§•ν•˜λŠ” μ—¬λŸ¬ 행사듀과 λŒ€λΉ„λ  κ±°μ˜ˆμš”.
03:55
The park would be a site of civic expression,
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λ°˜λŒ€μ˜ λͺ©μ†Œλ¦¬λ₯Ό λ‚Ό 수 μžˆλŠ”
03:58
a foil to the military parades
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곡곡 κ³΅κ°„μ˜ νŠΉμ„± λ•Œλ¬Έμ—
μ •λΆ€λŠ” 곡곡 곡간을 μ œμ–΄ν•˜λ € ν•΄μš”.
04:00
and other demonstrations of power in Red Square.
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μš°λ¦¬κ°€ 받은 섀계 지침은 λ„“κ³  μ—΄λ¦° 곡간을 μ§€μ–‘ν–ˆλŠ”λ°
04:03
Given the vulnerability that public spaces pose
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집합 μž₯μ†Œλ‘œ μ“°μ—¬μ„œ μ‚¬νšŒμ  λΆˆμ•ˆμ„ μ‘°μž₯ν•˜λŠ” κ±Έ
04:06
from opposition,
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04:07
governments try to control them.
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μ—Όλ‘ν•œ κ²ƒμœΌλ‘œ λ³΄μ˜€μ£ .
04:10
The architectural brief we got discouraged large open spaces,
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μš°λ¦¬λŠ” 개방된 ν’€λ°­κ³Ό κ΄‘μž₯을 μ œμ•ˆν•˜μ—¬
04:13
presumably out of concern for public assemblies
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κ³΅κ°„μ˜ μš©λ„λ₯Ό μ œν•œν•˜μ§€ μ•Šμ•˜μ–΄μš”.
04:16
and social unrest.
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잘 μ •λˆλœ μ •μ›μ΄λ‚˜
04:18
Our response was to make open meadows and plazas
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μž₯λ―Έ λ“± 정해진 μ‹λ¬Όλ§Œμ„ 심어 κΎΈλ―ΈλŠ” λŒ€μ‹ 
04:22
whose uses could be open-ended.
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μš°λ¦¬κ°€ μ œμ•ˆν•œ 건 β€˜μ•Όμƒ λ„μ‹œμ£Όμ˜β€™μ˜€μ–΄μš”.
04:25
Instead of the manicured gardens
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곡원에 심을 ν† μ’… 식물은
04:27
and restricted inventories of official plantings, like rose bushes,
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λŸ¬μ‹œμ•„λ₯Ό λŒ€ν‘œν•˜λŠ” μžμ—°ν™˜κ²½μ„ 가진 μ„œλ‘œ λ‹€λ₯Έ λ„€ 개의 μ§€μ—­μ—μ„œ μ™”λŠ”λ°
04:31
we introduced a principle we called wild urbanism.
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μ—¬κΈ°μ„œ μš°λ¦¬κ°€ 이루고자 ν•œ 것은
04:35
The park would host native plants,
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ꡭ민적 μžλΆ€μ‹¬μ„ ν‘œν˜„ν•˜κ³  λ‹΄μ•„λ‚΄λŠ” κ²ƒμ΄μ—ˆμ£ .
04:37
sourced from the four major regional landscapes of Russia.
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λͺ¨μŠ€ν¬λ°”에 μžˆλŠ” λŒ€λΆ€λΆ„μ˜ 곡원듀은
04:41
This was our stealthy move.
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정해진 길둜만 κ±Έμ–΄μ•Ό ν•˜κ³ 
04:43
It was embraced as an expression of national pride.
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μž”λ””λ°­μ€ μšΈνƒ€λ¦¬λ‘œ 막아놓은 ν˜•νƒœμ§€λ§Œ
정해진 길이 μ—†λŠ” 이 곡원은
04:47
In contrast to typical parks in Moscow,
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방문객이 μžμ—° μ†μœΌλ‘œ λ“€μ–΄κ°€κΈΈ κΆŒν•˜μ£ .
04:50
where you're only permitted to walk on pathways,
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04:52
fenced off from vegetation,
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자λ₯΄μ•Όλ“œμ˜ˆ 곡원은 λŒ€μ„±κ³΅μ΄μ—ˆμ–΄μš”.
04:55
this park is unscripted
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개μž₯ ν›„ ν•œ 달 λ§Œμ— 백만 λͺ…이 μ™”μœΌλ‹ˆκΉŒμš”.
04:56
and encouraged immersion in the landscape.
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κ·Έλ ‡κ²Œ 성황을 이루자 ν‘Έν‹΄ λŒ€ν†΅λ Ήμ€ 곡원을 μžμ‹ μ˜ 곡으둜 λ‚΄μ„Έμ› μ£ .
05:00
Zaryadye Park has been immensely successful.
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05:04
One million people came the first month.
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ν•œνŽΈ μ–΅μ••λ°›λ˜ μ Šμ€μ΄λ“€μ€ 이 κ³΅μ›μ—μ„œ 해방감을 느꼈고
05:06
So, not surprisingly, Putin politicized Zaryadye as his park for the people.
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κ·Έ λͺ¨μŠ΅μ΄ λ°©λ²” 카메라에 κ³ μŠ€λž€νžˆ λ‹΄κ²Όμ–΄μš”.
μ •λΆ€ κ΄€κ³„μžλ“€μ€ 미ꡭ의 영ν–₯을 νƒ“ν•˜λ©°
05:12
Meanwhile, the park's liberating effect on a repressed younger generation
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μ Šμ€μ΄λ“€μ΄ νƒ€λ½ν–ˆλ‹€κ³  λΉ„λ‚œν–ˆμ§€λ§Œ
μš°λ¦¬μ—κ² 곡원이 μ„±κ³΅μ μ΄λž€ μ‹ ν˜Έμ˜€μ£ .
05:17
was caught on security cameras.
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05:19
Government officials blamed American influence
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μ •κΆŒμ΄λž€ λ•Œλ‘  였랜 μ‹œκ°„μ΄ 걸리더라도
05:22
for corrupting Russian youth.
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κ²°κ΅­μ—” λ°”λ€ŒλŠ” κ²ƒμ΄μ§€λ§Œ
곡곡 곡간은 μ˜€λž˜λ„λ‘ λ‚¨μœΌλ‹ˆκΉŒμš”.
05:25
But for us, this was a great sign of success.
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곡곡 곡간은 쑰용히, λ•Œλ‘  반체제적으둜
05:28
We came to believe that regimes come and go --
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05:30
some more slowly than others --
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μ‹œλ―Όλ“€μ—κ²Œ νž˜μ„ 쀄 수 μžˆμ–΄μš”.
민주적인 곡곡 곡간이 μœ„ν˜‘λ°›λŠ” λ°°κ²½μ—” 경제적 λͺ©μ μ„ 빼놓을 수 μ—†μ£ .
05:33
but public spaces endure.
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05:35
They can work quietly, even subversively,
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λ‹€μ‹œ λ‰΄μš•μœΌλ‘œ λŒμ•„μ™€μ„œ
05:38
to empower the public.
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ν•˜μ΄ 라인 μ£Όλ³€ λ™λ„€λŠ”
05:40
The threat to democratic public space comes also from financial greed.
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μ˜₯μ™Έ μ£Όμ°¨μž₯이 λŠ˜μ–΄μ„°λ˜ 지역인데
λ‰΄μš•μ—μ„œ κ°€μž₯ κ°’λΉ„μ‹Ό λ™λ„€λ‘œ νƒˆλ°”κΏˆν–ˆμ–΄μš”.
05:46
Returning to New York,
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ν•˜μ΄ 라인 κ³΅μ›μ˜ 성곡이 κ°€μ Έμ˜¨ μΌμ’…μ˜ λΆ€μž‘μš©μœΌλ‘œ
05:48
the neighborhood surrounding the High Line
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05:50
had transformed from a sea of open parking lots
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μ£Όλ³€ 지역이 λΉ λ₯΄κ²Œ κ°œλ°œλ˜λ©΄μ„œ
05:52
to the most expensive real estate in New York.
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κ³ κΈ‰ν™”λ˜λŠ” κ²°κ³Όλ₯Ό λ‚³μ•˜μ–΄μš”.
05:55
The park inadvertently fell victim to its own success
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κ±΄μΆ•κ°€μ˜ μ±…μž„μ€ μ–΄λ””κΉŒμ§€μΌκΉŒμš”?
05:59
and became an agent of rapid urbanization.
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μ˜λ„ν•˜μ§€ μ•Šμ€ κ²°κ³Όλ₯Ό λ‚³κ³  그둜 인해 μƒκΈ°λŠ” λ³€ν™”λŠ” μ–΄μ©Œμ£ ?
06:02
And with it came gentrification.
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ν•˜μ΄ 라인 곡원이 뢈러온 변화에 μ±…μž„κ°μ„ λŠκ»΄μ„œ
06:05
I question what is the responsibility of the architect
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06:08
in shaping the aftermath of urban change that they've unwittingly produced.
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ν•˜μ΄ 라인의 곡곡성을 μ΄μš©ν•΄
μΌμ’…μ˜ μ„œμ‚¬μ‹œμ μΈ κ³΅μ—°μ˜ λ¬΄λŒ€λ‘œ
β€˜λ§ˆμΌ λ‘± μ˜€νŽ˜λΌβ€™λ₯Ό κΈ°νšν–ˆμ–΄μš”.
06:13
I felt compelled to respond on the site where it happened,
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ν•˜λ£¨κ°€ λ‹€λ₯΄κ²Œ λ³€ν•˜λŠ” νƒˆκ³΅μ—…ν™”λœ λ„μ‹œλ₯Ό 배경으둜
06:16
to use the public space of the High Line
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06:18
as an urban stage for an epic performance
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μΌμ’…μ˜ λͺ…상과도 κ°™μœΌλ©°
우리 λͺ¨λ‘μ˜ λͺ¨μŠ΅κ³Ό
06:21
called "The Mile-Long Opera."
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λŒμ΄ν‚¬ 수 μ—†λŠ” 과거에 λŒ€ν•œ ν–₯수
06:23
It would be a meditation on the unprecedented speed of change
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06:27
of the postindustrial city,
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그리고 μ†Œμ™Έμ μΈ λ―Έλž˜μ— λŒ€ν•œ λΆˆμ•ˆμ„ ν‘œν˜„ν–ˆμ–΄μš”.
06:29
its winners and losers.
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06:31
And it would embody a sense of nostalgia we feel for an irretrievable past
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일반적으둜 μ˜€νŽ˜λΌλŠ” 고가이며 특ꢌ측만 λˆ„λ¦°λ‹€κ³  μƒκ°ν•˜μ§€λ§Œ
06:36
and apprehension about an alienating future.
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β€˜λ§ˆμΌ λ‘± μ˜€νŽ˜λΌβ€™λŠ” 무료둜 λˆ„κ΅¬λ‚˜ 갈 수 μžˆμ—ˆμ£ .
μ œκ°€ 감독뢀터 μ œμž‘κΉŒμ§€ μ΄κ΄„ν•˜λŠ”
06:40
People tend to think of opera as expensive and exclusive.
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큰 λ„μ „μ΄μ—ˆλŠ”λ°
06:44
This would welcome everyone for free.
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λ‹€ν–‰νžˆ ν›Œλ₯­ν•œ μ‚¬λžŒλ“€κ³Ό ν•¨κ»˜ μž‘μ—…ν•  수 μžˆμ—ˆμ–΄μš”.
06:47
I stepped into the role of creator, director and producer,
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κ±°λŒ€ν•œ μ•™μƒλΈ”λ‘œ 기획된 β€˜λ§ˆμΌ λ‘± μ˜€νŽ˜λΌβ€™λŠ”
06:51
and basically off a cliff,
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40개의 ꡐ회, 지역 및 ν•™κ΅μ˜ ν•©μ°½λ‹¨μœΌλ‘œ μ΄λ€„μ‘ŒμœΌλ©°
06:53
but I brought some brilliant collaborators with me.
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총 천 λͺ…μ˜ 합창단원듀이
06:57
"The Mile-Long Opera" was performed by a giant ensemble
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μ•½ 2.4km의 ꡬ간 곳곳에 μ„œμ„œ λ…Έλž˜ν–ˆμ–΄μš”.
07:00
of 40 church, community and school choirs.
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(였페라 λ…Έλž˜ μ†Œλ¦¬)
07:04
One thousand singers in all were distributed
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07:07
along the 1.5-mile stretch of the High Line.
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07:11
(Singers singing opera)
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λ‹¨λ…μœΌλ‘œ κ³΅μ—°ν•˜λŠ” 각각의 합창단원 μ‚¬μ΄λ‘œ
수천 λͺ…μ˜ 방문객이 곡원을 κ±°λ‹ˆλŠ” ν˜•νƒœκ°€
7일 λ°€ λ™μ•ˆ μ΄μ–΄μ‘Œμ–΄μš”.
각 곡연은 ν˜„λŒ€μ˜ 삢을 μ‚΄μ•„κ°€λŠ” 각자의 방식을 ν‘œν˜„ν–ˆλŠ”λ°
07:42
Elizabeth Diller: Each singer performed solo
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07:44
to a promenading audience of thousands
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κ·Έ μ•ˆμ—λŠ” λΆˆμ•ˆ, 유머, 갈망, λ‚˜μ•½ν•¨
07:46
each night for seven nights,
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기쁨, 격뢄 등이 ν‘œν˜„λκ³ 
07:48
each expressing their unique way of coping with contemporary life.
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λ„μ‹œκ°€ λ¬΄λŒ€ 배경이 λ˜μ—ˆμ£ .
λ‹Ήμ‹œ 미ꡭ은 μ •μΉ˜μ μœΌλ‘œ λͺΉμ‹œ μ•”μšΈν•œ μ‹œκΈ°μ˜€λŠ”λ°
07:52
Through anxiety, humor, longing, vulnerability,
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07:55
joy and outrage.
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λ§¨ν•΄νŠΌ μ „μ²΄μ μœΌλ‘œ
07:58
The city was their backdrop.
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λ‰΄μš• μ‹œλ―Όλ“€μ€ λΆ„λͺ… μ„œλ‘œ κ°„ κ°€μΉ˜κ΄€κ³Ό μ‹œλ―Όμ˜μ‹μ΄
08:00
During some particularly dark days of political strife in the country,
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κ³΅μœ λ¨μ„ λŠκΌˆμ–΄μš”.
08:04
across a big swath of Manhattan,
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ν•˜μ§€λ§Œ ν•˜μ΄ 라인 곡원 μ£Όλ³€ κ°œλ°œμ€ 속도λ₯Ό 늦좜 쀄 λͺ¨λ₯΄κ³ 
08:07
there was a palpable sense of shared values and citizenship
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ν—ˆλ“œμŠ¨ μ•Όλ“œλΌλŠ” λŒ€κ·œλͺ¨ 뢀동산 μ‚¬μ—…μœΌλ‘œ 이어져
08:11
among New Yorkers.
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λ―Έκ΅­ 역사λ₯Ό 톡틀어 κ°€μž₯ 큰 μ΄ˆλŒ€ν˜• 볡합단지가
08:13
But development around the High Line was not slowing down.
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μƒκ²¨λ‚˜κ²Œ λμ–΄μš”.
08:17
A huge real-estate play called Hudson Yards
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κ·Έλ‚˜λ§ˆ λ‹€ν–‰μœΌλ‘œ
λ‰΄μš•μ‹œλŠ” 이 μ΄ˆλŒ€ν˜• ν”„λ‘œμ νŠΈμ˜ μž‘μ€ 일뢀뢄을
08:20
was in the process of becoming the largest mixed-use development
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λ¬Έν™” μ‹œμ„€ λΆ€μ§€λ‘œ μ§€μ •ν•˜κ³ 
08:23
in US history.
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08:25
In its wisdom,
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μ„€κ³„μ•ˆμ„ 곡λͺ¨ν–ˆμ–΄μš”.
08:26
the city of New York retained a small piece of that huge property
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μ΅œμ„ μ˜ μž₯μ†ŒλŠ” μ•„λ‹ˆμ—ˆμ§€λ§Œ
기회 μ‚Όμ•„μ•Όκ² λ‹€κ³  μƒκ°ν–ˆμ£ .
08:30
for a yet-to-be-determined cultural facility,
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상업적인 개발 ν”„λ‘œμ νŠΈμ—μ„œ λ°œμƒν•œ κ³΅κ°„μ΄μ§€λ§Œ
08:33
and asked for ideas.
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λ¬Έν™” κ³΅κ°„μœΌλ‘œ μž¬νƒ„μƒμ‹œν‚€λŠ” κ±°μ£ .
08:36
And while not the ideal spot,
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건좕가 λ°μ΄λΉ„λ“œ 둝웰과 μ†μž‘κ³ 
08:38
we thought, "Why not be opportunistic?
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λ¬Έν™” μ‹œμ„€μ˜ 정신이 μ‚΄μ•„μžˆλŠ” 건좕물을 μƒμƒν–ˆμ–΄μš”.
08:40
Why not use the space produced by commercial development
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08:43
for countercultural activity?"
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이 μƒˆλ‘œμš΄ 건좕물은 μ˜ˆμΈ‘λΆˆν—ˆν•œ λ―Έλž˜μ— λ°˜μ‘ν•  수 있고
08:46
With our partner David Rockwell,
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08:47
we had a vision for a building and an institutional ethos.
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μ˜ˆμˆ κ°€λ“€μ΄ 자유둭게 μž₯λ₯΄λ₯Ό λ„˜λ‚˜λ“€λ©°
맀체에 κ΅¬μ• λ˜μ§€ μ•Šκ³ 
08:51
The new entity had to be responsive to an unpredictable future
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μ‹€λ‚΄μ™Έ κ·Έ μ–΄λ–€ 규λͺ¨λ„ κ°€λŠ₯ν•΄μ•Ό ν–ˆμ£ .
즉, 이것은 μƒˆλ‘œμš΄ νŒ¨λŸ¬λ‹€μž„μœΌλ‘œ
08:55
in which artists would be free to work across all disciplines
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κ±΄μΆ•μ˜ 고정관념에 도전μž₯을 λ˜μ‘Œμ–΄μš”.
08:59
and all media,
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09:00
at all scales, indoors and out.
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λ‹€λͺ©μ  μ „μ‹œμ‹€μ„ μŒ“μ€ ν˜•νƒœμ˜ κ³ μ •λœ 건물에
09:03
To do so, we had to change the paradigm
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ν•„μš”μ— 따라 ν™•μž₯ν•  수 μžˆλŠ” 외관을 λ§μž…νžŒ ν˜•νƒœλ‘œ
09:05
and challenge the inertia of architecture.
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β€˜λ” μ‰λ“œβ€™μ˜ 면적은 두 배둜 λŠ˜μ–΄λ‚  수 μžˆμ–΄
09:08
Made up of a fixed building with a stack of multi-use galleries
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λŒ€ν˜• μ„€μΉ˜λ¬Όμ΄λ‚˜ 곡연을 μˆ˜μš©ν•  수 μžˆμ–΄μš”.
09:12
and a telescoping outer shell that deploys on demand,
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λŒ€κ·œλͺ¨ 곡간이 ν•„μš”ν•˜μ§€ μ•Šμ„ λ•ŒλŠ” κ°„λ‹¨ν•˜κ²Œ λ°€μ–΄λ„£μ–΄
09:15
The Shed is able to double its footprint
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μ•Όμ™Έ λ¬Έν™” μ‹œλ―Ό 곡간을 λ„“νž 수 μžˆμ–΄μš”.
09:17
for large installations, performances and events.
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이 μž‘μ—…μ€ 단 5λΆ„ λ§Œμ— κ°€λŠ₯ν•œλ°
09:21
If you don't need the extra space, you can just nest the shell
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μžλ™μ°¨ ν•œ λŒ€μ˜ 마λ ₯으둜 μΆ©λΆ„ν•˜μ£ .
09:24
and open up a large outdoor space for cultural and public use.
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β€˜λ” μ‰λ“œβ€™λŠ”
직감과 μ˜μ§€λ‘œ λ­‰μΉœ μ—¬λŸ¬ μ‚¬λžŒμ΄
09:29
The structure deploys in five minutes,
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ν•¨κ»˜ 이룬 κ²°κ³Όλ¬Όμ΄μ—μš”.
09:31
and uses the horsepower of one car engine.
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(μŒμ•…)
μΌμ’…μ˜ 저항과도 같은 이 μž‘μ€ 곡곡 곡간은
09:34
The Shed is a start-up
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09:35
realized with a group of visionary collaborators
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λŒ€κ·œλͺ¨ 상업 뢀지에 μœ„μΉ˜ν•˜κ³  μžˆμ§€λ§Œ
09:38
based on a hunch and sheer will.
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문화적 μ“°μž„μœΌλ‘œ 인해 κ°•ν•œ 독립성을 띠고 있죠.
09:40
(Music)
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09:41
While it's a small pocket of resistance on publicly owned land
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인ꡬ가 μ¦κ°€ν•˜κ³  λ„μ‹œκ°€ νŒ½μ°½ν•˜λŠ” 건 λΆˆκ°€ν”Όν•œ μΌμ΄μ§€λ§Œ
09:45
and a giant commercial site,
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09:47
The Shed asserts its independence strongly through its content.
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그럴수둝 κ±΄μΆ•κ°€λŠ”
민주적인 곡곡 κ³΅κ°„μ˜ 확보에 λ”μš± νž˜μ¨μ•Ό ν•˜λ©°
09:53
As populations expand and city growth is inevitable,
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점차 μ€„μ–΄λ“œλŠ” 도심 속 곡곡 곡간이
09:56
it's important for those of us who build
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κ·Έμ € κ°€μž₯ 높은 값에 νŒ”λ € μ—†μ–΄μ§€λŠ” κ±Έ 막아야 ν•΄μš”.
09:59
to relentlessly advocate for a democratic public realm
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κ°μ‚¬ν•©λ‹ˆλ‹€.
10:03
so that dwindling urban space
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10:06
is not forfeited to the highest bidder.
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10:09
Thank you.
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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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