How urban spaces can preserve history and build community | Walter Hood

翻译人员: Ziyi Zhang 校对人员: Yolanda Zhang

How can landscapes imbue memory?

景观如何能够唤起记忆？

When we think about this notion "e pluribus unum" --

当我们去思考 "e pluribus unum" ——

"out of many, one,"

即“合众为一” 这个概念。

it's a pretty strange concept, right?

这听着还挺奇怪的，不是吗？

我的意思是，在这么多不同种族 不同传统背景的人中，

I mean, with all different races and cultures of people,

how do you boil it down to one thing?

你怎么让事情达到一个统一的效果呢？

I want to share with you today this idea of "e pluribus unum"

在此，我想和大家分享一下 有关"合众为一"的一些想法，

and how our landscape might imbue those memories of diverse perspectives,

以及我们的景观如何被赋予 这些不同视角的记忆，

as well as force us to stop trying to narrow things down

并迫使我们停止将事物过度简化成

to a single, clean set of identities.

一套单一的，纯粹的身份象征。

As an educator, designer,

作为一名教育工作者和设计师，

I'd like to share with you five simple concepts

今天我想和大家分享5个简单的概念，

that I've developed through my work.

这些都是我从自己的 工作中总结出来的。

And I'd like to share with you five projects

同时，我也想给大家分享5个项目，

where we can begin to see how the memory around us,

我们正是从这些项目里， 发现身边的回忆，

where things have happened,

以及事情发生的地方，

can actually force us to look at one another in a different way.

从而促使我们用不同的角度看问题。

“合众为一”，现在不仅是一句美国格言，

And lastly: this is not just an American motto anymore.

I think e pluribus unum is global.

我认为它成为了一个全球性的现象。

We're in this thing together.

我们都在经历这些事情。

First, great things happen when we exist in each other's world --

首先，当我们存在于彼此的世界时， 伟大的事情就发生了 ——

like today, right?

像今天我们聚在这里一样，对吗？

The world of community gardens --

在社区园艺这个领域里 ——

most of you have probably seen a community garden.

相信在座的大多数人都见过社区花园，

They're all about subsistence and food. Right?

它们的存在始终围绕着生存和温饱。对吧？

I'll tell you a little story,

我想给大家讲一个，

大概十年前发生在纽约的故事。

what happened in New York more than a decade ago.

They tried to sell all of their community gardens,

当时这些社区花园都在销售中。

and Bette Midler developed a nonprofit, the New York Restoration Project.

贝特 · 米德勒成立了一个 非营利组织 ——纽约复兴计划——

They literally brought all the gardens

他们差不多把这些社区花园都买下了，

and decided to save them.

决定开始实施拯救。

And then they had another novel idea:

接着这个组织提出了一个新奇的想法：

let's bring in world-class designers

引进世界级的设计师，

and let them go out into communities and make these beautiful gardens,

让他们来到这些社区， 改造这些漂亮的花园吧！

and maybe they might not just be about food.

也许这些花园就不再是 简单地为食物而存在了。

And so they called me,

所以他们找来了我，

让我在皇后区牙买加区设计一个花园。

and I designed one in Jamaica, Queens.

And on the way to designing this garden,

在这个设计的过程中，

I went to the New York Restoration Project Office,

我去了纽约复兴计划办公室，

and I noticed a familiar name on the door downstairs.

在那儿我留意到楼下的门上 有一个熟悉的名字。

I go upstairs, and I said,

我回到楼上问大家，

“你们知道楼下住了谁吗？”

"Do you guys know who is downstairs?"

And they said, "Gunit."

他们说：“Gunit啊。”

And I said, "Gunit?

我问：“Gunit？

You mean G-Unit?

你们说的是嘻哈组合 G-Unit（五角兵团）吧？

Curtis '50 Cent' Jackson?"

那个柯蒂斯 · “五角” · 杰克逊啊？“

(Laughter)

（笑声）

And they said, "Yeah?"

他们接着问：”真的吗？“

And I said, "Yes."

我说：“真的！”

And so we went downstairs, and before you knew it,

然后我们就下楼了。

要知道，柯蒂斯，贝特 和其他几个人创建了这个组织，

Curtis, Bette and the rest of them formed this collaboration,

and they built this garden in Jamaica, Queens.

并且建立了这个位于皇后区 牙买加区的花园。

And it turned out Curtis, 50 Cent, grew up in Jamaica.

原来柯蒂斯正是在牙买加区长大的。

And so again, when you start bringing these worlds together --

再一次，当你开始 将这些不同的人联系在一起——

me, Curtis, Bette --

我，柯蒂斯，贝特——

你会得到更令人叹为观止的东西。

you get something more incredible.

You get a garden

你得到了这个花园，

that last year was voted one of the top 10 secret gardens in New York.

这个花园去年还被票选为纽约 十大神秘花园之一。

Right?

看到了吧？

(Applause)

（掌声）

它属于每一个人，无论老少，

It's for young and old,

but more importantly, it's a place --

更重要的是，这是个特殊的地方——

there was a story in the Times about six months ago

时代杂志六个月前 刊登了这样一个故事，

where this young woman found solace in going to the garden.

有个年轻的女士在公园里 找到了心灵的慰藉。

It had nothing to do with me. It had more to do with 50, I'm sure,

我没做什么，我肯定， 50角乐队的贡献比我大多了。

but it has inspired people to think about gardens

不过这个公园的确激发了 大家对花园的思考，

and sharing each other's worlds in a different way.

用不同的方式互相分享彼此的世界。

This next concept, "two-ness" --

下一个概念，“两面性”——

it's not as simple as I thought it would be to explain,

解释起来不容易，

but as I left to go to college, my father looked at me,

我离开家去上大学的时候， 我爸曾看着我说，

and said, "Junior, you're going to have to be both black and white

“小子，进入社会后，

when you go out there."

你要懂得区分黑白两面。”

And if you go back to the early parts of the 20th century,

追溯到20世纪早期，

W.E.B. Du Bois, the famous activist,

著名的活动家， W·E·B· 杜波依斯曾经说过，

said it's this peculiar sensation

想想看这样一个奇特的感觉：

that the Negro has to walk around

黑人需要在别人的

being viewed through the lens of other people,

有色眼镜里行动，

and this two-ness, this double consciousness.

有这么一种双重意识。

And I want to argue that more than a hundred years later,

我想要强调的是，这一百多年以来，

that two-ness has made us strong and resilient,

这种双重感使我们 成长得更强壮和坚韧，

and I would say for brown people, women --

我也想对所有棕色人种和女性说——

all of us who have had to navigate the world through the eyes of others --

我们都被这个世界的有色眼镜引导着——

we should now share that strength to the rest of those

我们现在应该把这种力量

who have had the privilege to be singular.

分享给那些有幸拥有特权的人。

I'd like to share with you a project,

我想给大家介绍另一个项目，

因为我确实认为，我们可以在 身边的世界中找到这种两面性。

because I do think this two-ness can find itself in the world around us.

And it's beginning to happen where we're beginning to share these stories.

它会在我们开始分享 这些故事的时候发生。

在弗吉尼亚大学，

At the University of Virginia,

托马斯 · 杰斐逊建立的学术区里，

the academical village by Thomas Jefferson,

it's a place that we're beginning to notice now was built by African hands.

我们逐渐开始注意到，这可是 由非洲人亲手建造的地方啊！

So we have to begin to say,

所以我们开始问，

"OK, how do we talk about that?"

“我们聊一聊这个话题怎么样？”

As the University was expanding to the south,

随着大学校园向南扩张，

they found a site that was the house of Kitty Foster,

他们找到了基蒂 · 福斯特的故居所在地，

free African American woman.

一个自由的非洲裔美国女人。

And she was there,

她曾经住在那里，

and her descendants,

她的后代们

they all lived there,

也都曾住在那里，

and she cleaned for the boys of UVA.

她曾经为弗吉尼亚大学的 男孩们打扫卫生。

But as they found the archaeology,

考古发掘工作开展后，

they asked me if I would do a commemorative piece.

他们问我要不要在这里立个纪念牌。

So the two-ness of this landscape, both black and white ...

这时候我想把景观的 两面性设计出来，黑和白，

我决定利用光和阴影。

I decided to do a piece based on shadows and light.

And through that, we were able to develop a shadow-catcher

通过光和阴影， 我们设计了一个影子捕手，

that would talk about this two-ness in a different way.

用不同的方式表达这种两面性。

So when the light came down,

所以当有光射下来的时候，

there would be this ride to heaven.

这就像一个通往天堂的阶梯。

When there's no light, it's silent.

当没有光的时候，这里只有静默。

And in the landscape of Thomas Jefferson,

在托马斯 · 杰斐逊的校园景观中，

it's a strange thing.

这是一件奇怪的事情：

It's not made of brick.

它不是用砖砌成的。

It's a strange thing,

这真是一件奇怪的事情：

and it allows these two things to be unresolved.

它允许这两种现象彼此独立。

And we don't have to resolve these things.

我们其实不需要解决这些问题。

I want to live in a world

我想生活在一个世界，

where the resolution --

在那儿 ——

there's an ambiguity between things,

事物之间没有明确的界限，

because that ambiguity allows us to have a conversation.

而正是因为这个含糊， 令我们之间有了沟通。

When things are clear and defined,

当事情清晰明了的时候，

we forget.

我们就很容易遗忘。

The next example? Empathy.

下一个例子：同理心。

And I've heard that a couple of times in this conference,

我在这个会议里也听了好几遍，

有关关怀的概念。

this notion of caring.

Twenty-five years ago, when I was a young pup,

二十五年前， 我还是一个年轻的学生，

very optimistic,

非常乐观积极，

we wanted to design a park in downtown Oakland, California

我们想为无家可归的人， 在加利福尼亚州奥克兰市中心

for the homeless people.

设计一个公园。

And we said, homeless people can be in the same space

我们认为，无家可归的人 可以和西装革履的人

as people who wear suits.

同处于一个地方。

And everyone was like, "That's never going to work.

当时每个人都说， “这不可能的。

People are not going to eat lunch with the homeless people."

他们不会去和流浪汉一起吃午餐啦。”

We built the park.

我们最后建了那个公园，

It cost 1.1 million dollars.

耗资110万美元。

We wanted a bathroom.

我们想要一个卫生间，

We wanted horseshoes, barbecue pits, smokers,

想要马蹄区、烧烤炉和吸烟点，

picnic tables, shelter and all of that.

还有野餐桌，帐篷区之类的设施。

We had the design, we went to the then-mayor

我们拿着这个设计去找当时的市长，

and said, "Mr. Mayor, it's only going to cost you 1.1 million dollars."

和他说，“市长先生， 这只需要花费您110万美元。”

And he looked at me.

他看着我。

"For homeless people?"

“为流浪汉设计的？”

And he didn't give us the money.

结果他没有给我们钱。

So we walked out, unfettered, and we raised the money.

所以我们离开了那里， 没有任何负担， 还筹集了资金。

Clorox gave us money.

高乐氏（Clorox）给了我们这笔钱。

The National Park Service built the bathroom.

国家公园管理局建了卫生间。

So we were able to go ahead

所以我们才能够继续前进，

because we had empathy.

因为我们拥有同理心。

Now, 25 years later,

25年过去了，

we have an even larger homeless problem in the Bay Area.

我们在湾区有了个更大的流浪汉问题。

But the park is still there,

不过那个公园依然在那里，

and the people are still there.

那些人也依然在那里。

So for me, that's a success.

对我而言，这是一个成功。

And when people see that,

当大家看到这个场景时， 希望他们对这些

hopefully, they'll have empathy for the people under freeways and tents,

在高速公路和帐篷里的人， 也产生这样的同理心，

and why can't our public spaces

我们为什么不能 在公共空间安置他们？

house them and force us to be empathetic?

同时让我们学会感同身受呢？

The image on the left is Lafayette Square Park today.

左边的这张图片， 是今天的拉斐特广场公园。

右边的这张是1906年 地震发生后的金门公园。

The image on the right is 1906, Golden Gate Park after the earthquake.

Why do we have to have cataclysmic events

为何我们要等到灾难发生后，

to be empathetic?

才产生同理心呢？

Our fellow men are out there starving,

我们的男同胞们在外面快饿死了，

women sleeping on the street, and we don't see them.

女人也睡在大街上， 而我们却对此视而不见。

Put them in those spaces, and they'll be visible.

把他们放在公园里吧， 这样我们就能看到他们了。

(Applause)

（掌声）

And to show you that there are still people out there with empathy,

为了证明有同理心的人依然存在，

the Oakland Raiders' Bruce Irvin

这是奥克兰突袭者队的布鲁斯 · 欧文，

fries fish every Friday afternoon

每周五下午都在那里，

for anyone who wants it.

为有需要的人免费派送炸鱼。

And by going to that park, that park became the vehicle for him.

通过去那个公园， 那个公园成了他的载体。

The traditional belongs to all of us,

传统属于我们每一个人，

and this is a simple one.

举一个简单的例子。

You go into some neighborhoods -- beautiful architecture, beautiful parks --

你走进一些街区—— 那里有美丽的建筑和公园 ——

but if people look a different way,

如果大家的视角都不一样，

it's not traditional.

那这儿就还不传统。

It's not until they leave and then new people come in

只有等到原来的人都离开了，新人搬来了，

where the traditional gets valued.

传统才得以表现出来。

A little quick story here:

讲一个小故事：

1888 opera house,

建于1888年的歌剧院，

the oldest in San Francisco,

三藩市最老的歌剧院，

sits in Bayview–Hunters Point.

坐落于湾景猎人角。

Over its history,

在这座城市的历史中，

it's provided theater,

它扮演着剧院，

places for businesses, places for community gatherings, etc.

商业场所，社区聚会等场所的角色。

It's also a place where Ruth Williams taught many black actors.

这也是露丝威 · 廉姆斯 指导黑人演员的地方。

Think: Danny Glover --

比如，丹尼 · 格洛弗——

came from this place.

就来自这里。

But over time, with our 1980s federal practices,

但随着时间的推移， 20世纪80年代联邦政策的实施，

a lot of these community institutions fell into disrepair.

这些社区机构有很多 都存在年久失修的状况。

With the San Francisco Arts Council, we were able to raise money

多亏了旧金山艺术委员会， 我们能够筹集资金

and to actually refurbish the place.

为这个地方实施翻新，

And we were able to have a community meeting.

并在这里举行社区会议。

And within the community meeting, people got up and said,

在社区会议中，有人站起来说，

"This place feels like a plantation. Why are we locked in?

“这个地方感觉像一个种植园。 为什么我们要变成这样呢？

Why can't we learn theater?"

为什么不能在这儿学戏剧呢？“

Over the years, people had started putting in chicken coops, hay bales,

过去这些年来，人们开始 在其中放入鸡舍，干草捆，

community gardens and all of these things,

社区花园之类的东西，

and they could not see that traditional thing behind them.

他们再也看不到这栋建筑物 背后的传统了。

But we said, we're bringing the community back.

所以我们说，要把社区带回来。

American Disability Act -- we were able to get five million dollars.

我们通过美国残疾人法案 获得了500万美元。

And now, the tradition belongs to these brown and black people,

现在，属于这些棕色 和黑色人种的传统回来了，

and they use it.

他们正在使用这栋建筑物。

And they learn theater,

他们学习戏剧，

after-school programs.

课后项目。

There's no more chickens.

这儿再也没有鸡了，

But there is art.

但却有了艺术。

And lastly, I want to share with you a project that we're currently working on,

最后，我想给大家分享 我们正在做的一个项目，

我想它会令我们所有人 以一种不同的方式记住今天的话题。

and I think it will force us all to remember in a really different way.

There are lots of things in the landscape around us,

我们周围的景观包含了许多事物，

and most of the time we don't know what's below the ground.

而我们大多数时候都忽略了 这些景观的地下部分。

Here in Charleston, South Carolina,

在南卡罗来纳州的查尔斯顿，

a verdant piece of grass.

有这么一片青翠的草地

Most people just pass by it daily.

这儿是许多人的日常必经之地。

但在这片草地之下，

But underneath it,

it's where they discovered Gadsden’s Wharf.

是刚被发现的，加兹登码头。

We think more than 40 percent of the African diaspora landed here.

我们认为，超过40%的 非洲侨民是从这里登陆的。

How could you forget that?

我们怎么能把这些历史忘记了呢？

How could you forget?

怎么能忘记呢？

So we dug, dug, and we found the wharf.

所以我们挖啊挖，找到了码头。

And so in 2020,

所以在未来的2020年，

Harry Cobb and myself and others

我和哈瑞 · 科布和其他人，

are building the International African American Museum.

会在这里建一个非裔美国人博物馆。

And it will celebrate --

到时我们会纪念——

(Applause)

（掌声）

this place where we know, beneath the ground,

在这个我们已知的地方的下面，

数以千计的人在这里遇难，

thousands died, perished,

the food chain of the bay changed.

海湾的食物链甚至因此发生了变化：

Sharks came closer to the bay.

鲨鱼离海湾越来越近了。

It's where slaves were stored.

它是存储奴隶的地方。

Imagine this hallowed ground.

想象一下这片神圣的土地，

So in this new design, the ground will erupt,

在这个新设计中，这片地面会凸显。

and it will talk about this tension that sits below.

它会讲述地面下方紧张的情绪。

The columns and the ground is made of tabby shales

柱子和地面都是由从大西洋捞起来的

scooped up from the Atlantic,

平纹页岩构成，

a reminder of that awful crossing.

提醒着我们那些可怕的过境点。

And as you make your way through on the other side,

当你走到建筑的另一边时，

you are forced to walk through the remains of the warehouse,

你会被迫经过那片仓库的遗迹，

where slaves were stored

奴隶当时就是被安置在那里。

on hot, sultry days, for days,

他们在那些闷热的日子里， 一呆就是好几天，

and perished.

然后死去。

And you'll have to come face-to-face

在这里，

with the Negro,

你必须直面黑奴。

who worked in the marshes,

是他们，在沼泽地工作，

是他们，顶着疟疾

who was able to, with the sickle-cell trait,

able to stand in high waters for long, long days.

还在高水域里站立工作上 一段段漫长的时间。

And at night, it'll be open 24/7,

这片景观将全天候开放，

for everybody to experience.

欢迎任何一个人随时参观。

But we'll also talk about those other beautiful things

我们也会讲述我们的非洲祖先

that my African ancestors brought with them:

带来的美好的事情：

a love of landscape,

美丽的非洲景观，

a respect for the spirits that live in trees and rocks and water,

尊重住在树木、 岩石和水中的灵魂的习俗，

the ethnobotanical aspects,

以及在民族植物学方面，

the plants that we use for medicinal purposes.

那些我们使用的植物的药用目的。

But more importantly,

更重要的是，

we want to remind people in Charleston, South Carolina,

我们想提醒生活在南卡罗来纳州 查尔斯顿的人们，

这里有黑人的尸体，

of the black bodies,

因为今天去查尔斯顿的时候，

because when you go to Charleston today,

the Confederacy is celebrated,

你会发现联邦在纪念他们，

probably more than any other city,

也许未来会有越来越多的城市效仿，

and you don't have a sense of blackness at all.

而你将不再感受到黑人白人之分。

The Brookes map,

这是布鲁克斯地图，

可以帮助废奴主义者看到，

which was an image that helped abolitionists see

当时过境的恶劣条件，

and be merciful for that condition of the crossing,

is something that we want to repeat.

是我们想要重复表达的事情。

And I was taken by the conceptuality

我被这个概念所吸引，

of this kind of digital print that sits in a museum in Charleston.

想让这种数字印刷品 出现在查尔斯顿博物馆里。

So we decided to bring the water up on top of the surface,

所以我们决定在比潮汐高7英尺的

seven feet above tide,

表面铺上水。

and then cast the figures full length, six feet,

然后浇铸上全长六英尺的这些图片，

multiply them across the surface,

将它们布满表面，

in tabby,

像虎斑一样。

and then allow people to walk across that divide.

然后让游客经过这条分界线。

And hopefully, as people come,

设计的情景是， 当人们来到这儿的时候：

the water will drain out,

水会流干，

再填满，

fill up,

drain out and fill up.

流干再填满。

And you'll be forced to come to terms with that memory of place,

你将被迫来到这个充满记忆的地方，

感受交界处的回忆。

that memory of that crossing,

that at times seems very lucid and clear,

有时看起来非常清晰，

但有时候，也会迫使我们再次 调和我们自己的想法。

but at other times, forces us again to reconcile the scale.

And hopefully, as people move through this landscape every day,

我希望，当人们每天经过这个景观，

unreconciled, they'll remember,

不需要过分刺激， 人们就能想起来这些故事。

and hopefully when we remember,

我也希望，他们能因此牢记这件事情，

e pluribus unum.

合众为一。

Thank you.

谢谢大家！

(Applause)

（掌声）