请双击下面的英文字幕来播放视频。
翻译人员: Qing Zhang
校对人员: Nicole LUO
00:15
I'm going to speak to you today about architectural agency.
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今天我来和大家聊聊建筑事务所。
00:19
What I mean by that is that it's time for architecture
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这里的“建筑”是指建筑再现的过程,
00:21
to do things again, not just represent things.
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而不是简简单单的视觉表现。
00:25
This is a construction helmet that I received two years ago
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这是两年前我在我和事务所参加的有史以来
00:29
at the groundbreaking of the largest project
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最具开拓性的项目中
00:31
I, and my firm, have ever been involved in.
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得到的一只建筑头盔。
00:34
I was thrilled to get it. I was thrilled to be the only person
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当时得到它我兴奋极了。能成为唯一一个头戴银光闪闪的头盔
00:36
standing on the stage with a shiny silver helmet.
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站上舞台的人实在让我激动不已。
00:39
I thought it represented the importance of the architect.
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我觉得它就代表了那座建筑的重要性。
00:42
I stayed thrilled until I got home,
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直到回到家里,我还激动得不行
00:44
threw the helmet onto my bed,
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我把头盔扔到床上,
00:46
fell down onto my bed and realized inside
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在床上躺下,这才发现头盔里还刻了字。
00:49
there was an inscription.
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(警告:这个特制的镀银头盔只能作装饰用途,无实际保护功能)
00:52
(Laughter)
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(笑)
00:55
Now, I think that this is a great metaphor
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现在,我觉得这是一个深刻的隐喻
00:57
for the state of architecture and architects today.
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正传达了当今建筑师与建筑的情况。
00:59
We are for decorative purposes only.
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我们都只是装饰品而已。
01:02
(Laughter)
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(笑)
01:03
Now, who do we have to blame?
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那么,这都怪谁呢?
01:05
We can only blame ourselves. Over the last 50 years
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只能怪我们自己。过去的这五十年来,
01:08
the design and construction industry has gotten much more complex
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设计和建造业变得如此复杂
01:11
and has gotten much more litigious.
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如此争强好胜。
01:13
And we architects are cowards.
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而我们建筑师却成了胆小鬼。
01:15
So, as we have faced liability,
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当我们面对责任,
01:17
we have stepped back and back,
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就步步后退
01:20
and unfortunately, where there is liability, guess what there is:
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但不幸的是,哪里有责任,
01:22
power.
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哪里就有权利。
01:25
So, eventually we have found ourselves
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结果就是我们最终发现自己
01:27
in a totally marginalized position, way over here.
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已经完全退到了最边缘的地方。
01:30
Now, what did we do? We're cowards,
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现在,我们又该怎么办呢?我们确实是胆小鬼,
01:32
but we're smart cowards.
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但又是其中最聪明的。
01:35
And so we redefined this marginalized position as the place of architecture.
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所以我们得将这块边缘地带重新设定成建筑的存在空间。
01:38
And we announced, "Hey, architecture, it's over here,
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我们大声招呼,”嗨,建筑,看这儿!
01:41
in this autonomous language
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只有这种独立宣言才能
01:43
we're going to seed control of processes."
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让我们掌握整个过程。”
01:46
And we were going to do something that was horrible for the profession.
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然后我们要对这个职业进行骇人的改造
01:51
We actually created an artificial schism
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我们实际上人为地让创造和执行
01:53
between creation and execution,
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分立为二,
01:57
as if you could actually create without knowing how to execute
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在创意的时候完全不用考虑执行的问题
01:59
and as if you could actually execute
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在执行的时候也不需要
02:01
without knowing how to create.
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知道该如何创新。
02:03
Now, something else happened.
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现在情况发生了变化。
02:05
And that's when we began to sell the world
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以前我们告诉世界
02:07
that architecture was created by individuals
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建筑是由描绘出的天才的草图的建筑师
02:10
creating genius sketches.
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创造出来的。
02:12
And that the incredible amount of effort to deliver those sketches
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许多年来,为了实现这些草图
02:16
for years and years and years is not only something
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所付出的难以想象的努力
02:18
to be derided,
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不仅仅被嘲笑作白费力气
02:20
but we would merely write it off as
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而且我们来说,这只是
02:22
merely execution.
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执行问题而已。
02:25
Now I'd argue that that is as absurd as stating
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但是这几乎和把三十分钟的交媾称作创造,
02:28
that 30 minutes of copulation is the creative act,
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将十月怀胎过程
02:32
and nine months of gestation,
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以及二十四小时的生产过程
02:34
and, God forbid, 24 hours of child labor
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仅仅作为执行过程
02:39
is merely execution.
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一样荒谬。
02:41
So, what do we architects need to do? We need to stitch back
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所以我们建筑师到底要做些什么?我们要将
02:43
creation and execution.
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创造和执行一步步地重新缝合。
02:46
And we need to start authoring processes again
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我们要掌控整个过程,
02:49
instead of authoring objects.
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而不是零碎的部件。
02:51
Now, if we do this, I believe we can go back 50 years
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如果我们能做到这些,我相信就能回到五十年前
02:54
and start reinjecting agency,
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将事务所和社会工程
02:56
social engineering, back into architecture.
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重新注入建筑过程。
03:00
Now, there are all kinds of things that we architects need to learn how to do,
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现在,建筑师们有太多东西需要学了
03:02
like managing contracts, learning how to write contracts,
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比如说管理合同,写合同
03:06
understanding procurement processes,
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甚至要搞清采购流程
03:09
understanding the time value of money and cost estimation.
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知道时间就是金钱,还要懂得成本估算。
03:12
But I'm going to reduce this to the beginning of the process,
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但我要把这些“重任”都卸去,回到整个过程的原点,
03:15
into three very pedantic statements.
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三条不得不遵循的规则。
03:18
The first is: Take core positions with your client.
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首先,要在与客户的接触中占核心地位。
03:21
I know it's shocking, right, that architecture would actually say that.
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我知道,这是很不靠谱,但这正是“建筑”需要的。
03:24
The second position is: Actually take positions.
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第二条,坚定立场,并且
03:27
Take joint positions with your client.
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要和客户达成一致
03:29
This is the moment in which you as the architect
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这个时候作为建筑师,
03:31
and your client can begin to inject
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就可以和客户一同注入各自的
03:33
vision and agency.
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创想和作用。
03:35
But it has to be done together.
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这必须由你们共同参与完成。
03:37
And then only after this is done
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只有在这一步完成之后,
03:39
are you allowed to do this, begin to put forward
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你才能开始拿出你的
03:41
architectural manifestations
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建筑设计
03:43
that manifest those positions.
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来展现你的立场。
03:45
And both owner and architect alike
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建筑师和客户双方
03:48
are empowered to critique those manifestations
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都可以在你们达成的共识的基础上
03:50
based on the positions that you've taken.
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对设计进行评价。
03:52
Now, I believe that one really amazing thing will happen if you do this.
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现在,我敢说你如果按我说的做,一定会达到意想不到的效果
03:57
I'd like to call it the lost art of productively losing control.
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我倾向于把它称作一门几近失传的用松散管理来提高效率的艺术
04:01
You do not know what the end result is.
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你不知道结果会怎样
04:04
But I promise you, with enough brain power
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但我保证,只要汇集足够的智慧,
04:06
and enough passion and enough commitment,
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足够的热情和决心
04:09
you will arrive at conclusions
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就能得到超越传统
04:11
that will transcend convention,
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的最终方案
04:13
and will simply be something
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那绝对是
04:16
that you could not have initially
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在项目开始时
04:18
or individually conceived of.
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每个人都无法想象的成功。
04:21
Alright, now I'm going to reduce all of this to a series
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好了,我现在就用一些简单的图画
04:23
of simple dumb sketches.
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来说明以上的过程。
04:25
This is the modus operandi that we have today.
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这是我们现在惯用的伎俩。
04:28
We roll 120-foot Spartan,
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我们推出一个一百二十英尺高的斯巴达人
04:32
i.e. our vision, up to our clients' gates of Troy.
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现在,我们的目标就是打开顾客的特洛伊城门
04:37
And we don't understand why they won't let us in. Right?
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我们还不晓得为什么他们不给我们开门,对吧?
04:42
Well, how about instead of doing that,
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那为什么不这样,
04:44
we roll up to the gates something they want.
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我们给他们送上他们想要的东西
04:47
Now this is a little bit of a dangerous metaphor,
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这就是有点危险性的伪装了
04:50
because of course we all know that inside
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因为我们都知道特洛伊木马里面
04:52
of the Trojan Horse were a bunch of people with spears.
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有一干拿了长矛的战士
04:54
So, we can change the metaphor. Let's call the Trojan Horse
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那么,我们就改变原来容易识破的伪装。
04:56
the vessel by which
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让我们把特洛伊木马称做
04:58
you get through the gate,
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让你攻克大门的容器
05:00
get through the constraints of a project.
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攻克一个项目的种种限制。
05:03
At which point, you and your client
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这时候,你和你的客户
05:05
have the ability to start considering what
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就可以开始考虑在这个容器中
05:07
you're going to put inside that vessel,
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要放些什么
05:09
the agency, the vision.
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事务所的作用,还有你们的创想
05:11
And if you do that, you do that responsibly,
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如果你那么做,尽职尽责地进行
05:14
I believe that instead of delivering Spartans,
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我相信你完全可以将斯巴达人换成创想
05:16
you can deliver maidens.
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传递给客户。
05:18
And if I could summarize that all up into one single sketch it would be this.
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要把刚才说的都总结一下,变成一张图,就会使这样。
05:21
If we are so good at our craft
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如果我们都那么心灵手巧
05:23
shouldn't we be able to conceive
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为什么就不能让我们的建筑构思
05:26
of an architectural manifestation
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天衣无缝地
05:28
that slides seamlessly through
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契合上项目和客户
05:30
the project's and the client's constraints?
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的种种要求呢?
05:32
Now, with that in mind, I'm going to show a project
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有了这些铺垫,我准备向你们展示一个
05:34
that's very dear to many people in this room--
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对很多在做观众都很亲切熟悉的项目
05:36
well, maybe not dear, but certainly close to many people in this room.
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可能不那么亲切,但至少它就在你们身边。
05:39
And that's a project that is just about to open next week,
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这个项目下周就要正式对外开放了
05:42
the new home for the Dallas Theater Center,
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它是达拉斯表演艺术中心
05:45
the Dee and Charles Wyly Theatre.
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迪和查尔斯·威利剧院
05:47
Now, I'm going to present it on the same terms:
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现在,我就要把它置于同样的条件,
05:49
issue, position and architectural manifestation.
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核心问题,立场和建筑表现中来。
05:52
Now, the first issue that we faced
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我们遇到的第一个问题
05:54
was that the Dallas Theater Center
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就是达拉斯表演艺术中心
05:57
had a notoriety that was beyond what you would expect
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虽然在纽约,芝加哥和西雅图
06:00
of some place outside of the triumvirate
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组成的三角区域之外,
06:02
of New York, Chicago and Seattle.
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却一直“恶名昭著”。
06:05
And this had to do with the ambitions of the leadership.
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这与政治野心和领导势力有关。
06:07
But it also had to do with something rather unusual,
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但同时,另一个不同寻常的原因
06:10
and that was this horrible little building that they'd been performing in.
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就是这个以前的表演场所,一幢极其丑陋的小房子
06:14
Why was this horrible little building
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为什么这栋不起眼的小房子
06:17
so important to their renown and their innovation?
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对他们的名声和革新那么重要?
06:20
Because they could do whatever they wanted to to this building.
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因为在这里,他们可以放肆大胆地表演。
06:23
When you're on Broadway, you cannot tear the proscenium down.
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如果是在百老汇,你就不能把幕前舞台整个拆了。
06:28
This building, when an artistic director
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但在这里,如果哪个艺术指导
06:30
wanted to do a "Cherry Orchard" and wanted people
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想要做一场《樱桃园》,并希望人们
06:32
and wanted people to come out of a well on the stage,
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能直接从舞台上出现,
06:34
they brought a backhoe in, and they simply dug the hole.
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他们就能找来挖土机,在舞台上挖个洞。
06:37
Well, that's exciting.
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听起来很刺激吧
06:39
And you can start to get the best artistic directors,
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这样你就可以请全国最好的艺术指导,
06:41
scenic designers and actors from around the country
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布景设计,和演员
06:43
to come to perform here
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来这里表演
06:45
because you can do things you can't do elsewhere.
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因为在这儿他们可以任意发挥,不受限制。
06:47
So, the first position we took was,
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我们的第一个立场就是
06:49
"Hey, we as architects had better not show up
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“哎,我们建筑师可不是来
06:52
and do a pristine building
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做什么仿古建筑的。
06:54
that doesn't engender the same freedoms that this
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那不能保证现在的自由,
06:56
old dilapidated shed provided the company."
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只是能够提供遮蔽的做旧的棚子而已。
06:59
The second issue is a nuance of the first.
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第二个重要议题和第一个稍有不同
07:02
And that's that the company and the building was multiform.
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就是表演人员和场地是多用途的
07:05
That meant that they were able to perform,
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就是说只要他们还有力气
07:08
as long as they had labor
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就可以在幕前,楼板
07:10
they were able to go between proscenium, thrust, flat floor,
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舞台,横断
07:13
arena, traverse, you name it.
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各个地方表演,随你挑。
07:15
All they needed was labor.
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他们需要的就是人力。
07:17
Well, something happened. In fact something happened to all institutions
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嗯...事情在变化。事实上世界各地的各个机构
07:19
around the world.
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都在发生改变。
07:21
It started to become hard to raise operational costs,
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现在越来越难筹集运营资金,
07:24
operational budgets.
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运营预算。
07:26
So, they stopped having inexpensive labor.
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所以,他们连廉价劳动力也不要了。
07:28
And eventually they had to freeze their organization
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最终,他们干脆把整个机构冻结成了
07:31
into something called a bastardized thruscenium.
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他们口中所谓的“劣质场地”。
07:34
So, the second position we took is that the freedoms that we provided,
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由此,我们的第二个立场就是我们要提供一种自由,
07:37
the ability to move between stage configurations,
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可以让舞台结构任意变化
07:40
had better be able to be done
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一定要做到这点
07:42
without relying on operational costs. Alright? Affordably.
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使得演出不用担心运营成本。对不?控制在可承受范围内。
07:46
The architectural manifestation
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建筑展示
07:48
was frankly just dumb.
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是事实的呈现,无需语言。
07:50
It was to take all the things that are known as front of house and back of house
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其中需要的就是把我们知道的房子的前部和后部
07:53
and redefine them as above house and below house.
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换成上部和下部。
07:56
At first blush you think, "Hey it's crazy,
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说到这儿你肯定会想,“哎呀,真是疯了
07:58
what could you possibly gain?"
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这能得出什么玩意儿啊?”
08:00
We created what we like to call superfly.
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我们把我们的创造叫做“超级苍蝇”
08:03
(Laughter)
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(笑)
08:04
Now, superfly, the concept is
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现在,这个概念是这样
08:06
you take all the freedoms you normally associate with the flytower,
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你可以想象舞台升降塔的各种自由
08:08
and you smear them across flytower and auditorium.
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然后让这种种便利散布到观众席中。
08:11
Suddenly the artistic director
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突然间艺术指导
08:13
can move between different stage
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可以在不同的舞台和观众区
08:15
and audience configurations.
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自由移动
08:18
And because that flytower has the ability to pick up
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因为舞台升降塔可以实现各种
08:20
all the pristine elements, suddenly the rest of the environment
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基本需要,忽然间剩下的其他部分
08:23
can be provisional. And you can drill, cut, nail, screw
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都成了临时的。你可以钻洞,切割,固定,拧转,
08:26
paint and replace,
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油漆和替换,
08:28
with a minimum of cost.
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用最小的花费就能实现。
08:30
But there was a third advantage that we got by doing this move
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这么做还有一个好处
08:32
that was unexpected.
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还是出乎我们意料的。
08:34
And that was that it freed up the perimeter of the auditorium
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这种做法以最独特的方式
08:37
in a most unusual way.
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将观众区的周长释放开了。
08:40
And that provided the artistic director suddenly
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这种释放忽然间给了艺术指导
08:42
the ability to define suspension of disbelief.
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定义“解除怀疑”的力量。
08:45
So, the building affords artistic directors the freedom
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于是,这栋建筑成全了艺术指导们,
08:47
to conceive of almost any kind of activity
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让他们可以在这个悬浮的物体下方
08:50
underneath this floating object.
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设计各种可以想象的活动。
08:52
But also to challenge the notion of suspension of disbelief
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同时挑战“接触怀疑”的理念
08:55
such that in the last act of Macbeth,
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比如说在《麦克白》的最后一幕,
08:58
if he or she wants you to associate
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如果哪个艺术指导想让你把这一幕的故事
09:00
the parable that you're seeing with Dallas, with your real life,
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与达拉斯,与你的真实生活联系起来,
09:04
he or she can do so.
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他(她)就能做到。
09:06
Now, in order to do this we and the clients
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为了实现这个目标,我们和我们的客户
09:08
had to do something fairly remarkable.
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必须要做一件相当不同寻常的事儿。
09:10
In fact it really was the clients who had to do it.
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事实上是客户需要做这事儿。
09:13
They had to make a decision, based on the positions we took
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他们要在我们采取的立场上做一个决断,
09:16
to redefine the budget being from two thirds capital-A architecture
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把原来三分之一基础建设,三分之二建筑设计
09:19
and one-third infrastructure,
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的预算分工
09:21
to actually the inverse,
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完全颠倒
09:23
two-thirds infrastructure and one-third capital-A architecture.
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三分之二基础建设和三分之一建筑设计。
09:26
That's a lot for a client to commit to
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对于客户来说,这是不小的决定
09:28
before you actually see the fruition of the concept.
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尤其是在你能看到概念转换成“成果”之前。
09:31
But based on the positions,
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但在我们的那些立场的基础上,
09:33
they took the educated leap of faith to do so.
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他们迈出了极有借鉴意义的一步。
09:36
And effectively we created what we like to call
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作为回应,我们也做出了我们的
09:38
a theater machine.
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“剧院机器”。
09:40
Now, that theater machine has ability
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现在,这台机器的各个结构
09:42
to move between a whole series of configurations
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都可以进行重新组合
09:45
at the push of a button and a few stagehands
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只要按一个钮,加上少量的工作人员,
09:48
in a short amount of time.
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很短的时间内就可以完成。
09:50
But it also has the potential
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不仅如此,
09:52
to not only provide multiform but multi-processional sequences.
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它在提供各种形式的变换之余还能改变观众的入场顺序。
09:56
Meaning: The artistic director
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就是说,艺术指导
09:58
doesn't necessarily need to go through our lobby.
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不一定非要经过大厅。
10:01
One of the things that we learned when we visited various theaters
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在我们还在参观各个剧院的时候,学到的一点
10:03
is they hate us architects,
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就是他们对建筑师恨之入骨,
10:05
because they say the first thing they have to do,
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因为他们说在任何一场演出的前五分钟,
10:07
the first five minutes of any show,
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他们要做的头等重要的事
10:09
is they have to get our architecture
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就是把整个建筑赶出
10:11
out of the mind of their patron.
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资助人的脑海。
10:13
Well now there are potentials of this building
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而现在,这栋房子可以
10:15
to allow the artistic director
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让艺术指导
10:17
to actually move into the building
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在剧院里自由活动
10:19
without using our architecture.
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而不受到建筑本身的限制。
10:21
So, in fact, there is the building, there is what we call the draw.
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这就是我们的剧院,这里是一个坡道,
10:24
You're going down into our lobby,
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从这里进入大厅
10:26
go through the lobby with our own little dangly bits, whether you like them or not,
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穿过大厅,这里有我们悬挂的小物件,不论你喜欢与否
10:30
up through the stair that leads you into the auditorium.
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然后上楼,进入观众区。
10:32
But there is also the potential
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但它还可以
10:34
to allow people to move directly from the outside,
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将人们直接从外面带入内部。
10:36
in this case suggesting kind of Wagnerian entrance,
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就是说这是一种瓦格纳式的入口
10:40
into the interior of the auditorium.
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可以直接进入观众区。
10:42
And here is the fruition of that in actuality.
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这就是我们的成果。
10:44
These are the two large pivoting doors
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这是两扇大转门
10:46
that allow people to move directly from the outside, in
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可以让人们直接从外面进到
10:49
or from the inside, out,
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里面,自由进出
10:51
performers or audience alike.
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表演者,观众都可以。
10:54
Now, imagine what that could be. I have to say honestly
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现在,想象一下那是多么有趣。我必须诚实的说
10:56
this is not something yet the building can do because it takes too long.
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现在这栋建筑还不能做到这步,因为整个过程太长了。
10:59
But imagine the freedoms
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但是想象一下那种自由
11:01
if you could take this further, that in fact you could consider
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如果你能更进一步,可以想象一下
11:04
a Wagnerian entry,
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瓦格纳式的入口
11:06
a first act in thrust,
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第一幕在开始,
11:08
an intermission in Greek, a second act in arena,
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幕间休息在希腊,然后第二幕在竞技场,
11:10
and you leave through our lobby with dangly bits.
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然后你离开的时候再次穿过大厅。
11:14
Now that, I would say, is architecture performing.
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我想说,这简直就是建筑的表演。
11:16
It is taking the hand of the architect
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它在用建筑师的方式
11:18
to actually remove the hand of the architect
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将建筑本身的局限打破,
11:20
in favor of the hand of the artistic director.
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来实现艺术指导的需要。
11:24
I'll go through the three basic configurations.
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下面我来带你们看一下三种不同结构构造。
11:26
This is the flat floor configuration.
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这是一整块的平面构造。
11:28
You notice that there is no proscenium,
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你可以看到没有舞台,
11:30
the balconies have been raised up, there are no seats,
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包厢被移到上方了,也没有观众座位
11:33
the floor in the auditorium is flat.
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观众区的地面是平的。
11:35
The first configuration is easy to understand.
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第一个构造很容易看懂。
11:38
The balconies come down, you see that the orchestra
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现在包厢下来了,适合交响乐演奏
11:41
begins to have a rake that's frontal towards the end stage,
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观众区有了倾斜,正对着舞台
11:44
and the seats come in.
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观众座椅也加进来了。
11:46
The third configuration is a little harder to understand.
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第三个结构有点难懂
11:48
Here you see that the balconies actually have to move out of the way
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你可以看到包厢几乎被完全移走了
11:52
in order to bring a thrust into the space.
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空出来的地方成为舞台的眼神
11:54
And some of the seats need to actually change their direction,
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有些座位的方向也需要改变
11:57
and change their rake, to allow that to happen.
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相应的,坡度也要发生变化。
12:00
I'll do it again so you can see it.
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我再放一遍,让你们看得清楚点
12:02
There you see it's the side balconies for the proscenium.
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你可以看到边上的包厢给舞台让出了位置
12:06
And there it is in the thrust configuration.
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舞台的突出部分形成了。
12:08
In order to do that,
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要想做到这种效果
12:10
again, we needed a client who was willing to take educational risks.
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我们同样需要敢于冒险的客户
12:13
And they told us one important thing:
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他们告诉我们非常重要的一点:
12:15
"You shall not beta-test."
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“你们可别成为试验品。”
12:17
Meaning, nothing that we do
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也就是说,我们最好
12:19
can we be the first ones to do it.
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不要成为第一个吃螃蟹的人。
12:21
But they were willing for us to apply technologies
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但是他们很愿意我们将其他领域的技术
12:23
from other areas that already had failsafe mechanisms to this building.
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已经经过安全试验的装置运用到这个项目中去。
12:27
And the solution in terms of the balconies
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解决移动包厢的问题,
12:30
was to use something that we all know as a scoreboard lift.
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我们用了一种“记分板升降机”
12:33
Now, if you were to take a scoreboard
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现在,如果你把一块记分板
12:36
and drop it on dirt and whiskey,
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丢在土堆上,
12:38
that would be bad.
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结果会惨不忍睹。
12:40
If you were not able to take the scoreboard out of the arena
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如果你没能把记分板拿出体育场,
12:43
and be able to do the Ice Capades the next night,
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第二天又有“白雪溜冰团”的表演,
12:45
that would also be bad.
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结果也会很糟糕。
12:47
And so this technology already had all the failsafe mechanisms
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而这项技术已经经过了安全保险验证,
12:51
and allowed the theater and our client
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可以保证剧院和我们的客户
12:53
to actually do this with confidence
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在移动包厢的时候信心十足
12:56
that they would be able to change over their configurations at will.
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根据自己的意愿改变表演区的结构。
13:00
The second technology that we applied
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我们用到的第二项技术
13:02
was actually using things that you know from
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其实是从大家都知道的
13:05
the stage side of an opera house.
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剧院的舞台两侧的侧舞台。
13:07
In this case what we're doing is we're taking
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我们将交响乐舞台
13:09
the orchestra floor, lifting it up, spinning it,
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抬起来,旋转
13:13
changing the rake, taking it back to flat floor,
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改变坡度,放在平地上,
13:16
changing the rake again. In essence, you can begin to define
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再一次改变坡度。简单地说,就是
13:19
rakes and viewing angles
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你可以任意调整观众席的
13:21
of people in the orchestra seating, at will.
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坡度和视角。
13:24
Here you see the chairs being spun around to go from proscenium or end stage
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这是座椅的方向从面对舞台变成
13:28
to thrust configuration.
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侧对舞台,第二种凸出舞台的构造。
13:31
The proscenium, also. As far as we know this is the first building in the world
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据我们所知,这是世界上第一个可以
13:35
in which the proscenium can entirely fly out of the space.
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自由变换的舞台。
13:38
Here you see the various acoustic baffles as well as
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这里既有各种音乐会需要的降噪板,也有
13:40
the flying mechanisms and catwalks over the auditorium.
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悬空的构造和延伸至观众席的T台。
13:45
And ultimately, up in the flytower,
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还有最重要的,舞台塔上的
13:47
the scene sets that allow the transformations to occur.
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布景可以任意变化。
13:51
As I said, all that was in service of creating a flexible
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正如我所说,这一切都是为了创造一个灵活多变
13:55
yet affordable configuration.
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造价又可控的结构。
13:58
But we got this other benefit, and that was
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我们还有另一个收获,
14:00
the ability of the perimeter to suddenly engage
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即在释放了演出厅的空间后它可以将
14:02
Dallas on the outside.
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外面的达拉斯城参与进来。
14:04
Here you see the building in its current state
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你现在看到的是建筑当前的状态,
14:06
with blinds closed. This is a trompe l'oeil.
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窗帘都拉上了。这是一张模拟图
14:09
Actually this is not a curtain. These are vinyl blinds
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其实这并不是窗帘,而是与玻璃窗合一的
14:12
that are integrated into the windows themselves,
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塑料百叶窗
14:14
again with failsafe mechanisms
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这也是绝对安全的技术。
14:17
that can be lifted such that you can completely demystify,
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如果你想看得清楚点,可以把它收起来
14:20
if you chose, the operations of the theater
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剧场内部进行的一切,
14:22
going on behind, rehearsals and so forth.
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排练之类的都可以看到。
14:24
But you also have the ability
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同时还能让里面的观众
14:27
to allow the audience to see Dallas,
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看到达拉斯的城市,
14:30
to perform with Dallas as the backdrop of your performance.
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将达拉斯当做表演的舞台。
14:33
Now, if I'll take you through --
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现在,我想让你们看一看
14:35
this is an early concept sketch --
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很早的一张概念性的草图
14:37
take you through kind of a mixture of all these things together.
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是这些元素的混合
14:40
Effectively you would have something like this.
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是这样子的
14:42
You would be allowed to bring objects or performers into the performing chamber:
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你可以把各种东西带入演出厅。
14:46
"Aida," their elephants, you can bring the elephants in.
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《阿依达》中的大象你真的可以把它带进去。
14:48
You would be able to expose the auditorium to Dallas
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你可以将观众区展现给达拉斯,
14:53
or vice versa, Dallas to the auditorium.
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反之亦然。
14:56
You'd be able to open portions in order to
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你还可以打开各个部分
14:58
change the procession,
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来改变观众入场的方向,顺序
15:00
allow people to come in and out for an intermission,
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观众可以在休息时自由进出剧院
15:02
or to enter for the beginning or the end of a performance.
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或者是从头到尾都待在剧院里
15:05
As I said, all the balconies can move,
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我刚说过,所有包厢都是可以移动的
15:07
but they can also be disappeared completely.
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甚至可以让它们彻底消失。
15:09
The proscenium can fly.
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舞台可以悬空
15:11
You can bring large objects into the chamber itself.
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可以让各种大件物品自己进入展厅
15:14
But most convincingly when we had to confront the idea
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但是最让人称道的就是我们成功挑战了将建筑设计的花费
15:17
of changing costs from architecture to infrastructure,
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转移到基础建设上
15:20
is something that is represented by this.
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这就是这所建筑的代表性。
15:22
And again, this is not all the flexibilities of the building that is actually built,
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这里所说到的还并不能涵盖这座建筑的所有灵活功能
15:25
but at least suggests the ideas.
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但至少能展现我们的基本意图。
15:28
This building has the ability, in short order,
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这栋建筑可以迅速地
15:30
to go back to a flat floor organization
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变成完全平面的空楼层
15:32
such that they can rent it out.
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需要的话可以租出去。
15:34
Now, if there is anyone here from American Airlines,
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如果在座有在美国航空工作的,
15:36
please consider doing your Christmas party here.
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可以考虑下在这里举行你们的圣诞派对。
15:39
(Laughter)
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(笑)
15:40
That allows the company to raise operational budgets
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那可以给公司筹集运营预算
15:43
without having to compete with other venues
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完全不需要
15:45
with much larger auditoriums.
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再和其他场地比较了
15:47
That's an enormous benefit.
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在这儿办活动的好处太多了。
15:49
So, the theater company has the ability
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在这里,剧团可以进行
15:51
to do totally hermetic,
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完全封闭的演出,
15:53
light-controlled, sound-controlled, great acoustics,
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有可控的灯光,音效,一流的音响效果
15:55
great intimacy Shakespeare,
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可以演出一流的莎士比亚戏。
15:58
but can also do Beckett
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这里还可以演贝克特,
16:00
with the skyline of Dallas sitting behind it.
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背景就用达拉斯的天际。
16:03
Here it is in a flat floor configuration.
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这是第一种平面结构。
16:05
The theater has been going through its kind of paces.
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剧院可以大展身手。
16:07
Here it is in an end stage configuration.
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这是第二种结构,
16:10
It's actually beautiful. There was a rock band.
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看上去非常漂亮,可以进行摇滚乐演出。
16:12
We stood outside trying to see if the acoustics worked,
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我们在外面测试了它的音响系统
16:14
and you could see the guys doing this but you couldn't hear them.
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你可以看到里面的人的活动,但完全听不到他们。
16:16
It was very unusual.
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这非常不同寻常。
16:18
Here it is in a thrust configuration.
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这是第三种延伸出来的结构。
16:20
And last but not least,
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它很重要
16:22
you see this already has the ability to create events
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不仅可以在这里进行
16:24
in order to generate operational budgets
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筹集资金的活动
16:26
to overcome the building in fact performing
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这栋建筑还可以帮助
16:29
to allow the company to overcome their biggest problem.
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公司解决它们最大的困难。
16:31
I'm going to show you a brief time lapse.
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我还要给你们展示一下整个建造的快进过程。
16:35
As I said, this can be done with only two people,
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我说过,两个人就能完成
16:37
and with a minimum amount of time.
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用最少的时间完成。
16:39
This is the first time that actually the changeover was done
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这是第一个变化完成的时候
16:41
and so there is literally thousands of people because
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那里大概聚了几千人
16:43
everyone was excited and wanted to be a part of it.
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大家都非常兴奋,想要参与到其中去。
16:45
So, in a way try to disregard all the thousands of ants running around.
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所以为了把那密密麻麻的几千只蚂蚁去掉
16:49
And think of it being done with just a few people.
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影片进行了处理,只留下几个人。
17:22
Again, just a couple people are required.
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是,几个人就够了
17:25
(Laughter)
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(笑)
17:26
I promise.
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我保证。
17:39
Et voila.
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就是这样。
17:41
(Applause)
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(鼓掌)
17:48
So, just in conclusion, a few shots.
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所以,总的来说,不用费多大事儿。
17:50
This is the AT&T Performing Arts Center's
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这是AT&T(美国电信电话公司)表演艺术中心的
17:53
Dee and Charles Wyly Theater.
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迪和查尔斯·威利剧院
17:55
There it is at night.
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今天晚上就到这儿了
17:57
And last but not least the entire AT&T Performing Arts Center.
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最后,但同样重要的是在整个AT&T表演艺术中心
18:01
You can see the Winspear Opera House on the right
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你可以看到右边是温斯皮尔歌剧院,
18:03
and the Dee and Charles Wyly Theater on the left.
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左边是迪和查尔斯·威利剧院
18:06
And to remind you that here is an example in which
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要提示你们的是这幢建筑
18:09
architecture actually did something.
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确实有它存在的意义。
18:11
But we got to that conclusion
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但是我们是在不知道
18:13
without understanding where we were going,
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到底在往哪里发展的情况下得到了这个结果。
18:15
what we knew were a series of issues that the company
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我们只知道一系列公司和客户想要
18:18
and the client was confronted with.
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解决的问题。
18:20
And we took positions with them, and it was through those positions
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我们在各个问题中找到自己的立场,然后通过它们
18:22
that we began to take architectural manifestations
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渐渐看到了建筑的形状
18:25
and we arrived at a conclusion that none of us,
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我们得到的最终结论就是
18:27
really none of us could ever
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我们中没有任何一个人
18:29
have conceived of initially or individually.
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可以单独或者在众人之前完成这个构想。
18:32
Thank you.
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谢谢。
18:34
(Applause)
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(掌声)
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