Why the buildings of the future will be shaped by ... you | Marc Kushner

Translator: Joseph Geni Reviewer: Krystian Aparta

翻译人员: Zhiting Chen 校对人员: Geoff Chen

Today I'm going to speak to you

今天我要跟大家讲述

about the last 30 years of architectural history.

过去30年的建筑史。

That's a lot to pack into 18 minutes.

太多东西要在这18分钟内讲述了。

It's a complex topic,

这是一个复杂的题目，

so we're just going to dive right in at a complex place:

那就让我们从这个复杂的地方开始：

New Jersey.

新泽西。

Because 30 years ago, I'm from Jersey,

三十年前，我住新泽西

and I was six, and I lived there in my parents' house

那时我六岁，我住在父母家

in a town called Livingston,

小镇名叫Livingston，

and this was my childhood bedroom.

这是我儿时的卧室。

Around the corner from my bedroom

在我卧室的角落

was the bathroom that I used to share with my sister.

是我和姐姐共用的洗手间。

And in between my bedroom and the bathroom

在我的卧室和浴室之间

was a balcony that overlooked the family room.

是一个可以看到客厅的阳台。

And that's where everyone would hang out and watch TV,

那是家人聚会，看电视的客厅，

so that every time that I walked from my bedroom to the bathroom,

每次我从卧室走去浴室的时候，

everyone would see me,

每个人都能看到我，

and every time I took a shower and would come back in a towel,

每次我洗完澡 裹着浴巾走回卧室，

everyone would see me.

每个人都能看到我，

And I looked like this.

我看起来是这样。

I was awkward,

我很尴尬，

insecure, and I hated it.

没有安全感，我讨厌我的房间。

I hated that walk, I hated that balcony,

我讨厌那段路，我讨厌那个阳台，

I hated that room, and I hated that house.

我讨厌那个房间，我讨厌那个房子。

And that's architecture.

那就是建筑。

(Laughter)

（笑声）

Done.

就这样。

That feeling, those emotions that I felt,

那种感觉，那种情绪，

that's the power of architecture,

那就是建筑的力量，

because architecture is not about math and it's not about zoning,

因为建筑并不有关于数学 也不关乎分区规划，

it's about those visceral, emotional connections

建筑关乎本能， 以及我们对所占有空间的

that we feel to the places that we occupy.

情感连接。

And it's no surprise that we feel that way,

也难怪我们有这样的感觉，

because according to the EPA,

美国环境保护局的调查表明，

Americans spend 90 percent of their time indoors.

美国人90%的时间呆在室内。

That's 90 percent of our time surrounded by architecture.

也就是说，我们人生中 90%的时间被建筑物围绕着。

That's huge.

真的太久了。

That means that architecture is shaping us in ways that we didn't even realize.

建筑在我们不曾意识到的 多个方面形塑我们。

That makes us a little bit gullible and very, very predictable.

那让我们很容易受骗， 也非常，非常可以预测。

It means that when I show you a building like this,

当我将这个建筑展示给你的时候，

I know what you think:

我知道你在想什么：

You think "power" and "stability" and "democracy."

你想到“权力” 和 “稳定” 还有“民主”。

And I know you think that because it's based on a building

我知道因为这个建筑

that was build 2,500 years ago by the Greeks.

是希腊人于2500年前建造的。

This is a trick.

这是个骗局。

This is a trigger that architects use

也就是说，建筑

to get you to create an emotional connection

能够让你创造出那些

to the forms that we build our buildings out of.

我们想通过建筑物表达含义的 情感连结。

It's a predictable emotional connection,

这是个可预测的情感连结，

and we've been using this trick for a long, long time.

我们使用这个诡计 很多很多年了。

We used it [200] years ago to build banks.

我们用这个方法 [200] 年前 建造银行。

We used it in the 19th century to build art museums.

我们19世纪建造艺术博物馆。

And in the 20th century in America,

在20世纪的美洲，

we used it to build houses.

我们用它来建筑房屋。

And look at these solid, stable little soldiers

看着这些坚固的小士兵

facing the ocean and keeping away the elements.

面朝大海，挡住这些东西。

This is really, really useful,

这真的非常非常有效，

because building things is terrifying.

因为建造东西真的很麻烦。

It's expensive, it takes a long time, and it's very complicated.

非常昂贵，耗时，而且很麻烦。

And the people that build things --

建筑房屋的人

developers and governments --

──发展商和政府──

they're naturally afraid of innovation,

他们天生就害怕创新，

and they'd rather just use those forms that they know you'll respond to.

他们宁可选用这些你已熟知的风格。

That's how we end up with buildings like this.

这就是为什么这样的建筑存在。

This is a nice building.

这是个漂亮的建筑物。

This is the Livingston Public Library

这是我家乡的Livingston公共图书馆

that was completed in 2004 in my hometown,

于2004年完工，

and, you know, it's got a dome

你知道的，它有圆形的屋顶

and it's got this round thing and columns, red brick,

有这样的圆形设计和柱子，红色的砖，

and you can kind of guess what Livingston is trying to say with this building:

你可以由此猜测出Livingston 想要通过这个建筑表达些什么：

children, property values and history.

儿童、财产价值和历史。

But it doesn't have much to do with what a library actually does today.

但这和现代图书馆的理念不大一样。

That same year, in 2004, on the other side of the country,

同一年，2004年， 这个国家的另一端，

another library was completed,

另一个图书馆完工了，

and it looks like this.

就是这样。

It's in Seattle.

在西雅图。

This library is about how we consume media in a digital age.

这个图书馆关于在数字时代 我们是如何消费媒体的。

It's about a new kind of public amenity for the city,

这是城市的一个新型的公众设施，

a place to gather and read and share.

一个可以聚会，读书和分享生活的地方。

So how is it possible

怎么会这样呢

that in the same year, in the same country,

在同一年，同一个国家，

two buildings, both called libraries,

两个建筑物，都是图书馆，

look so completely different?

却有着巨大的差别？

And the answer is that architecture works on the principle of a pendulum.

答案就是，建筑风格是摇摆不定的。

On the one side is innovation,

一边是创新，

and architects are constantly pushing, pushing for new technologies,

建筑不断被推进， 加入新的科技元素，

new typologies, new solutions for the way that we live today.

根据我们现代生活所需 新的类型，新的方案。

And we push and we push and we push

我们推进、推进、推进，

until we completely alienate all of you.

直到我们完全疏远了你们。

We wear all black, we get very depressed,

我们穿黑色，我们压力很大，

you think we're adorable,

你认为我们很可爱，

we're dead inside because we've got no choice.

而我们内心已死， 因为别无选择。

We have to go to the other side

我们走向另一端

and reengage those symbols that we know you love.

重新找回那些我们了解到 你们热爱的符号。

So we do that, and you're happy,

我们这样做，你们很开心。

we feel like sellouts,

我们感受到客满演出，

so we start experimenting again

于是又开始试验

and we push the pendulum back and back and forth and back and forth

我们将钟摆推来推去， 推来推去

we've gone for the last 300 years,

过去的300年里我们这样做，

and certainly for the last 30 years.

过去的30年也是如此。

Okay, 30 years ago we were coming out of the '70s.

好的，30年前 我们刚走过70年代。

Architects had been busy experimenting with something called brutalism.

建筑师们忙着试验某种叫做 粗野主义的艺术。

It's about concrete.

它是关于混凝土的艺术...

(Laughter)

（笑声）

You can guess this.

你可以想到。

Small windows, dehumanizing scale.

小窗户，毫无人性的巨大规模。

This is really tough stuff.

这些都很艰难。

So as we get closer to the '80s,

然后我们快进入80年代了，

we start to reengage those symbols.

我们开始重拾某些符号。

We push the pendulum back into the other direction.

我们把钟摆推回到另一个方向。

We take these forms that we know you love

你们热爱这样的建筑形式，

and we update them.

我们就将它们改造升级。

We add neon

我们加入霓虹

and we add pastels

我们加入柔和的粉蜡色

and we use new materials.

我们使用新型材料。

And you love it.

人们爱死这样的建筑了。

And we can't give you enough of it.

我们不断地建造。

We take Chippendale armoires

我们取材自齐本德尔式衣橱

and we turned those into skyscrapers,

将它们变成摩天大楼，

and skyscrapers can be medieval castles made out of glass.

这些摩天大楼像是 用玻璃制造的中世纪古堡。

Forms got big,

这些建筑变得更大，

forms got bold and colorful.

设计更大胆，更色彩丰富。

Dwarves became columns.

小矮人式的柱子。

(Laughter)

（笑声）

Swans grew to the size of buildings.

天鹅从建筑顶上长出来。

It was crazy.

太疯狂了。

But it's the '80s, it's cool.

这就是80年代，很酷。

(Laughter)

（笑声）

We're all hanging out in malls

我们在大型商场里游玩，

and we're all moving to the suburbs,

我们在郊区生活，

and out there, out in the suburbs,

在那里，在郊区，

we can create our own architectural fantasies.

我们可以按自己的幻想 建筑房屋。

And those fantasies,

这些奇思幻想

they can be Mediterranean

可以是地中海风情，

or French

或是法式优雅，

or Italian.

或是意大利风格。

(Laughter)

（笑声）

Possibly with endless breadsticks.

也许源源不绝供应面包条儿。

This is the thing about postmodernism.

这就是后现代。

This is the thing about symbols.

这就是符号的意义。

They're easy, they're cheap,

简单、便宜，

because instead of making places,

我们不是建造住所，

we're making memories of places.

而是建造记忆中的住所。

Because I know, and I know all of you know,

因为我知道， 我想各位也都知道，

this isn't Tuscany.

这不是意大利托斯卡纳。

This is Ohio.

这是俄亥俄州。

(Laughter)

（笑声）

So architects get frustrated,

就这样，建筑师感到沮丧了，

and we start pushing the pendulum back into the other direction.

于是我们把钟摆又推回了另一个方向。

In the late '80s and early '90s,

在80年代末，90年代初期，

we start experimenting with something called deconstructivism.

我们开始试验解构主义。

We throw out historical symbols,

我们找出历史符号，

we rely on new, computer-aided design techniques,

我们用新的电脑辅助设计技术，

and we come up with new compositions,

我们推出新的艺术作品，

forms crashing into forms.

各种形式撞击在一起。

This is academic and heady stuff,

这太学术太费脑筋了，

it's super unpopular,

这样的建筑非常不受欢迎，

we totally alienate you.

建筑师们疏远了人群。

Ordinarily, the pendulum would just swing back into the other direction.

通常来说，钟摆将会摇去另一个方向。

And then, something amazing happened.

随后，有意思的事情发生了。

In 1997, this building opened.

在1997年，这个建筑投入使用了。

This is the Guggenheim Bilbao, by Frank Gehry.

这是在西班牙毕尔巴鄂的古根海姆博物馆， 由弗兰克·盖里设计建筑。

And this building

就是这个建筑

fundamentally changes the world's relationship to architecture.

颠覆了世界与建筑的关系。

Paul Goldberger said that Bilbao was one of those rare moments

保罗·戈德伯格说，毕尔巴鄂的 这个建筑很难得地

when critics, academics, and the general public

获得到批评家、学术界人士， 还有普通民众

were completely united around a building.

的一致好评。

The New York Times called this building a miracle.

纽约时报称这个建筑为 一个奇迹。

Tourism in Bilbao increased 2,500 percent

在这个建筑完工后，

毕尔巴鄂的游客数量 增长了25倍。

after this building was completed.

So all of a sudden, everybody wants one of these buildings:

突然间，所有人都想要有这样的建筑：

L.A.,

洛杉矶、

Seattle,

西雅图、

Chicago,

芝加哥、

New York,

纽约、

Cleveland,

克利夫兰、

Springfield.

Springfield （动画片辛普森的一家所居住的小镇）

(Laughter)

（笑声）

Everybody wants one, and Gehry is everywhere.

每个人都想要这样的建筑， 盖里的设计随处可见。

He is our very first starchitect.

他是第一位明星建筑师。

Now, how is it possible that these forms --

这样的建筑设计怎么会 受到热烈欢迎 --

they're wild and radical --

它们狂野又激进 --

how is it possible that they become so ubiquitous throughout the world?

全世界范围内怎么会 无所不在呢？

And it happened because media so successfully galvanized around them

这要归功于媒体成功地包装，

that they quickly taught us that these forms mean culture and tourism.

它们很快速地传递了信号： 这建筑形式有文化内涵，而且可以吸引游客。

We created an emotional reaction to these forms.

人们与这样的建筑形式 建立了情感联系。

So did every mayor in the world.

世界上的市长们也是这样想的。

So every mayor knew that if they had these forms,

所有市长都认为 如果所在城市有这样的建筑，

they had culture and tourism.

他们就有文化，有游客。

This phenomenon at the turn of the new millennium

这样的现象出现在 进入21世纪的那些年

happened to a few other starchitects.

也捧红了一些其他的明星建筑师。

It happened to Zaha

被捧红的还有扎哈

and it happened to Libeskind,

还有里伯斯金，

and what happened to these elite few architects

发生于这些少数精英建筑师身上的现象

at the turn of the new millennium

在千禧年即将到来的时候

could actually start to happen to the entire field of architecture,

也在整个建筑界中弥散开来了，

as digital media starts to increase the speed

因为让我们得以获取信息的数字媒体

with which we consume information.

开始加速了。

Because think about how you consume architecture.

想想你是如何消费建筑。

A thousand years ago,

一千年前，

you would have had to have walked to the village next door to see a building.

你需要步行到隔壁村落去看一个建筑。

Transportation speeds up:

交通运输业的高速发展：

You can take a boat, you can take a plane, you can be a tourist.

你可以乘船，你可以搭飞机， 你可以当一名游客。

Technology speeds up: You can see it in a newspaper, on TV,

科学技术高速发展： 你可以在报纸上、电视上欣赏建筑，

until finally, we are all architectural photographers,

最终，我们都成为了建筑摄影师，

and the building has become disembodied from the site.

建筑不再只是实体。

Architecture is everywhere now,

现在，建筑无处不在，

and that means that the speed of communication

这意味着通讯的速度

has finally caught up to the speed of architecture.

终于赶上了建筑发展的速度。

Because architecture actually moves quite quickly.

建筑发展非常迅速。

It doesn't take long to think about a building.

观赏评论一个建筑不需要很久。

It takes a long time to build a building,

但建成一座建筑却要很长时间，

three or four years,

三到四年，

and in the interim, an architect will design two or eight

在这期间，建筑师要设计 2个，8个，或

or a hundred other buildings

也许是100个其他建筑，

before they know if that building that they designed four years ago

他们甚至不知道自己4年前

was a success or not.

设计的建筑成功与否。

That's because there's never been a good feedback loop in architecture.

因为建筑里没有一个意见反馈处。

That's how we end up with buildings like this.

因此我们最终得到这样的建筑。

Brutalism wasn't a two-year movement,

粗野主义不是两年的运动，

it was a 20-year movement.

而是长达20年的运动。

For 20 years, we were producing buildings like this

长达20年的时间， 我们建造这样的建筑

because we had no idea how much you hated it.

因为我们并不知道 你们是如此厌恶它们。

It's never going to happen again,

这样的事再也不会发生了，

I think,

我想，

because we are living on the verge of the greatest revolution in architecture

因为我们处在 最伟大的建筑革命的边缘，

since the invention of concrete,

这是继发明混凝土，

of steel, or of the elevator,

发明钢铁，或是发明电梯之后的

and it's a media revolution.

一次媒体革命。

So my theory is that when you apply media to this pendulum,

我的理论是，当我们将媒体 与这个钟摆结合之后，

it starts swinging faster and faster,

摆动速度加快了，

until it's at both extremes nearly simultaneously,

直到摇摆 同时达到两边的极限，

and that effectively blurs the difference between innovation and symbol,

这高效地模糊了， 创新和传统符号间的不同，

between us, the architects, and you, the public.

我们建筑师和你们公众间的不同。

Now we can make nearly instantaneous, emotionally charged symbols

现在我们可以用全新的事物创建

out of something that's brand new.

瞬间产生的情绪化的符号。

Let me show you how this plays out

让我展示这是怎么进行的

in a project that my firm recently completed.

这是我的建筑事务所最近完成的项目。

We were hired to replace this building, which burned down.

我们受雇去重建这座被烧毁的建筑。

This is the center of a town called the Pines

这座建筑位于小镇派恩斯的中心

in Fire Island in New York State.

小镇位于纽约州的火烧岛。

It's a vacation community.

这是一个度假社区。

We proposed a building that was audacious,

我们提出了一个创新大胆的设计建议，

that was different than any of the forms that the community was used to,

和这个社区出现过的任何形式的建筑都不同，

and we were scared and our client was scared

我们担心会吓到客户，

and the community was scared,

吓到社区的人们，

so we created a series of photorealistic renderings

于是我们制作了一系列逼真的视觉图片，

that we put onto Facebook

把它们放到Facebook

and we put onto Instagram,

和Instagram上，

and we let people start to do what they do:

让人们去

share it, comment, like it, hate it.

分享、评论、点赞，或是厌恶它。

But that meant that two years before the building was complete,

这意味着在建筑完工前两年，

it was already a part of the community,

它已经是这个社区的一部分了，

so that when the renderings looked exactly like the finished product,

所以当完工的作品和视觉图 看起来一模一样的时候，

there were no surprises.

就不会带来惊讶之感。

This building was already a part of this community,

这座建筑已经是社区的一个部分，

and then that first summer,

第一个夏天，

when people started arriving and sharing the building on social media,

人们来到这里，在社交媒体上分享照片，

the building ceased to be just an edifice and it became media,

这个只想成为建筑物的建筑 变成了媒体，

because these, these are not just pictures of a building,

因为这，这不仅仅是建筑的照片。

they're your pictures of a building.

它们是你拍摄的建筑相片。

And as you use them to tell your story,

你通过这样的照片来讲述故事，

they become part of your personal narrative,

建筑成为了你个人叙事的一个部分，

and what you're doing is you're short-circuiting

你在做的事情，就是短暂回顾

all of our collective memory,

我们共同的记忆，

and you're making these charged symbols for us to understand.

你在创造这些让我们理解的符号，

That means we don't need the Greeks anymore

这意味着我们不再需要希腊

to tell us what to think about architecture.

来告诉我们建筑的意义。

We can tell each other what we think about architecture,

我们可以分享自己有关建筑的想法，

because digital media hasn't just changed the relationship between all of us,

因为数字媒体不仅改变了 人与人间的关系，

it's changed the relationship between us and buildings.

它改变了我们和建筑的关系。

Think for a second about those librarians back in Livingston.

想象那些在Livingston的图书馆员。

If that building was going to be built today,

如果今天我们要新建图书馆，

the first thing they would do is go online and search "new libraries."

他们得知消息后会做的第一件事就是 上网去搜索“新图书馆”。

They would be bombarded by examples of experimentation, of innovation,

他们会被建筑范例信息轰炸， 实验性的、创新型的、

of pushing at the envelope of what a library can be.

尝试打破常规的图书馆建筑样例。

That's ammunition.

这些都是有力的信息冲击。

That's ammunition that they can take with them

那是人们可以带着的信息冲击，

to the mayor of Livingston, to the people of Livingston,

给Livingston的市长、群众，

and say, there's no one answer to what a library is today.

然后说，现代图书馆没有既定的模式。

Let's be a part of this.

让我们成为它的一部分。

This abundance of experimentation

丰富的实验过程

gives them the freedom to run their own experiment.

给予他们实验的自主性。

Everything is different now.

当今一切都不同了。

Architects are no longer these mysterious creatures

建筑师不再是神奇的生物，

that use big words and complicated drawings,

滥用夸张的术语和繁琐的绘图，

and you aren't the hapless public,

你们也不再是倒霉的公众，

the consumer that won't accept anything that they haven't seen anymore.

客户不再接受那些他们没见过的东西。

Architects can hear you,

建筑师能与你沟通，

and you're not intimidated by architecture.

你不再为建筑感到不适。

That means that that pendulum swinging back and forth

这意味着钟摆来回摆动，

from style to style, from movement to movement,

不同的风格、 不同的艺术运动，

is irrelevant.

已无关紧要。

We can actually move forward

我们可以向前

寻找有效解决 社会急迫问题的方法。

and find relevant solutions to the problems that our society faces.

This is the end of architectural history,

这是建筑史的终点，

and it means that the buildings of tomorrow

它意味着，未来的建筑

are going to look a lot different than the buildings of today.

会与当今的建筑有很大差别。

It means that a public space in the ancient city of Seville

这意味着，塞维利亚古老城市的 某块公共空地

can be unique and tailored to the way that a modern city works.

可以是独特的以现代城市功能 打造的区块。

It means that a stadium in Brooklyn can be a stadium in Brooklyn,

这意味建在布鲁克林的体育场 可以是一个属于布鲁克林风格的体育场，

not some red-brick historical pastiche

而不是我们脑中体育场该有的

of what we think a stadium ought to be.

模仿红砖历史建筑的模样。

It means that robots are going to build our buildings,

这意味着机器人可以去建造房屋，

because we're finally ready for the forms that they're going to produce.

因为我们已经能够接受机器建造的房屋。

And it means that buildings will twist to the whims of nature

这还意味着，建筑会为了大自然而改变

instead of the other way around.

而不是大自然为了建筑而改变。

It means that a parking garage in Miami Beach, Florida,

这意味着佛罗里达迈阿密海滩的车库，

can also be a place for sports

也可以是一个运动场所

and for yoga

瑜伽会馆

and you can even get married there late at night.

晚上你甚至可以在那里举办结婚。

(Laughter)

（笑声）

It means that three architects can dream about swimming

这意味着三个建筑师能够梦想

in the East River of New York,

在纽约东河游泳，

and then raise nearly half a million dollars

从围绕在附近的社区客户群

from a community that gathered around their cause,

募集近50万美元，

no one client anymore.

建筑师们的客户不再是单一的。

It means that no building is too small for innovation,

这意味着，再小的建筑也能创新，

like this little reindeer pavilion

就像这个驯鹿观赏馆

that's as muscly and sinewy as the animals it's designed to observe.

如同它要观察的驯鹿般强健有力。

And it means that a building doesn't have to be beautiful

这意味着建筑无需是漂亮的

to be lovable,

惹人喜爱的，

like this ugly little building in Spain,

就像西班牙这个丑丑的小房子，

where the architects dug a hole,

建筑师挖了一个洞，

packed it with hay,

用甘草填充，

and then poured concrete around it,

注入混凝土，

and when the concrete dried,

当混凝土干燥后，

they invited someone to come and clean that hay out

他们邀请某位牛来讲甘草清理干净

so that all that's left when it's done

所留下的

is this hideous little room

就是这个丑陋的小屋子

that's filled with the imprints and scratches of how that place was made,

充满建筑它时留下的痕迹和沧桑，

and that becomes the most sublime place to watch a Spanish sunset.

这个建筑成了欣赏西班牙日落 最庄严的地方。

Because it doesn't matter if a cow builds our buildings

因为真的无关紧要， 无论是牛为我们建造的

or a robot builds our buildings.

还是机器人建造的，

It doesn't matter how we build, it matters what we build.

也无关于建筑的过程， 重要的是我们的建造了什么。

Architects already know how to make buildings that are greener

建筑师知道如何建造更加绿色、

and smarter and friendlier.

更加智能、更加人性化的建筑。

We've just been waiting for all of you to want them.

我们只是等待人们开始想要这样的建筑。

And finally, we're not on opposite sides anymore.

最终，我们不再站在对立面。

Find an architect, hire an architect,

找一个建筑师、雇一个建筑师，

work with us to design better buildings, better cities, and a better world,

与我们一起设计更好的建筑、 更好的城市、更好的世界，

because the stakes are high.

因为赌注很高。

Buildings don't just reflect our society, they shape our society

建筑不只反映了我们的社会， 建筑塑造着社会，

down to the smallest spaces:

从生活中最小的空间：

the local libraries,

地方图书馆，

the homes where we raise our children,

我们养育子女的家，

and the walk that they take from the bedroom to the bathroom.

从卧室走向浴室的那条路。

Thank you.

谢谢。

(Applause)

（鼓掌）