Why great architecture should tell a story | Ole Scheeren

翻译人员: 易帆 余 校对人员: 張卓盈 張

For much of the past century,

过去的好几个世纪中，

architecture was under the spell of a famous doctrine.

建筑物都被一条著名的魔咒所禁锢，

"Form follows function" had become modernity's ambitious manifesto

“形致围绕功能”这个理论 曾经一度成为当代的伟大宣言，

and detrimental straitjacket,

同时又是个危险的紧箍咒，

as it liberated architecture from the decorative,

因为这句话虽让建筑物 不再具有装饰性，

but condemned it to utilitarian rigor and restrained purpose.

但也同时宣判建筑物 走向功利严谨且倍受约束的终点。

Of course, architecture is about function,

当然，建筑物确实需要实现某些功能，

but I want to remember a rewriting of this phrase by Bernard Tschumi,

但这让我想起了Bernard Tschumi 对这句话的改写，

and I want to propose a completely different quality.

并同时提出一个我个人 完全不同的见解。

If form follows fiction,

如果是“形致围绕小说”，

we could think of architecture and buildings as a space of stories --

我们可以这样想，建筑设计与 建筑物是布满故事的空间，

stories of the people that live there,

有关居住在那里的人的故事，

of the people that work in these buildings.

有关在里面工作的人的故事。

And we could start to imagine the experiences our buildings create.

我们可以开始想像 我们的建筑物创造出来的体验。

In this sense, I'm interested in fiction

按这种方式来理解的话， 我对小说感兴趣的原因，

not as the implausible but as the real,

不是因为它的虚幻，而是它的真实，

as the reality of what architecture means

就好比建筑风格对那些

for the people that live in it and with it.

生活在里面的居民 有什么意义那样的真实。

Our buildings are prototypes, ideas for how the space of living

我们的建筑物一开始 是一些雏形、想法，

or how the space of working could be different,

让我们了解当今的生活或 工作空间可以有什么不同，

and what a space of culture or a space of media could look like today.

以及文化与媒体空间 可以如何展现。

Our buildings are real; they're being built.

我们的建筑物是真实的； 它们会被建造出来，

They're an explicit engagement in physical reality

建筑物是一种实体物质与想法概念的

and conceptual possibility.

合约产物。

我认为我们的建筑物是一种组织结构。

I think of our architecture as organizational structures.

At their core is indeed structural thinking, like a system:

它们的核心，的确是一种 结构思想，像是一个系统:

How can we arrange things in both a functional

我们要如何把事情

and experiential way?

安排的兼具功能性与体验性呢 ?

How can we create structures that generate a series

我们要如何创造出可以引发

of relationships and narratives?

一系列关系与故事剧本的结构 ?

And how can fictive stories

而我们在建筑物里面的居民

of the inhabitants and users of our buildings

及使用者的虚幻故事

script the architecture,

要如何在描绘建筑物的同时

while the architecture scripts those stories at the same time?

也能被建筑物描绘出来 ?

And here comes the second term into play,

而这当中就会产生出第二个词汇，

what I call "narrative hybrids" --

我称之为“叙事混合体”——

structures of multiple simultaneous stories

多个同时进行的故事的结构

that unfold throughout the buildings we create.

完全通过我们创造出的 建筑物展现了出来。

So we could think of architecture as complex systems of relationships,

所以我们可以想像 建筑物是个呈现关联性的复杂系统，

both in a programmatic and functional way

既具备可程序化和功能性，

and in an experiential and emotive or social way.

又具备体验性和情绪性，或者社交性。

这是中国国家广播公司的总部，

This is the headquarters for China's national broadcaster,

which I designed together with Rem Koolhaas at OMA.

是我和Rem Koolhaas在 大都会建筑事务所共同设计的。

When I first arrived in Beijing in 2002, the city planners showed us this image:

2002年，当我第一次抵达北京时， 城市规划员向我们展示了这张图 :

除了当时已有的屈指可数的几栋大楼，

a forest of several hundred skyscrapers

to emerge in the central business district,

雨林般的上百栋高楼大厦，

except at that time, only a handful of them existed.

将会出现在市中心的商务区。

So we had to design in a context that we knew almost nothing about,

所以我们必须在一个除了垂直概念以外

except one thing: it would all be about verticality.

其他几乎什么都没有的 设计概念底下做设计。

Of course, the skyscraper is vertical -- it's a profoundly hierarchical structure,

当然，高楼大厦是垂直的—— 它是个死板的层次结构，

the top always the best, the bottom the worst,

顶部总是最好的， 底部总是最差的，

and the taller you are, the better, so it seems.

所以看起来就好像， 你盖的越高看起来就越好。

And we wanted to ask ourselves,

我们想问问自己，

could a building be about a completely different quality?

我们的建筑物可不可以 有一个完全不同的概念?

它可不可以摆脱层次结构体系，

Could it undo this hierarchy, and could it be about a system

that is more about collaboration, rather than isolation?

它可不可以是一种 合作而不是隔离的系统 ?

So we took this needle and bent it back into itself,

所以我们把这个针朝着自身的方向 打了个弯，

into a loop of interconnected activities.

形成一个首尾相连的环状物。

Our idea was to bring all aspects of television-making

我们的想法是，把电视制作的 所有概念融合到单一结构里面：

into one single structure: news, program production, broadcasting,

新闻、节目制作、广播、

research and training, administration --

研究、培训、管理——

all into a circuit of interconnected activities

全部融合到可互相联系的 这个环形里面，

where people would meet in a process of exchange and collaboration.

一个人们在这里见面 互相交流合作的地方。

I still very much like this image.

我仍然很喜欢这幅图，

It reminds one of biology classes, if you remember the human body

如果你还记得人体构造的话， 有自己的器官及循环系统，

with all its organs and circulatory systems, like at school.

它像是一堂学校的生物课。

And suddenly you think of architecture no longer as built substance,

突然间，你会觉得建筑物不再 只是搭建出的实体，

but as an organism, as a life form.

而更像是一种有机体、生命体。

And as you start to dissect this organism,

而当你开始剖析这个有机体，

you can identify a series of primary technical clusters --

你会辨识出一系列的主要技术部门——

program production, broadcasting center and news.

节目制作、广播中心和新闻中心。

Those are tightly intertwined with social clusters:

它们与一些社交场所 紧密交织在一起 :

meeting rooms, canteens, chat areas --

会议室，餐厅，交谈区——

informal spaces for people to meet and exchange.

等等这些人们碰面交流的非正式场合。

So the organizational structure of this building was a hybrid

所以，这个建筑的组织结构 是一种混合体，

between the technical and the social,

集技术和社交，

the human and the performative.

人员和表演于一身。

And of course, we used the loop of the building as a circulatory system,

当然，我们是使用类似 循环系统的环形建筑

to thread everything together and to allow both visitors and staff

来串联每样东西，使访客与员工

to experience all these different functions in a great unity.

都能在这个伟大的联合体里面， 体验所有这些不同的功能。

With 473,000 square meters,

473,000平方米的建筑面积，

it is one of the largest buildings ever built in the world.

使它成为全世界最大的建筑物之一，

It has a population of over 10,000 people,

里面容纳了1万人，

and of course, this is a scale that exceeds the comprehension

当然，这样的规模超出了我们

of many things and the scale of typical architecture.

对传统建筑物的理解范围。

So we stopped work for a while

所以，我们停工了一阵子，

and sat down and cut 10,000 little sticks and glued them onto a model,

然后坐下来，剪出1万张小贴纸， 把它们粘在一个模型上，

just simply to confront ourselves with what that quantity actually meant.

只是单纯地想挑战我们自己 对庞大数字的本身的理解。

But of course, it's not a number,

当然，这并不仅仅是数字，

it is the people, it is a community that inhabits the building,

而是人，生活在这一栋大楼里面的人，

and in order to both comprehend this, but also script this architecture,

为了同时理解并为这个 建筑物写剧本，

我们创造出五种假想的角色，

we identified five characters, hypothetical characters,

and we followed them throughout their day in a life in this building,

然后追踪他们在 这栋大楼一整天的生活动态，

thought of where they would meet, what they would experience.

他们会在哪碰面、 他们会遇到哪些事情等。

So it was a way to script and design the building, but of course,

所以，这是一种描绘与设计 建筑物的方法，但当然，

also to communicate its experiences.

也是一种体会它的方式。

This was part of an exhibition with the Museum of Modern Art

这是纽约和北京

现代美术馆的部分展示品。

in both New York and Beijing.

This is the main broadcast control room,

这是广播主控室，

a technical installation so large,

技术性安装工作的面积相当大，

it can broadcast over 200 channels simultaneously.

它可同时播放200个频道的节目，

And this is how the building stands in Beijing today.

这是它当今矗立在北京的样子。

Its first broadcast live was the London Olympics 2012,

它的第一次现场直播是2012年的 伦敦奥运会，

after it had been completed from the outside for the Beijing Olympics.

而在北京奥运会之前， 它的外部装修已经全部完成。

And you can see at the very tip of this 75-meter cantilever,

你可以在最顶端的 75米悬臂处看风景，

those three little circles.

这三个小圆圈，

And they're indeed part of a public loop that goes through the building.

就是贯穿整栋大楼 开放回廊的一部分。

They're a piece of glass that you can stand on

你可以站在玻璃上面

and watch the city pass by below you in slow motion.

俯瞰你脚下整个城市在缓缓流动。

The building has become part of everyday life in Beijing.

这栋建筑物已经是 北京人生活的一部分，

It is there.

它就在那儿。

It has also become a very popular backdrop

它也变成了北京一个相当受欢迎的

for wedding photography.

婚纱摄影背景。

(Laughter)

（笑声）

But its most important moment is maybe sill this one.

但最重要的时刻也许是这个，

"That's Beijing" is similar to "Time Out,"

这本《城市漫步》周刊 很像伦敦的《Time Out》周刊，

a magazine that broadcasts what is happening in town during the week,

这本杂志描述了当周 该城市发生了哪些事情，

and suddenly you see the building portrayed no longer as physical matter,

突然间你会发现，这栋大楼 不再仅是一栋大楼而已，

but actually as an urban actor,

它同时扮演了城市一员的角色，

as part of a series of personas that define the life of the city.

像是在北京生活的群体中的一员。

So architecture suddenly assumes the quality of a player,

所以，建筑设计突然间好像 呈现了一位参与者的内涵品质，

of something that writes stories and performs stories.

它像是在写故事、呈现故事。

And I think that could be one of its primary meanings

而我认为这可以成为我们所相信的

重要意义之一。

that we believe in.

But of course, there's another story to this building.

当然，这栋大楼还有另外一个故事，

It is the story of the people that made it --

就是建造它的人们的故事——

400 engineers and architects that I was guiding

400个我所带领的工程人员与建筑师，

over almost a decade of collaborative work

合作了差不多10年，

that we spent together in scripting this building,

我们花时间一起设计这栋大楼，

in imagining its reality

从想像它建成后的样子，

and ultimately getting it built in China.

到最终，在中国把它建造完成。

This is a residential development in Singapore, large scale.

这是一个在新加坡的 大型住宅项目。

If we look at Singapore like most of Asia and more and more of the world,

如果我们看一下新加坡， 亚洲和全世界的其他国家，

of course, it is dominated by the tower,

当然，这些城市都是以高楼大厦为主，

a typology that indeed creates more isolation than connectedness,

这种类型的大楼确实制造了 更多的疏离感而非亲近感，

and I wanted to ask, how could we think about living,

而我想问，我们看待居所的时候， 要如何做到

not only in terms of the privacy and individuality of ourselves

不是只考虑私密性，我们自己和公寓的

and our apartment,

独立性，

but in an idea of a collective?

而是能产生集体的共同意识呢 ?

How could we think about creating a communal environment

我们要如何想到要去创造 一个交流的环境，

in which sharing things was as great as having your own?

让分享与独自拥有，同样使人舒心呢 ?

The typical answer to the question -- we had to design 1,040 apartments --

典型的答案是—— 我们必须设计1040间公寓——

would have looked like this:

外型会像这样子 :

24-story height limit given by the planning authorities,

根据政府法规，会有24层的楼高限制，

12 towers with nothing but residual in between --

12栋大楼，剩下一点点开放空间， 其它什么都没有——

a very tight system that, although the tower isolates you,

相当拥挤严密的系统， 虽然大楼可以将你与其他人分隔开，

it doesn't even give you privacy, because you're so close to the next one,

但这根本不能给你隐私， 因为你离隔壁邻居相当近，

所以盖好之后的公寓群质量堪忧。

that it is very questionable what the qualities of this would be.

So I proposed to topple the towers, throw the vertical into the horizontal

所以，我提议推掉高塔， 把垂直设计改成水平设计，

and stack them up,

并把它们堆叠起来，

and what looks a bit random from the side,

从侧面看，它是不规则的排列，

if you look from the viewpoint of the helicopter,

如果从直升机上往下看，

可以看到，它的组织架构实际上是个

you can see its organizational structure is actually a hexagonal grid,

水平建筑物堆叠起来的网状六边形，

in which these horizontal building blocks are stacked up

to create huge outdoor courtyards -- central spaces for the community,

这是为了创造出几个大型户外庭院——

programmed with a variety of amenities and functions.

这些中央空间为社区 规划了多种设施与功能。

And you see that these courtyards are not hermetically sealed spaces.

可以看到这些庭院空间 并非是封闭不透气的空间。

They're open, permeable; they're interconnected.

它们是开放的、通透的、 互相连接起来的。

We called the project "The Interlace,"

我们称呼这个项目是 " 交错 " ( 社区名称: 翠城新景 )，

thinking that we interlace and interconnect

想象我们把人类与空间

the human beings and the spaces alike.

彼此交错连接起来。

And the detailed quality of everything we designed

我们设计的每样细节，

was about animating the space and giving the space to the inhabitants.

都与“把空间赋予生命并 还给社区居民”有关。

And, in fact, it was a system

事实上，这个系统

where we would layer primarily communal spaces,

可以在我们布局主要的公共空间时，

stacked to more and more individual and private spaces.

让它层层堆叠出越来越多的 个人与私密空间。

So we would open up a spectrum

于是我们就能够展开一种

between the collective and the individual.

介于集体与个人之间的设计概念。

来做个简单的数学计算 :

A little piece of math:

if we count all the green that we left on the ground,

如果我们把所有地面上的绿色植物面积，

minus the footprint of the buildings,

扣除掉建筑物的投影面积，

and we would add back the green of all the terraces,

然后加上所有有绿色植物的阳台面积，

we have 112 percent green space,

我们会得出一个112%的植被覆盖率，

so more nature than not having built a building.

比不盖大楼还要有更多的自然空间。

And of course this little piece of math shows you that we are multiplying

当然，这个简单的计算结果说明了

the space available to those who live there.

我们增加了居民可利用的空间。

This is, in fact, the 13th floor of one of these terraces.

事实上，这是13楼的其中一个阳台。

So you see new datum planes, new grounds planes for social activity.

你会看到提供给社交活动的 新基准面、新地平面。

We paid a lot of attention to sustainability.

我们在“可持续发展”上花费了很多心思。

In the tropics, the sun is the most important thing to pay attention to,

在热带地区，阳光是最需要注意的因素，

and, in fact, it is seeking protection from the sun.

事实上，我们说的是寻找遮蔽处。

We first proved that all apartments would have sufficient daylight

我们首先确认所有的 公寓大楼整年都会有

through the year.

足够的日照时间。

We then went on to optimize the glazing of the facades

然后我们进行外墙玻璃优化，

to minimize the energy consumption of the building.

来减少建筑物的能量消耗。

But most importantly, we could prove that through the geometry

但最重要的是，我们能够证明

of the building design,

通过地形设计，

建筑物本身就为中庭花园 提供了足够的遮蔽，

the building itself would provide sufficient shading to the courtyards

so that those would be usable throughout the entire year.

所以花园一整年都适宜人们活动和纳凉。

We further placed water bodies along the prevailing wind corridors,

我们更进一步地沿着主风廊， 设置了水池景观，

so that evaporative cooling would create microclimates

在蒸发冷却的过程中 形成一个微型气候，

that, again, would enhance the quality of those spaces

进而有效地改善居民

available for the inhabitants.

居住的空间品质。

And it was the idea of creating this variety of choices,

这个想法创造了多样性的选择、

of freedom to think where you would want to be,

一种你想去哪儿就去哪儿、

where you would want to escape, maybe,

想躲哪儿就躲哪儿的自由，

within the own complexity of the complex in which you live.

在一个多样性的居住环境中 产生个人生活的多样性。

从亚洲来到欧洲 :

But coming from Asia to Europe:

a building for a German media company based in Berlin,

一栋座落在德国柏林的媒体公司，

transitioning from the traditional print media to the digital media.

正从传统印刷媒体转型到数字媒体。

And its CEO asked a few very pertinent questions:

公司的CEO问了一些很中肯的问题 :

Why would anyone today still want to go to the office,

为什么现今每个人仍希望到办公室上班，

because you can actually work anywhere?

即使他们可以在任何地方办公 ?

And how could a digital identity of a company be embodied

一个公司的数字形象定位 要如何在建筑物上

in a building?

体现出来 ?

We created not only an object, but at the center of this object

我们创作的不只是一个物体， 我们还在物体的中心

we created a giant space,

创造了一个大空间，

and this space was about the experience of a collective,

一个有关于集体的、

the experience of collaboration and of togetherness.

共同合作，和谐共处的空间体验。

Communication, interaction as the center of a space

沟通、互动是空间的核心思想，

that in itself would float,

会在空间内部自然地浮现出来，

like what we call the collaborative cloud,

就像我们所说的" 合作云 "，

in the middle of the building,

它就在建筑物中间，

surrounded by an envelope of standard modular offices.

被一个标准模块化的办公区域所围绕。

So with only a few steps from your quiet work desk,

从你的办公桌只要走几步，

you could participate in the giant collective experience

你就可以开始核心区域中

of the central space.

广阔空间内的共同体验。

最后，我们来到伦敦，参与了

Finally, we come to London, a project commissioned

by the London Legacy Development Corporation

伦敦市长的传承开发公司的

一个项目任务。

of the Mayor of London.

We were asked to undertake a study

我们被要求负责研究、

and investigate the potential of a site

调查Stratford奥林匹克公园

out in Stratford in the Olympic Park.

基地的开发潜力。

In the 19th century, Prince Albert had created Albertopolis.

在19世纪，Albert王子 建立了Albertopolis城。

And Boris Johnson thought of creating Olympicopolis.

Boris Johnson想建立奥林匹克城。

The idea was to bring together some of Britain's greatest institutions,

想法是把一些英国最伟大的机构、

some international ones, and to create a new system of synergies.

一些国际机构衔接在一起， 创造出一个新的协同效益系统。

Prince Albert, as yet, created Albertopolis in the 19th century,

当时Albert王子在 19世纪建立的Albertopolis城，

thought of showcasing all achievements of mankind,

是想用来展示人类的所有成就，

bringing arts and science closer together.

让艺术和科学更紧密地结合在一起。

And he built Exhibition Road, a linear sequence of those institutions.

而且他还打造了会展路， 把一系列这样的机构沿路串联在一起，

But of course, today's society has moved on from there.

当然，现今社会已经比当时进步许多。

We no longer live in a world

我们不再是活在一个

in which everything is as clearly delineated

每样东西都被界定或者分离得

or separated from each other.

很清楚的世界。

We live in a world in which boundaries start to blur

我们活在一个不同领域的界限

between the different domains,

开始模糊的世界，

and in which collaboration and interaction becomes far more important

一个彼此合作互动远比保持疏离

than keeping separations.

还要重要的世界。

So we wanted to think of a giant culture machine,

所以我们想建立一个大型的文化机器，

a building that would orchestrate and animate the various domains,

一个会协调并赋予不同 领域生命的建筑物，

but allow them to interact and collaborate.

但同时也可以让它们 彼此互动与合作。

At the base of it is a very simple module,

它的基座是个非常简单的模块，

a ring module.

一个环形模块。

It can function as a double-loaded corridor, has daylight, has ventilation.

它有双走廊、有日照、通风很好。

It can be glazed over

它的结构十分通透，

and turned into a giant exhibitional performance space.

可以变成一个大型展览表演空间。

These modules were stacked together

这些模組被堆叠起来，

with the idea that almost any function could, over time,

随着时间流逝， 任何功能彼此都可能

会占据其他功能。

occupy any of these modules.

So institutions could shrink or contract,

所以机构可能缩小或浓缩，

as, of course, the future of culture is, in a way, the most uncertain of all.

因为，文化的未来，在某种程度上， 是最无法预测的。

This is how the building sits, adjacent to the Aquatics Centre,

这栋建筑将坐落在邻近的 水上运动中心旁边，

opposite the Olympic Stadium.

正对奥林匹克运动场，

And you can see how its cantilevering volumes

你可以看到它的悬臂式空间如何

project out and engage the public space

伸出并融入开放空间，

and how its courtyards animate the public inside.

和它的中庭如何在 公共空间里赋予生命。

The idea was to create a complex system

当时的想法是创造一个复杂的系统，

in which institutional entities could maintain their own identity,

让里面的机构实体可以维持 它们本身的辨识性，

in which they would not be subsumed in a singular volume.

使它们不会被归类为 单一的个体空间。

Here's a scale comparison to the Centre Pompidou in Paris.

这个是它与法国巴黎蓬皮杜艺术中心的 比例对照图。

It both shows the enormous scale and potential of the project,

两者都显示出其项目的庞大规模与潜力，

但也有不一样的地方 :

but also the difference:

here, it is a multiplicity of a heterogeneous structure,

这里，它是一个多样型的结构的复合体，

in which different entities can interact

里面不同的机构彼此间可以互动，

without losing their own identity.

而不失去它们自身的辨识度。

And it was this thought: to create an organizational structure

想法是这样的：要创造一个组织结构

that would allow for multiple narratives to be scripted --

可以让不同的故事被描述出来——

for those in the educational parts that create and think culture;

包含创造和思考文化的教育部分 ;

for those that present the visual arts, the dance;

包含视觉艺术、舞蹈；

and for the public to be admitted into all of this

以及让大众可以获准进入

with a series of possible trajectories,

这一系列可能的轨迹动向，

to script their own reading of these narratives

来阐述他们个人对这些故事叙述的

and their own experience.

理解与体验。

And I want to end on a project that is very small,

我想用一个很小的项目来结束演讲，

in a way, very different:

在某种程度上，相当不同 :

a floating cinema in the ocean of Thailand.

一个在泰国的水上漂浮电影院。

Friends of mine had founded a film festival,

我的朋友创立了一个电影节，

and I thought,

而我当时在想，

if we think of the stories and narratives of movies,

如果，我们来思考电影的故事及剧本，

we should also think of the narratives of the people that watch them.

我们也需要思考 观看这部电影的观众的剧本。

So I designed a small modular floating platform,

所以，我设计了一个 小型模块式水上平台，

based on the techniques of local fishermen,

主要技术来自当地渔民的

how they built their lobster and fish farms.

龙虾田及鱼田建造技术，

We collaborated with the local community

我们与当地社团合作建造，

and built, out of recycled materials of their own,

用的全部是他们的回收材料，

this fantastical floating platform

这个令人惊艳的漂浮平台，

that gently moved in the ocean

慢慢地移向海里，

as we watched films from the British film archive,

比如这是大家在观看 来自英国电影资料馆，

[1903] "Alice in Wonderland," for example.

1904年的“爱丽丝梦游仙境”。

The most primordial experiences of the audience

观众最原始的经历会与

merged with the stories of the movies.

电影的故事情节相结合。

So I believe that architecture exceeds the domain of physical matter,

所以我相信，建筑设计 不仅超越了实体物质、

of the built environment,

建筑环境的范畴，

but is really about how we want to live our lives,

而且真切地与我们想如何生活、

how we script our own stories and those of others.

如何阐述我们的故事及 其他人的故事息息相关。

Thank you.

谢谢各位。

(Applause)

（掌声）