Joshua Prince-Ramus: Designing the Seattle Central Library

譯者: Ming Wu 審譯者: Shelley Krishna Tsang

I'm going to present three projects in rapid fire.

我要快速地介紹三個項目

I don't have much time to do it.

時間不多,

And I want to reinforce three ideas with that rapid-fire presentation.

通過介紹這三個項目,我想強調三個概念.

The first is what I like to call a hyper-rational process.

我把第一個概念稱為超理性過程.

It's a process that takes rationality almost to an absurd level,

這個過程

把理性提高到一個難以置信的境界

and it transcends all the baggage

以至於它超越了

that normally comes with what people would call,

通常伴隨

sort of a rational conclusion to something.

(人們常說的), 理性結論的所有累贅.

And it concludes in something that you see here,

這個過程產生了一些你將會看到的結論

that you actually wouldn't expect as being the result of rationality.

事實上這些結論很難讓人相信

是理性推斷的結果.

The second --

第二個概念, 哦,

the second is that this process does not have a signature.

第二個概念是一個

沒有署名的過程.

There is no authorship.

這個過程沒有創造者. 設計師癡迷於創造者.

Architects are obsessed with authorship.

This is something that has editing and it has teams,

這個過程主要是團隊的合作和修改編輯

but in fact, we no longer see within this process,

實際上, 在這個過程中,我們看不到

the traditional master architect

設計師照傳統產生

creating a sketch that his minions carry out.

忽略細節的設計草圖

And the third is that it challenges --

第三個概念,

and this is, in the length of this, very hard to support why,

短時間內很難解釋為甚麼,

connect all these things --

把這些概念都聯繫起來

but it challenges the high modernist notion of flexibility.

它挑戰了極端現代主義概念上的靈活性

High modernists said we will create sort of singular spaces that are generic,

極端現代主義者主張建立一種

普遍的線性空間

almost anything can happen within them.

在這些空間內, 任何事都可以發生

I call it sort of "shotgun flexibility" --

我把這個稱為散彈式(漫無目標)的靈活性.

turn your head this way; shoot; and you're bound to kill something.

(就好像) 轉頭, 射擊, 你肯定能射中些什麼.

So, this is the promise of high modernism:

所以, 這就是極端現代主義的思想:

within a single space, actually, any kind of activity can happen.

在一個單一的空間, 實際上任何行為都可以發生.

But as we're seeing,

但是我們同時也看到

operational costs are starting to dwarf capital costs

經營費用會超過資本成本

in terms of design parameters.

從設計參數上來說.

And so, with this sort of idea,

所以, 這種思想,

what happens is, whatever actually is in the building on opening day,

導致了, 無論是落成時完成的建築設計

or whatever seems to be the most immediate need,

或者說, 最當前的需要,

starts to dwarf the possibility and sort of subsume it,

都會阻礙

of anything else could ever happen.

任何將來可能發生的變化

And so we're proposing a different kind of flexibility,

我們推薦一種不同的靈活性,

something that we call "compartmentalized flexibility."

稱之為

"分類靈活性".

And the idea is that you, within that continuum,

基本思想就是, 在統一的整體中,

identify a series of points, and you design specifically to them.

確定一系列的點, (然後)根據這些點來設計.

They can be pushed off-center a little bit,

這些點也許會有點偏離中心,

but in the end you actually still get as much

但事實上最終你會得到

of that original spectrum as you originally had hoped.

你原先期望的效果.

With high modernist flexibility, that doesn't really work.

極端現代主義的靈活性就沒有這樣的結果.

Now I'm going to talk about --

接著我要介紹 -- 西雅圖中心圖書館的設計.

I'm going to build up the Seattle Central Library

用你看到的大概五六個圖,

in this way before your eyes in about five or six diagrams,

我是說你看到的就是(真正的)設計過程.

and I truly mean this is the design process that you'll see.

With the library staff and the library board,

和圖書館工作人員與圖書館委員會一起,

we settled on two core positions.

我們選定兩個核心定位.

This is the first one, and this is showing, over the last 900 years,

這是第一個, 它顯示了, 在過去的900年中,

the evolution of the book, and other technologies.

書本和其他技術的發展.

This diagram was our sort of position piece about the book,

這個圖就是我們對於書本的定位

and our position was, books are technology --

我們的定位是, 書本就是技術-

that's something people forget --

這是人們總是忘記的事 -

but it's a form of technology that will have to share its dominance

但書本就是一種形式的技術, 它必須

with any other form of truly potent technology or media.

和其他真正強大的技術共同分享它的領導性.

The second premise --

第二個前提 - 這個前提一開始

and this was something that was very difficult for us

我們費了好大勁說服圖書管理員們 -

to convince the librarians of at first --

就是圖書館, 自從

is that libraries, since the inception of Carnegie Library tradition in America,

美國卡耐基圖書館傳統的開始

had a second responsibility, and that was for social roles.

就具有第二個責任, 這個責任就是它的社交地位.

Ok, now, this I'll come back to later, but something --

我會回頭解釋這點, 但是事實上,

actually, the librarians at first said, "No, this isn't our mandate.

圖書管理員們, 一開始說, "不, 這不是我們的責任,

我們的責任是傳媒, 特別是書本."

Our mandate is media, and particularly the book."

So what you're seeing now is actually the design of the building.

所以你現在看到的實際上是這個建築的設計.

上面這個圖

The upper diagram is what we had seen

是我們在根據極端現代主義靈活性設計的

in a whole host of contemporary libraries that used high modernist flexibility.

所有現代圖書館中看到的.

Sort of, any activity could happen anywhere.

看上去好像, 任何事都可能在任何地方發生.

We don't know the future of the library; we don't know the future of the book;

我們不了解圖書館的未來, 不了解書籍的未來,

所以我們採用這種方法.

and so, we'll use this approach.

我們看到的是, 所有的建築都非常統一普通,

And what we saw were buildings that were very generic, and worse --

更糟的是, 不只是所有的建築都很普通 -

not only were they very generic --

so, not only does the reading room look like the copy room

不僅僅是閱覽室看上去像復印室

看上去像雜誌區 -

look like the magazine area --

but it meant that whatever issue was troubling the library at that moment

它還顯示了,

圖書館在想要包含所有的活動的時候

was starting to engulf every other activity that was happening in it.

所遇到的問題.

And in this case, what was getting engulfed

在這種情況下, 包含進設計的,

were these social responsibilities by the expansion of the book.

就是這些由書本延伸出去的社交地位.

And so we proposed what's at the lower diagram.

所以我們推薦了下端這個圖.

Very dumb approach: simply compartmentalize.

非常傻的方法:

簡單分類. 把所有我們能預見的發展放在一起 -

Put those things whose evolution we could predict --

and I don't mean that we could say what would actually happen in the future,

我不是說我們能預見將來一定會發生的事,

但是我們能確定大致的範疇

but we have some certainty of the spectrum of what would happen in the future --

對於將來會發生的事 -

把那些(預見)放在特別設計的方框內,

put those in boxes designed specifically for it,

然後把不能預測的事情放在頂上.

and put the things that we can't predict on the rooftops.

這是核心的思想.

So that was the core idea.

Now, we had to convince the library

現在, 我們必須說服圖書館, 社交地位和傳媒地位

that social roles were equally important to media,

是同樣重要的

in order to get them to accept this.

為了使圖書館接受這個思想.

What you're seeing here is actually their program on the left.

你們現在看到左邊的就是他們的程序.

That's as it was given to us in all of its clarity and glory.

和我們拿到它的時候一樣清楚.

Our first operation was to re-digest it back to them, show it to them and say,

我們第一步是重新消化這個程序

然後回頭展示給他們說,

"You know what? We haven't touched it,

"知道嗎? 我們一點沒動過這個程序,

but only one-third of your own program is dedicated to media and books.

但是只有三分之一的程序是致力於傳媒和書籍.

Two-thirds of it is already dedicated --

三分之二有關於 -- 就是下面這個白色部分

that's the white band below, the thing you said isn't important --

你認為不重要的事情:

is already dedicated to social functions."

就是和社交功能有關."

So once we had presented that back to them,

因此, 一旦我們向他們這樣展示,

they agreed that this sort of core concept could work.

他們同意這樣的核心概念行的通.

We got the right to go back to first principles --

我們獲得同意後回到了最初的原則 --

that's the third diagram.

這就是第三個圖. 我們重新組合了一切.

We recombined everything.

And then we started making new decisions.

然後開始重新做決定.

What you're seeing on the right is the design of the library,

你看到右邊這個就是圖書館的設計,

特別是它的面積.

specifically in terms of square footage.

在圖的左邊,這裡,

On the left of that diagram, here, you'll see a series of five platforms --

你會看到

一系列的五個平台 --

sort of combs, collective programs.

梳理整合後的程序.

And on the right are the more indeterminate spaces;

右邊的是比較中間過度性的空間,

things like reading rooms,

比如說閱覽室, 這種空間的發展

whose evolution in 20, 30, 40 years we can't predict.

在20, 30, 40年之後我們不能預測.

So that literally was the design of the building.

這就是這個建築的最初設計.

They signed it, and to their chagrin,

他們認同了這個設計, 令他們懊惱的是,

we came back a week later, and we presented them this.

一個星期之後我們回頭, 向他們展示了這個.

And as you can see, it is literally the diagram on the right.

正如你所看到的, 就是右邊的這個圖.

(Laughter)

我們就是改了一下大小

We just sized -- no, really, I mean that, literally.

我說真的.

The things on the left-hand side of the diagram,

圖左邊的這些

those are the boxes.

那些是方框.

We sized them into five compartments. They're super-efficient.

我們重新定大小成了五個類別.

We had a very low budget to work with.

它們超級有效. 我們可供使用的成本很低.

We pushed them around on the site

我們移動這些方框來組建

to make very literal contextual relationships.

非常清楚的相互關係.

The reading room should be able to see the water.

閱覽室應該可以看見水面.

主入口前面應該有一個公共廣場

The main entrance should have a public plaza in front of it

to abide by the zoning code, and so forth.

為了滿足劃區的原則,等等.

So, you see the five platforms, those are the boxes.

你看到的這五個平台 --

within each one, a very discrete thing is happening.

也就是這五個方框 -- 每一個方框內都有一件不同的用途.

The area in between is sort of an urban continuum,

這之間的區域是城市的聯結處,

these things that we can't predict their evolution to the same degree.

我們不能預測它們未來的發展.

To give you some sense of the power of this idea,

為了讓你感受一下這個設計的強大性,

the biggest block is what we call the book spiral.

我們來看看這個最大的方塊, 我們稱作圖書螺旋.

It's literally built in a very inexpensive way --

它事實上建起來很便宜

it is a parking garage for books.

就是一個圖書的停車庫.

It just so happens to be on the 6th through 10th floors of the building,

它正好就在這個建築的六到十層,

但這不一定意味著花銷佷高.

but that is not necessarily an expensive approach.

And it allows us to organize the entire Dewey Decimal System

同時這個設計使得我們能夠用一種連續的方式來組織整個杜威十進制系統:

on one continuous run; no matter how it grows or contracts within the building,

無論它怎樣在這個建築中增長或減小,

it will always have its clarity to end the sort of trail of tears

很明顯它總是很清楚

能避免

that we've all experienced in public libraries.

我們在公共圖書館經歷的(找不到書)沮喪.

(Laughter)

(笑聲)

And so this was the final operation,

所以最後的一步, 就是把這些方框

which was to take these blocks as they were all pushed off kilter,

放到一起

and to hold onto them with a skin.

用一個外表固定.

That skin serves double duty, again, for economics.

這個外表有兩個功能,

One, it is the lateral stability for the entire building;

第一, 就是整個建築的橫向穩定性:

it's a structural element.

這是一個結構上的要素. 但是它不光是為了結構而設計,

But its dimensions were designed not only for structure,

but also for holding on every piece of glass.

同時也要固定住每一塊玻璃.

The glass was then -- I'll use the word impregnated --

玻璃然後就融為一體

but it had a layer of metal that was called "stretched metal."

但它還有一層抗壓金屬.

That metal acts as a microlouver,

這個金屬起到了百葉窗的作用,

so from the exterior of the building, the sun sees it as totally opaque,

從建築的外部, 陽光不能完全透過,

but from the interior, it's entirely transparent.

但從建築內部看又是完全透明.

So now I'm going to take you on a tour of the building.

接著我要帶你參觀整個建築.

Let me see if I can find it.

看看我能不能找到這個. 對所有人, --

For anyone who gets motion sickness, I apologize.

如果你容易暈車, 我很抱歉.

So, this is the building.

這就是這個建築.

And I think what's important is, when we first unveiled the building,

我認為值得注意的是, 當我們最初展示這個建築時,

the public saw it as being totally about our whim and ego.

公眾認為它完全是出於

我們一時的心血來潮和自大.

And it was defended, believe it or not, by the librarians.

不管你信不信, 圖書管理員們為我們辯護. 他們說,

They said, "Look, we don't know what it is,

我們不知道它到底是什麼, 但是我們知道這是所有我們需要的

but we know it's everything that we need it to be,

根據我們

based on the observations that we've done about the program."

在整個過程中的觀察. "

This is going into one of the entries.

這個是其中一個入口.

So, it's an unusual building for a public library, obviously.

所以對於一個公共圖書館來說這是一座不尋常的建築.

很顯然.

So now we're going into what we call the living room.

接著我們進入到閱覽室 -- 抱歉, 這是大廳.

This is actually a program that we invented with the library.

這是我們和這個圖書館一起開發的程序

It was recognizing that public libraries

眾所周知, 公共圖書館

are the last vestige of public free space.

是最後一點免費的公共場所.

There are plenty of shopping malls that allow you to get out of the rain

有足夠的商場下雨的時候你可以去

在西雅圖市中心,

in downtown Seattle,

but there are not so many free places

但是沒有很多

that allow you to get out of the rain.

免費的場所讓你躲雨.

So this was an unprogrammed area where people could pretty much do anything,

這是一個沒有確定目的自由場地, 人們基本上可以做任何事,

包括吃東西, 叫喊, 下棋, 等等.

including eat, yell, play chess and so forth.

Now we're moving up into what we call the mixing chamber.

接著我們移到

我們稱作混合區.

That was the main technology area in the building.

這是這個建築的主要場地.

You'll have to tell me if I'm going too fast for you.

讓我知道如果我的速度太快了.

And now up.

再往上.

This is actually the place that we put into the building

這個地方我們放進這個建築

so I could propose to my wife, right there.

好讓我向我妻子求婚. 就是這.

(Laughter)

(笑聲)

She said yes.

她同意了.

(Laughter)

I'm running out of time, so I'm actually going to stop.

我的時間不夠了, 就此打住.

I can show this to you later.

以後再給你看.

But let's see if I can very quickly get into the book spiral,

但我們看看能否快速地進入圖書螺旋,

because I think it's, as I said, the most --

因為我認為, 如我提到, 最 --

this is the main reading room -- the most unique part of the building.

這是主閱覽室 -- 建築中最獨特的部分.

You dizzy yet?

有沒有頭暈?

Ok, so here, this is the book spiral.

這二

So, it's very indiscernible,

很難看清,

but it's actually a continuous stair-stepping.

但它實際上是一個連續的樓梯.

It allows you to, on one city block,

它讓你, 在一個街區的距離,

go up one full floor, so that it's on a continuum.

上一層樓, 所以這是一個連續上升的階梯.

Ok, now I'm going to go back, and I'm going to hit a second project.

好, 現在我要回來, 介紹第二個項目.

I'm going to go very, very quickly through this.

我將很快的介紹這個.

Now this is the Dallas Theater.

這個是達拉斯劇院. 這是一個

It was an unusual client for us, because they came to us and they said,

因為他們找上我們, 說,

"We need you to do a new building.

我們需要你建一個新的建築. 我們已經在

We've been working in a temporary space for 30 years,

一個臨時的地方工作了30年.

but because of that temporary space,

但由於是一個臨時的場所,

we've become an infamous theater company.

我們變成了一個籍籍無名的劇院.

Theater is really focused in New York, Chicago and Seattle,

劇院真正是集中在紐約, 芝加哥和西雅圖,

with the exception of the Dallas Theater Company."

一個例外就是達拉斯劇院."

And the very fact that they worked in a provisional space

他們在臨時場所工作, 實際上

意味著, 他們可以為了貝克特炸毀一座牆;

meant that for Beckett, they could blow out a wall;

they could do "Cherry Orchard" and blow a hole through the floor, and so forth.

他們可以演"櫻桃園", 並且在地板上炸一個洞, 等等.

對我們來說建一座新樓是一件很嚇人的任務

So it was a very daunting task for us to do a brand-new building

要保持完整無缺的建築,

that could be a pristine building,

but keep this kind of experimental nature.

又要保持這種實驗性的特色.

And the second is,

另外, 他們是我們所稱的

they were what we call a multi-form theater,

多形式劇院: 他們

they do different kinds of performances in repertory.

有不同形式的表演.

So they in the morning will do something in arena,

早上會在

舞台上演,

then they'll do something in proscenium and so forth.

然後又在台前, 諸如此類.

And so they needed to be able to quickly transform

所以他們需要能夠很快的

between different theater organizations,

在不同劇院結構之間變化,

and for operational budget reasons,

因為經營成本的原因,

this actually no longer happens in pretty much

這從不發生在

any multi-form theater in the United States,

美國其他任何多形式劇院,

so we needed to figure out a way to overcome that.

所以我們要想一個辦法克服這個.

So our thought was to literally put the theater on its head:

我們的想法是合理安排劇院

to take those things that were previously defined

把原先定為前面和後面的東西拿出來

as front-of-house and back-of-house

放成上下結構 - 樓上和樓下

and stack them above house and below house,

創造出一個我們稱為劇院機器的東西.

and to create what we called a theater machine.

We invest the money in the operation of the building.

我們把錢花在了建築的運作上.

It's almost as though the building could be placed anywhere,

就好像這個建築可以放在任何地方: 不管你放在哪, 下面的面積

wherever you place it,

用作劇院表演.

the area under it is charged for theatrical performances.

這使得我們能過回到最基本的原則,

And it allowed us to go back to first principles,

重新定義舞台牆,

and redefine fly tower, acoustic enclosure, light enclosure and so forth.

聲光效果,等等.

And at the push of a button,

按一個按鈕, 藝術總監就可以

it allows the artistic director to move between proscenium, thrust,

在台前,

and in fact, arena and traverse and flat floor,

舞台, 台中, 地板之間

in a very quick transfiguration.

很快的移動.

So in fact, using operational budget, we can --

實際上, 我們, 用了運作成本 --

sorry, capital cost -- we can actually achieve

不對, 資本成本 -- 我們能獲得

what was no longer achievable in operational cost.

運作成本不能獲得的效果.

And that means that the artistic director

這意味著現在藝術指導有

now has a palette that he or she can choose from,

一個調色板, 她或者他能夠

between a series of forms and a series of processions,

從一系列的形式和隊伍之間選擇,

because that enclosure around the theater that is normally trapped

因為劇院中

通常的夾在台前和台後的空間

with front-of-house and back-of-house spaces has been liberated.

被解放出來了.

So an artistic director has the ability to have a performance

所以藝術指導就能夠展示 --

先來一出瓦格納的遊行

that enters in a Wagnerian procession,

shows the first act in thrust,

推出第一幕,

the intermission in a Greek procession,

再過度到希臘式的場景,

second act in arena, and so forth.

第二幕到競技場, 諸如此類.

So I'm going to show you what this actually means.

我要向你展示一下 -- 這個實際上是什麼意思.

This is the theater up close.

這個是戲院的近觀.

Any portion around the theater actually can be opened discretely.

這個戲院的任何一部份都能被分別打開.

The light enclosure can be lifted separate to the acoustic enclosure,

燈光道具和聲響道具能分別吊起來

所以你能演貝克特,

so you can do Beckett with Dallas as the backdrop.

而背景是達拉斯.

Portions can be opened,

每一部分都能打開, 所以現在可以有摩托車

so you can now actually have motorcycles drive directly into the performance,

直接開進表演中, 或者你甚至可以來一個露天表演,

or you can even just have an open-air performance,

or for intermissions.

或終場休息.

The balconies all move to go between those configurations,

陽台都移到這些設置中間,

but they also disappear.

但都被隱藏起來.

The proscenium line can also disappear.

前台也可以隱藏起來,

You can bring enormous objects in,

你能引進巨大的物件, 所以實際上他們的 --

so in fact, the Dallas Theater Company --

達拉斯劇院 -- 他們的第一場表演

their first show will be a play about Charles Lindbergh,

將是關於查尔斯林白的一場秀,

and they'll want to bring in a real aircraft.

表演中會用到真正的飛機.

And then it also provides them, in the off-season,

同時,這種設計使得他們, 在淡季時,

the ability to actually rent out their space for entirely different things.

能夠

把場地出租給不同的活動.

This is it from a distance.

這是在晚上看起來的樣子 -- 抱歉, 有點距離.

Open up entire portions for different kinds of events.

把所有部份都打開來適應不同的活動.

And at night.

在晚上.

Again, remove the light enclosure; keep the acoustic enclosure.

把燈光道具移開; 聲響不動.

This is a monster truck show.

這是一個大型卡車展.

I'm going to show now the last project.

接著我要介紹最後一個項目.

This also is an unusual client.

這也是一個不同尋常的顧客.

They inverted the whole idea of development.

他們倒置了整個開發的思想.

They came to us and they said -- unlike normal developers --

他們找到我們,說 -- 不像普通開發者 --

they said, "We want to start out

他們說, "我們想建一個

by providing a contemporary art museum in Louisville.

現代藝術展覽館

That's our main goal."

在路易斯威爾. 這是我們主要的目標."

And so instead of being a developer that sees an opportunity to make money,

不是為了有個賺錢的機會,

他們想要能夠促進

they saw an ability to be a catalyst in their downtown.

市中心的活動.

And the fact that they wanted to support the contemporary art museum

實際上他們想要

這個現代藝術館建成他們的一種樣本

actually built their pro forma,

so they worked in reverse.

所以他們反其道而行.

And that pro forma led us

這個樣板引導我們

to a mixed-use building that was very large,

到一個非常巨大的多功能建築

in order to support their aspirations of the art,

它的目標是支持他們對藝術的熱愛,

but it also opened up opportunities for the art itself

但同時也增加技術

to collaborate, interact with commercial spaces

與其他商業空間的合作與交互

that actually artists more and more want to work within.

從而吸引更多的藝術家來這裡工作.

And it also charged us with thinking about how to have

這還要求我們考慮如何設計

something that was both a single building

一個建築, 即是一個單獨的建築

and a credible sort of sub-building.

同時也好像是一組建築中的一座.

So this is Louisville's skyline,

接著我要 -- 這是路易斯维尔地平线 --

and I'm going to take you through the various constraints

我要給你們一一介紹

完成這個項目的種種限制因素.

that led to the project.

First: the physical constraints.

首先, 物理上的限制. 我們必須

We actually had to operate on three discrete sites,

在三個不同的地點操作,

all of them well smaller than the size of the building.

每個地點, 都比這個建築要小很多.

We had to operate next to the new Muhammad Ali Center, and respect it.

我們必須在新的穆罕穆得阿里中心邊上施工

並且不能影響它.

We had to operate within the 100-year floodplain.

我們必須在這個百年洪泛區施工.

Now, this area floods three to four times a year,

現在, 這個地區每年發洪水三到四次,

and there's a levee behind our site,

在我們的工地後面有一個泄洪堤

similar to the ones that broke in New Orleans.

和新奧爾良那個壞了的很類似.

Had to operate behind the I-64 corridor,

我們必須在I-64走廊後施工,

a street that cuts through the middle of these separate sites.

這是一條從這些不同的地點中穿過的街道.

So we're starting to build a sort of nightmare of constraints in a bathtub.

綜合所有這些因素, -- 我們就好像

在浴盆中修建一個噩夢的組合體.

Underneath the bathtub are the city's main power lines.

在浴缸下面,

是城市的主要供電系統.

And there is a pedestrian corridor that they wanted to add,

他們還想加一個行人過道

that would link a series of cultural buildings,

來把一系列的文化建築連繫起來,

and a view corridor -- because this is the historic district --

還有加一個觀光通道 -- 因為這是一個歷史性的城區 --

他們也不像阻礙新的建築.

that they didn't want to obstruct with a new building.

(笑聲)

(Laughter)

現在我們要加上1.1百萬平方英尺.

And now we're going to add 1.1 million square feet.

And if we did the traditional thing, that 1.1 million square feet --

如果照傳統做法, 那1.1 百萬平方英尺 --

these are the different programs --

這些是不同的項目 -- 傳統做法就是確認

the traditional thing would be to identify the public elements, place them on sites,

公共元素, 把他們融入施工.

現在我們處在一個很糟糕的處境:

and now we'd have a really terrible situation:

一個公共的建築在一個漲水的盆地中間.

a public thing in the middle of a bathtub that floods.

And then we would size all the other elements --

接著我們來看看所有其他的因素 --

the different commercial elements:

不同的商業因素:

hotel, luxury housing, offices and so forth --

賓館, 豪華住宅, 辦公場地, 等等 ---

and dump it on top.

全都要放進來. 我們將創造

And we would create something that was unviable.

一個根本不可能行的通的東西.

In fact -- and you know this -- this is called the Time Warner Building.

實際上 -- 你知道的 -- 這就是被稱作時代華納大樓的東西.

(Laughter)

(笑聲)

So our strategy was very simple.

我們的方法很簡單.

Just lift the entire block,

就是把整個街區升起來,

flip some of the elements over,

重組一些元素

reposition them so they have appropriate views

好讓它們有適當的風景,同時也和市中心有適當的聯繫,

and relationships to downtown,

and make circulation connections and reroute the road.

然後再連接道路.

So that's the basic concept,

這就是基本概念.

and now I'm going to show you what it leads to.

現在我來展示一下這個概念生成了什麼樣的作品.

Ok, it seems a very formal, willful gesture,

它看上去是非常正式, 任性而為,

but something derived entirely out of the constraints.

但卻是完全符合所有的限制因素.

And again, when we unveiled it, there was a sort of nervousness

在我們揭幕時, 大家有點緊張

因為這是建築師發表一個聲明,

that this was about an architect making a statement,

而不是企圖解決

not an architect who was attempting to solve a series of problems.

一系列問題.

Now, within that center zone, as I said,

現在, 在那個中心區, 如我所說的,

we have the ability to mix a series of things.

我們能把一系列東西混合起來.

So here, this is sort of an x-ray --

所以這裡你能看到的是這些 --

有點像x射線 -- 這些高樓

the towers are totally developer-driven.

完全是按開發商的意願建的. 他們告訴我們尺寸大小等等

They told us the dimensions, the sizes and so forth,

and we focused on taking all the public components --

我們就將注意力集中在所有的公共部分 --

大廳, 酒吧,

the lobbies, the bars --

everything that different commercial elements would have,

所有不同的商業元素共同具有的東西 --

and combined it in the center, in the sort of subway map,

把它們結合在中央, 有點像地鐵地圖,

in the transfer zone that would also include the contemporary art museum.

在過渡區包括進這個現代藝術展覽館.

So it creates a situation like this, where you have artists who can operate

這就形成了這個佈局,

可以讓藝術家們從他們的工作室

within an art space that also has an amazing view on the 22nd floor,

看到22層樓的景觀,

but it also has proximity that the curator can either open or close.

同時展覽館館長也能方便地

開放或關閉展覽館.

It allows people on exercise bicycles to be seen,

人們看得見騎自行車鍛鍊的人們,

or to see the art, and so forth.

而騎車的人也可以瀏覽藝術作品, 等等.

It also means that if an artist wants to invade something like a swimming pool,

這也意味著, 如果藝術家想要選擇游泳池,

they can begin to do their exhibition in a swimming pool,

他們能在游泳池開個畫展,

而不需要總是局限於

so they're not forced to always work within the confines

展覽館的空間.

of a contemporary gallery space.

So, how to build this.

那麼這個怎麼建呢.

It's very simple: it's a chair.

非常簡單: 這是一個椅子.

So, we begin by building the cores.

先建核心部分.

As we're building the cores, we build the contemporary art museum at grade.

在修建核心部分的同時, 我們在同一層面上修建現代展覽館.

這使得我們在施工和成本上都有難以置信的高效率.

That allows us to have incredible efficiency and cost efficiency.

這不是一個花費很高的建築.

This is not a high-budget building.

The moment the cores get to mid level,

在核心部分建成一半時,

we finish the art museum; we put all the mechanical equipment in it;

我們完成了藝術館, 然後我們放入所有的機械設備

接著把它升起來.

and then we jack it up into the air.

這種方法常用來生產大型的航天飛機庫,

This is how they build really large aircraft hangars,

比如說, 他們為A380修的那些.

for instance, the ones that they did for the A380.

完成了核心部分, 完成了重要的部分

Finish the cores, finish the meat

and you get something that looks like this.

你看到的就是這個.

Now I only have about 30 seconds,

我只有30秒時間, 所以我想開始

so I want to start an animation,

一個動畫, 以此作為結論.

and we'll conclude with that.

Thank you.

(Applause)

(鼓掌)

Chris asked me to add --

克里斯讓我額外說明 --

the theater is under construction,

這個劇院正在建設之中,

and this project will start construction in about a year,

這個項目將在一年之後開始修建,

and finish in 2010.

將在2010年預期完成.

[identify public elements]

[insert public elements at grade]

[optimize tower dimensions]

[place towers on site]

[lift program]

[flip!]

[optimize program adjacencies]

[connect to context]

[redirect 7th street]