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

譯者: Helen Chang 審譯者: Yanyan Hong

How can landscapes imbue memory?

如何能讓風景充滿記憶？

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

當我們思考「e pluribus unum」，

"out of many, one,"

即「合眾為一」這個概念，

it's a pretty strange concept, right?

它是個相當奇怪的觀念，對吧？

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

我是說，有各種 不同種族和文化的人，

how do you boil it down to one thing?

要如何歸結為一樣東西？

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

今天我想和大家分享 「e pluribus unum」這個想法，

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

及我們的風景可以如何 充滿多樣化觀點的記憶，

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

並迫使我們不要再狹隘地對待事物

to a single, clean set of identities.

只有單一、清楚的一組身分。

As an educator, designer,

身為教育工作者和設計師，

I'd like to share with you five simple concepts

我想和大家分享五個簡單的觀念，

that I've developed through my work.

是我從工作中發展出來的。

And I'd like to share with you five projects

我還想和大家分享五個專案，

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

在這些專案裡，我們能開始發現，

我們身邊的記憶

where things have happened,

和事情發生的地方，

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

確實能夠迫使我們 以不同的方式看待彼此。

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

最後，它不再只是美國的格言而已，

I think e pluribus unum is global.

我認為 e pluribus unum 是全球性的。

We're in this thing together.

我們在同一條船上。

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

首先，當我們存在於彼此的世界中時，

偉大的事情就會發生——

like today, right?

就像今天，對吧？

The world of community gardens --

在社區花園的世界裡——

most of you have probably seen a community garden.

在座大部分人可能都見過社區花園。

They're all about subsistence and food. Right?

它們的重點就在於 生計和食物。對吧？

I'll tell you a little story,

讓我說個小故事，

what happened in New York more than a decade ago.

它是十多年前發生在紐約的事。

They tried to sell all of their community gardens,

他們試圖賣掉所有的社區花園，

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

而貝蒂米勒開發了非營利的 「紐約復興計劃」。

They literally brought all the gardens

他們真的取得了所有的社區花園，

and decided to save them.

並決定挽救它們。

And then they had another novel idea:

接著，他們有了一個新點子：

let's bring in world-class designers

咱們把世界級的設計師找過來，

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

讓他們進入社區， 設計出美麗的花園，

and maybe they might not just be about food.

也許這些花園就能 有食物以外的意義。

And so they called me,

所以他們打電話給我，

and I designed one in Jamaica, Queens.

我設計了一個皇后區牙買加的花園。

And on the way to designing this garden,

在去設計這個花園的路上，

I went to the New York Restoration Project Office,

我去了紐約復興計劃辦公室，

and I noticed a familiar name on the door downstairs.

我留意到樓下的門上 有個熟悉的名字。

I go upstairs, and I said,

我爬上樓，說：

"Do you guys know who is downstairs?"

「你們知道樓下是誰嗎？」

And they said, "Gunit."

他們說：「剛尼特（Gunit）。」

And I said, "Gunit?

我說：「剛尼特？

You mean G-Unit?

你們是說五角兵團（G-Unit ）？

Curtis '50 Cent' Jackson?"

柯蒂斯『五角』傑克遜嗎？」

(Laughter)

（笑聲）

And they said, "Yeah?"

他們說：「真的？」

And I said, "Yes."

我說：「是的！」

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

於是，我們下樓去，沒多久，

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

柯蒂斯、貝蒂，和他們其他人 形成了合作關係，

and they built this garden in Jamaica, Queens.

他們打造了這個位於 皇后區牙買加的花園。

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

結果發現，原來柯蒂斯， 即五角，是在牙買加長大的。

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

所以，同樣的，一旦將這些 不同的世界結合起來——

me, Curtis, Bette --

我、柯蒂斯、貝蒂——

you get something more incredible.

就能有更了不起的成果。

You get a garden

我們設計出的花園

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

在去年被票選為紐約的 十大秘密花園之一。

Right?

沒錯吧？

(Applause)

（掌聲）

It's for young and old,

它老少咸宜，

but more importantly, it's a place --

但，更重要的是，這地方——

there was a story in the Times about six months ago

大約六個月前在 《時代》中有一則報導，

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

內容是一位年輕女子 透過造訪花園找到了慰藉。

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

那和我沒什麼關係。

但我肯定，那和五角比較有關係，

but it has inspired people to think about gardens

但它鼓舞了大家， 去思考花園的意義，

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

並用不同的方式 來分享彼此的世界。

This next concept, "two-ness" --

下一個概念：「二重性」——

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

它沒我想像的那麼容易解釋，

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

但，當我離家要去讀大學時， 我爸爸看著我，

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

說：「兒子，當你到外面去時，

when you go out there."

你必須要能是黑的也是白的。」

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

如果回到二十世紀的前期，

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

知名的活動分子 W.E.B. 杜波依斯

said it's this peculiar sensation

說過，這是一種奇怪的感覺

that the Negro has to walk around

黑人四處走動時，

being viewed through the lens of other people,

會被透過其他人的視角來檢視，

and this two-ness, this double consciousness.

這種二重性，這種雙重意識。

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

我認為，一百多年過去了，

that two-ness has made us strong and resilient,

這種雙重性使我們強壯且有恢復力，

and I would say for brown people, women --

我會說褐色皮膚的人，女人——

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

所有必須透過人的眼睛 在這世界前行的人——

we should now share that strength to the rest of those

我們現在應該分享這力量，

who have had the privilege to be singular.

分享給那些有幸單一的人。

I'd like to share with you a project,

我想與大家分享一個專案，

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

因為我確實認為我們 周遭世界有這雙重性。

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

它已經發生在我們分享 這些故事的地方了。

At the University of Virginia,

在維吉尼亞大學，

the academical village by Thomas Jefferson,

湯瑪斯·傑佛遜建立的學術區裡，

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

我們逐漸注意到 它是由非洲人的手建造的。

So we have to begin to say,

所以我們得開始問：

"OK, how do we talk about that?"

「我們如何談這話題？」

As the University was expanding to the south,

隨著大學校園向南擴張，

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

找到了基蒂·福斯特的故居所在地，

free African American woman.

她是個自由的非裔美國女人。

And she was there,

她曾經住在那裡，

and her descendants,

她的後代們也曾住在那裡，

they all lived there,

and she cleaned for the boys of UVA.

她曾經為維吉尼亞大學的 男學生們打掃。

But as they found the archaeology,

而當他們發掘考古位址後，

they asked me if I would do a commemorative piece.

他們問我能否製作紀念影片。

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

景觀的雙面性，既有黑又有白，

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

我決定利用光和陰影來設計。

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

我們通過光和陰影建造了捕影手，

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

用不同的方式表達這種雙面性。

So when the light came down,

當光線照下來的時候，

there would be this ride to heaven.

這就是通往天堂的階梯。

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

當沒有光的時候，就是靜默。

And in the landscape of Thomas Jefferson,

而在湯瑪斯·傑佛遜的光景裡，

it's a strange thing.

這很奇怪。

It's not made of brick.

它不是用磚砌成的。

It's a strange thing,

這真的匪夷所思，

and it allows these two things to be unresolved.

留置未解的雙面。

And we don't have to resolve these things.

而我們其實不需要解決。

I want to live in a world

在我想生活的世界裡，

where the resolution --

解決事物的方法是模稜兩可的。

there's an ambiguity between things,

because that ambiguity allows us to have a conversation.

正因為這不確定性 才促使我們能夠對話。

When things are clear and defined,

當事情清晰明確及被定義時，

we forget.

我們很容易遺忘。

The next example? Empathy.

下一個例子：同理心。

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

我在這會議裡已經聽了好幾遍，

this notion of caring.

關於關懷的主張。

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

二十五年前，我還是個年輕的學生，

very optimistic,

非常樂觀積極，

we wanted to design a park in downtown Oakland, California

我們想為無家可歸的人 在加州奧克蘭市中心

for the homeless people.

設計一個公園。

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

我們認為，無家可歸的人 可以和西裝革履的人

as people who wear suits.

同處於一個地方。

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

當時大家說：「這不可能。

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

沒人會和流浪漢一起吃午餐的。」

We built the park.

最終我們建了那個公園，

It cost 1.1 million dollars.

耗資一百一十萬美元。

We wanted a bathroom.

我們想蓋間浴室。

We wanted horseshoes, barbecue pits, smokers,

我們想要設置投環遊戲、 燒烤爐和燻肉爐，

picnic tables, shelter and all of that.

還有野餐桌、 遮風避雨區之類的設施。

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

我們拿著設計圖去找當時的市長，

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

說：「市長先生， 這只需花費一百一十萬美元。」

And he looked at me.

他看著我。

"For homeless people?"

「為流浪漢設計的？」

And he didn't give us the money.

結果他沒有給我們錢。

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

我們走出來，不受約束， 籌集了資金。

Clorox gave us money.

Clorox 給了我們錢。

The National Park Service built the bathroom.

國家公園管理局建了浴室。

So we were able to go ahead

因為我們有同理心，

because we had empathy.

所以能夠繼續向前。

Now, 25 years later,

25 年過去了，

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

灣區的流浪漢問題擴大了。

But the park is still there,

但公園還在那裡，

and the people are still there.

人們也還在那裡。

So for me, that's a success.

所以對我而言，這是成功的。

And when people see that,

希望當人們看到這個場景時，

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

也對這些在高速公路下 和帳篷裡的人產生同理心，

and why can't our public spaces

為什麼我們不能 在公共空間安置他們，

house them and force us to be empathetic?

同時讓我們學會感同身受呢？

The image on the left is Lafayette Square Park today.

左邊的這張圖片 是今天的拉斐特廣場公園。

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

右邊的這張是 1906 年 地震發生後的金門公園。

Why do we have to have cataclysmic events

為何我們總要等到發生災難

to be empathetic?

才產生同理心呢？

Our fellow men are out there starving,

我們的男同胞們在外面挨餓， 女人睡在大街上，

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

而我們卻對此視而不見。

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

把他們安置在公園裡， 我們就能看到他們了。

(Applause)

（掌聲）

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

為了證明外頭仍有懷抱同理心的人，

the Oakland Raiders' Bruce Irvin

這是奧克蘭突襲者足球隊的 布魯斯 · 歐文，

fries fish every Friday afternoon

他每週五下午都在那裡炸魚，

for anyone who wants it.

分送給有需要的人。

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

去那個公園， 公園成了他的同理心的載具。

The traditional belongs to all of us,

傳統屬於我們每一個人，

and this is a simple one.

再簡單不過了。

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

你走進有美麗建築 和美麗公園的街區，

but if people look a different way,

但是如果人們看起來不一樣，

it's not traditional.

那就不傳統了。

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

只有等到原來的人離開， 新人搬進來，

where the traditional gets valued.

傳統才得到重視。

A little quick story here:

講一個小故事：

1888 opera house,

建於 1888 年的歌劇院

the oldest in San Francisco,

是舊金山最古老的歌劇院，

sits in Bayview–Hunters Point.

座落於灣景獵人角。

Over its history,

在這座城市的歷史中，

it's provided theater,

它扮演著劇院、

places for businesses, places for community gatherings, etc.

商業場所、社區聚會所等角色。

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

這也是露絲威 · 廉姆斯 指導黑人演員的地方，

Think: Danny Glover --

像丹尼 · 葛洛佛

came from this place.

就來自這裡。

But over time, with our 1980s federal practices,

但隨著時間推移， 1980 年代實施的聯邦政策，

a lot of these community institutions fell into disrepair.

使得很多社區機構年久失修。

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

多虧舊金山藝術委員會， 我們能夠籌集資金

and to actually refurbish the place.

翻新這個地方。

And we were able to have a community meeting.

我們在這裡舉行社區會議，

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

在社區會議中，有人發言：

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

「這地方看起來像是個農園。

為何讓它持續這樣？ 為何我們不能在這兒學戲劇呢？」

Why can't we learn theater?"

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

過去這些年來， 人們置入雞舍、乾草捆、

community gardens and all of these things,

社區花園之類的東西，

and they could not see that traditional thing behind them.

再也看不到這棟建築物 背後的傳統了。

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

我們說，要把社區帶回來。

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

透過美國殘疾人法案， 我們獲得了五百萬美元。

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

現在，屬於棕色 和黑色人種的傳統回來了，

and they use it.

他們運用它，

And they learn theater,

他們用這棟建築物學習戲劇、

after-school programs.

課後專案。

There's no more chickens.

沒有雞了，

But there is art.

卻有了藝術。

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

最後，我想與大家分享 我們正在進行的專案，

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

我想它會令我們所有人 以一種不同的方式記住今天的話題。

There are lots of things in the landscape around us,

我們周圍的景觀包含許多事物，

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

而大多數時候我們忽略了 這些景觀的地下部分。

Here in Charleston, South Carolina,

在南卡羅來納州的查爾斯頓，

a verdant piece of grass.

有這片青翠的草地，

Most people just pass by it daily.

是許多人日常必經之地。

But underneath it,

但在這片草地之下，

it's where they discovered Gadsden’s Wharf.

是剛被發現的加茲登碼頭。

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

我們認為，超過 40% 的 非洲僑民在這裡登陸。

How could you forget that?

我們怎能忘了這些歷史？

How could you forget?

怎麼能忘記呢？

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

我們挖著挖著，找到了碼頭。

And so in 2020,

在 2020 年，

Harry Cobb and myself and others

哈瑞 · 科布、我自己，和其他人，

are building the International African American Museum.

會在這裡建一座非裔美國人博物館。

And it will celebrate --

我們將會紀念——

(Applause)

（掌聲）

this place where we know, beneath the ground,

在這個我們已知的地面下，

thousands died, perished,

有數以千計的人在這裡遇難，

the food chain of the bay changed.

海灣的食物鏈， 甚至因此發生了變化：

Sharks came closer to the bay.

鯊魚越來越接近海灣。

It's where slaves were stored.

它是儲存奴隸的地方。

Imagine this hallowed ground.

想想這片神聖的土地，

So in this new design, the ground will erupt,

在這新設計中，地面會凸起，

and it will talk about this tension that sits below.

會講述地面下方緊張的情緒。

The columns and the ground is made of tabby shales

柱子和地面是由平紋頁岩構成，

scooped up from the Atlantic,

從大西洋撈起來的，

a reminder of that awful crossing.

提醒著我們那些可怕的過境點。

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

當你走向建築的另一邊時，

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

你會被迫經過那片倉庫的遺跡，

where slaves were stored

奴隸當時就是被留置在那裡。

on hot, sultry days, for days,

他們在那些悶熱的日子裡， 一困就是好幾天，

and perished.

然後死去。

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

在這裡，你必須面對面，

with the Negro,

與黑奴直接碰面

who worked in the marshes,

那些在沼澤地工作的黑奴，

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

有這鐮刀型紅血球疾病基因，

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

能夠忍受長日漫漫，浸在水裏工作。

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

它將全天候開放，

for everybody to experience.

歡迎任何人隨時參訪。

But we'll also talk about those other beautiful things

我們也會講述非洲祖先

that my African ancestors brought with them:

帶來的美好事物：

a love of landscape,

對地景的愛，

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

尊重林中、石中 和水中的靈魂的習俗，

the ethnobotanical aspects,

在民族植物學方面，

the plants that we use for medicinal purposes.

那些藥用的植物。

But more importantly,

更重要的是，

we want to remind people in Charleston, South Carolina,

我們想提醒生活在 南卡羅來納州查爾斯頓的人們，

of the black bodies,

這裡有黑人的屍體，

because when you go to Charleston today,

因為今天去到查爾斯頓

the Confederacy is celebrated,

會發現他們仍然在紀念 （支持蓄奴的）美利堅邦聯，

probably more than any other city,

可能甚於任何其他城市，

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

沒有一絲對黑人的感受。

The Brookes map,

這是布魯克斯地圖，

which was an image that helped abolitionists see

有助於廢奴主義者看到、

and be merciful for that condition of the crossing,

感受到當時過境的惡劣條件，

is something that we want to repeat.

是我們想要重複表達的事情。

And I was taken by the conceptuality

我被這個概念所吸引，

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

想讓這數位印刷品 擺在查爾斯頓博物館。

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

因此我們決定將水位提高到

seven feet above tide,

高於潮汐七英尺的地面上，

and then cast the figures full length, six feet,

鑄上身高六英尺的這些圖片，

multiply them across the surface,

將它們佈滿表面，

in tabby,

像斑紋般一條一條。

and then allow people to walk across that divide.

然後讓遊客走過這條鴻溝。

And hopefully, as people come,

計畫是當人們來到這兒的時候

the water will drain out,

水會流乾，

fill up,

再注滿，

drain out and fill up.

流乾再注滿。

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

你將不得不逐漸接受， 這個充滿記憶的地方，

that memory of that crossing,

這過境交界處的回憶。

that at times seems very lucid and clear,

有時看似清醒明瞭，

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

但其他時候迫使我們 再次調和這規模。

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

希望隨著人們每天經過這個景觀

unreconciled, they'll remember,

能想起這些故事與和解，

and hopefully when we remember,

也希望他們能牢記

e pluribus unum.

合眾為一。

Thank you.

謝謝大家！

(Applause)

（掌聲）