Greg Lynn: How calculus is changing architecture

譯者: June-Hao Hou 審譯者: Zhu Jie

What I thought I would talk about today

我想我今天要談的，

is the transition from one mode

是建築界

of thinking about nature

對於自然（與自然形式）

to another that's tracked by architecture.

在看法上的轉變過程。

What's interesting about architects is,

建築師有趣的地方，

we always have tried to justify beauty

在於我們經常藉由參考自然

by looking to nature,

作為美的依據，

and arguably, beautiful architecture

按理說，漂亮的建築

has always been looking at a model of nature.

也經常以自然為師。

So, for roughly 300 years,

所以，約莫有三百年的時間，

the hot debate in architecture

建築界最熱門的爭辯

was whether the number five

是究竟數字5

or the number seven

或者數字7

was a better proportion to think about architecture,

才是建築中較佳的比例，

because the nose was one-fifth of your head,

因為鼻子是頭部的五分之一長，

or because your head was one-seventh of your body.

而頭卻是身體的七分之一長。

And the reason that that was the model

比例關係之所以會成為

of beauty and of nature

美麗與自然的象徵

was because the decimal point had not been invented yet --

是因為當時尚未發明小數點 --

it wasn't the 16th century --

那是16世紀的事情 --

and everybody had to dimension a building

於是所有人都必須用比例關係

in terms of fractions,

來度量建築物，

so a room would be dimensioned

像一個房間是

as one-fourth of a facade;

立面的四分之一寬；

the structural dais of that might be dimensioned as 10 units,

如果結構基座是10個單位，

and you would get down to the small elements

你可以用比例分割的方法

by fractional subdivision:

得到更小的單元；

finer and finer and finer.

愈切愈細、愈切愈細。

In the 15th century, the decimal point was invented;

15世紀時，發明了小數點；

architects stopped using fractions,

建築師不再使用比例，

and they had a new model of nature.

他們有了描述大自然的新模型。

So, what's going on today

所以，今天我們所使用的

is that there's a model of natural form

是一種自然形式的模型

which is calculus-based

它是基於微積分運算

and which is using digital tools,

而且仰賴數位工具，

and that has a lot of implications

這讓我們對於美麗與形式的看法

to the way we think about beauty and form,

有了更為豐富的含意，

and it has a lot of implications in the way we think about nature.

也包括我們思考大自然的方式。

The best example of this would probably be the Gothic,

其中最好的例子應該是哥德式建築，

and the Gothic was invented after the invention of calculus,

哥德式建築在微積分發明之後出現。

although the Gothic architects

雖然哥德式建築師

weren't really using calculus to define their forms.

並不是使用微積分來定義他們的形式。

But what was important is,

但重要的是，

the Gothic moment in architecture was the first time

哥德時期的建築是首次

that force and motion was thought of in terms of form.

用形式來思考力與動態。

So, examples like Christopher Wren's King's Cross:

以Christopher Wren的國王十字(King's Cross)車站為例：

you can see that the structural forces of the vaulting

你可以看到拱頂的結構力量

get articulated as lines, so you're really actually seeing

以線條方式連接，所以你真的可以看見

the expression of structural force and form.

結構力量和形式的表現。

Much later, Robert Maillart's bridges,

再拿廿世紀初Robert Maillart的橋為例，

which optimize structural form

它的結構形式是透過

with a calculus curvature almost like a parabola.

曲率運算所得的最佳形體，宛如拋物線一般。

The Hanging Chain models of Antonio Gaudi,

另一個例子，西班牙加泰隆建築師安東尼•高地

the Catalan architect.

所製作的懸吊繩索模型。

The end of the 19th century, beginning of the 20th century,

此時是19世紀末、20世紀初，

and how that Hanging Chain model

該懸吊繩索模型最令人感興趣的

translates into archways

是線條如何被詮釋為拱門和

and vaulting.

拱頂結構。

So, in all of these examples,

所以，這些例子中，

structure is the determining force.

結構是最關鍵的決定力。

Frei Otto was starting to use foam bubble diagrams

Frei Otto利用泡沫的氣泡圖形

and foam bubble models to generate his Mannheim Concert Hall.

和氣泡模型，設計了他的曼海姆(Mannheim)音樂廳。

Interestingly, in the last 10 years

很有趣的，在過去十年，

Norman Foster used a similar heat thermal transfer model

諾曼•福斯特也用了類似的熱傳導模型

to generate the roof of the National Gallery,

來產生國家藝廊的屋頂，

with the structural engineer Chris Williams.

那是和結構工程師Chris Williams的合作。

In all these examples,

在所有這些例子中，

there's one ideal form,

都存在一個理想的形式，

because these are thought in terms of structure.

因為他們都以結構來思考。

And as an architect, I've always found these kinds of systems

就建築師來說，我一直認為這種系統

very limiting, because I'm not interested in ideal forms

非常侷限，因為我對理想形式並不感興趣

and I'm not interested in optimizing to some perfect moment.

而且我也對形式最佳化到某種完美的地步不感興趣。

So, what I thought I would bring up is

所以，我想提出的是

another component that needs to be thought of,

另一個值得思考的層面。

whenever you think about nature,

每當你想到自然，

and that's basically the invention of

那基本上是一般形體

generic form in genetic evolution.

透過基因演化後的結果。

My hero is actually not Darwin;

我心目中的英雄並不是達爾文；

it's a guy named William Bateson,

而是William Bateson（英國基因學家），

father of Greg Bateson, who was here for a long time in Monterey.

他是Greg Bateson之父，曾長期居住在蒙特瑞(Monterey)，

And he was what you'd call a teratologist:

你可以稱他為畸形學家：

he looked at all of the monstrosities and mutations

他檢視各種畸形與突變案例

to find rules and laws, rather than looking at the norms.

並從中尋找規律與法則，而非只檢視通例。

So, instead of trying to find the ideal type

所以，與其尋找理想型態

or the ideal average,

或理想平均值，

he'd always look for the exception. So, in this example,

他總是尋找例外情況。所以，以這個例子來說，

which is an example of what's called Bateson's Rule,

這例子被稱作Bateson法則，

he has two kinds of mutations of a human thumb.

他舉出兩種人類大拇指突變類型。

When I first saw this image, 10 years ago,

10年前我初次看到這張影像，

I actually found it very strange and beautiful at the same time.

我其實覺得它暨奇異又美麗。

Beautiful, because it has symmetry.

美麗，是因為它具有對稱性。

So, what he found is that in all cases of thumb mutations,

所以，當他發現在所有的拇指突變案例中，

instead of having a thumb,

如果不是只有一個拇指，

you would either get another opposable thumb,

就是會長出另一個反向的拇指，

or you would get four fingers.

或者你會得到另一組四個手指頭。

So, the mutations reverted to symmetry.

所以，突變會回歸到對稱性。

And Bateson invented

據此，Bateson發明了

the concept of symmetry breaking,

對稱斷裂(symmetry breaking)的概念。

which is that

也就是說

wherever you lose information in a system,

當你在系統中欠缺資訊時，

you revert back to symmetry.

你就回頭使用對稱法。

So, symmetry wasn't the sign of order and organization --

所以，對稱無關乎秩序與組織 --

which is what I was always understanding, and as is an architect --

這也是我基於建築師身分所一直理解的事實 --

symmetry was the absence of information.

對稱是因為缺乏資訊。

So, whenever you lost information, you'd move to symmetry;

所以，每當你缺乏資訊時，你就用對稱；

whenever you added information to a system, you would break symmetry.

每當你增加資訊到系統中時，你就打破了對稱。

So, this whole idea of natural form shifted at that moment

於是，我們對於自然形體的想法

from looking for ideal shapes

就從尋找理想形狀

to looking for a combination of

轉變為尋找資訊

information and generic form.

和一般形式的組合。

You know, literally after seeing that image,

你知道，看了那幅影像，

and finding out what Bateson was working with,

以及瞭解Bateson所做的事情之後，

we started to use these rules for symmetry breaking and branching

我們開始利用這些對稱斷裂和分支的規則，

to start to think about architectural form.

開始思考建築形體。

To just talk for a minute about the

讓我稍微談一下

digital mediums that we're using now

我們所使用的數位媒介

and how they integrate calculus:

以及如何與微積分整合：

the fact that they're calculus-based

所謂與微積分整合的意思是

means that we don't have to think about dimension

我們不需要用理想度量單位

in terms of ideal units

或離散的單元

or discreet elements.

來思考大小尺寸。

So, in architecture we deal with

所以，在建築界我們處理的是

big assemblies of components,

元件的大型組合體，

so there might be up to, say,

例如說可能有

50,000 pieces of material

五萬件材料

in this room you're sitting in right now

構成了你所身處的這個房間，

that all need to get organized.

而這些材料都必須被妥善安置。

Now, typically you'd think that they would all be the same:

一般而言，你可能認為這些材料都是一樣的：

like, the chairs you're sitting in would all be the same dimension.

例如你所坐的椅子尺寸應該都相同。

You know, I haven't verified this, but it's the norm

我並沒有確認這件事，但根據標準規範

that every chair would be a slightly different dimension,

每張椅子的尺寸應該略有不同，

because you'd want to space them all out for everybody's sight lines.

因為你需要將椅子錯開排列，避免遮住後排視線。

The elements that make up the ceiling grid and the lighting,

構成天花板和照明的元件，

they're all losing their modular quality,

也都逐漸失去它們的模組特性，

and moving more and more to these infinitesimal dimensions.

而變成在尺寸上具備細微差異的物件。

That's because we're all using calculus tools

那是因為微積分工具也都介入了它們的

for manufacturing and for design.

設計與生產過程。

Calculus is also a mathematics of curves.

微積分也是一種曲線的數學。

So, even a straight line, defined with calculus, is a curve.

所以，即使是直線，在微積分中也是一種曲線，

It's just a curve without inflection.

它只不過是沒有彎曲的曲線。

So, a new vocabulary of form

所以，有一種新的形式語彙

is now pervading all design fields:

逐漸充斥在各種設計領域：

whether it's automobiles, architecture, products, etc.,

無論是汽車、建築、產品等等，

it's really being affected by this digital medium of curvature.

都被這種數位媒介所定義的曲率所影響。

The intricacies of scale that come out of that --

其中尺度的錯綜複雜 --

you know, in the example of the nose to the face,

就像鼻子與臉部的比例，

there's a fractional part-to-whole idea.

都存在一種局部與全體在比例上的概念。

With calculus, the whole idea

就微積分而言，細部分割的想法

of subdivision is more complex,

就更為複雜了，

because the whole and the parts are one continuous series.

因為無論全體或局部都是一個連續的序列。

It's too early in the morning for a lecture on calculus,

一大早上微積分課恐怕太辛苦了，

so I brought some images to just describe how that works.

所以我帶了一些圖片，僅僅示範它如何運作。

This is a Korean church that we did in Queens.

這是我們設計的韓國教堂，位於紐約市皇后區。

And in this example, you can see

在這個例子中，你會看到

that the components of this stair are repetitive,

這個梯子的元件是重複出現的，

but they're repetitive without being modular.

但卻不是模組式的重複。

Each one of the elements in this structure

這個結構中的每一個元素

is a unique distance and dimension,

在距離和尺寸上都不一樣，

and all of the connections are unique angles.

每個接點的角度也不同。

Now, the only way we could design that,

我們能設計、甚至建造出來的

or possibly construct it,

唯一辦法，

is by using a calculus-based definition

就是要使用該形體的

of the form.

微積分定義。

It also is much more dynamic,

這個形體十分動態，

so that you can see that the same form opens and closes

所以當你行走跨越建築時，你可以看到

in a very dynamic way as you move across it,

相同形體以很動態的方式打開與關閉，

because it has this quality of vector in motion

因為它呈現了內在的

built into it.

動作向量品質。

So the same space that appears to be a kind of closed volume,

所以呈現為封閉量體的相同空間，

when seen from the other side becomes a kind of open vista.

從另外一側看，卻變成了開放的景觀。

And you also get a sense of

同時你還會感受到

visual movement in the space,

空間中的視覺移動，

because every one of the elements is changing in a pattern,

因為每個元素的樣式都一直改變，

so that pattern leads your eye towards the altar.

而這樣式會將你的視線帶向聖壇。

I think that's one of the main changes,

我想這對建築造成的改變，

also, in architecture:

就是：

that we're starting to look now not for some ideal form,

除了像教堂裡拉丁十字般的理想形式外，

like a Latin cross for a church,

我們開始尋找不同的東西，

but actually all the traits of a church:

甚至包括了教堂的所有特徵：

so, light that comes from behind from an invisible source,

例如不知從何而來、由背後投出的光線，

directionality that focuses you towards an altar.

很自然讓你聚焦至聖壇的方向。

It turns out it's not rocket science

我們並不需要多麼深奧的學問

to design a sacred space.

去設計、造就神聖的空間。

You just need to incorporate a certain number of traits

你只需要用特定的方式

in a very kind of genetic way.

去結合若干空間特點即可。

So, these are the different perspectives of that interior,

所以，這些內部空間的不同面向，

which has a very complex

都具備了十分複雜的角度變化，

set of orientations all in a simple form.

縱使每個變化的形式都很簡單。

In terms of construction and manufacturing,

就營造和構築而言，

this is a kilometer-long housing block

這是個約莫一公里長的住宅街廓

that was built in the '70s in Amsterdam.

興建於七〇年代的阿姆斯特丹。

And here we've broken the 500 apartments

我們將500間公寓打散

up into small neighborhoods,

成為若干小型區域，

and differentiated those neighborhoods.

並且刻意讓它們有差異性。

I won't go into too much description of any of these projects,

我不打算講述太多關於這些計畫的細節，

but what you can see is that

但你可以看到

the escalators and elevators

電扶梯和升降梯

that circulate people along the face of the building

沿著建築物表面輸送人群

are all held up by

它們是由

122 structural trusses.

122根結構桁架支撐。

Because we're using escalators

因為我們用電扶梯

to move people,

輸送人群，

all of these trusses are picking up diagonal loads.

這些構架承受了對角線方向的重量。

So, every one of them is a little bit different-shaped

所以，每根構架的形狀都有些許差異，

as you move down the length of the building.

尤其當沿著建築物長軸移動時可以觀察到。

So, working with

所以，我們在

Bentley and MicroStation,

賓特利公司的MicroStation上

we've written a custom piece of software

撰寫了自己的軟體，

that networks all of the components together

將所有元件以網路形式串連

into these chunks of information,

成為一段段的資訊，

so that if we change any element

當我們沿著建築物長軸

along the length of the building,

變更任何元件時，

not only does that change distribute

不僅會連帶改變

through each one of the trusses,

整棟建築的每根構架，

but each one of the trusses then distributes that information

這些構架還會將資訊

down the length of the entire facade of the building.

傳遞到建築的整個立面。

So it's a single calculation

對建築物的每個元件而言，

for every single component of the building

我們所加上的

that we're adding onto.

都是獨立的運算。

So, it's tens of millions of calculations

所以，光光為了設計

just to design one connection between a piece of structural steel

兩組結構鋼樑之間的接點

and another piece of structural steel.

就要進行千萬次的運算。

But what it gives us is a harmonic

但它所賦與我們的是一種

and synthesized

介於所有元件彼此之間的

relationship of all these components, one to another.

和諧與合成關係。

This idea has, kind of, brought me into doing

受到這想法影響，我也涉獵了

some product design,

產品設計，

and it's because design firms

因為不少設計公司

that have connections to architects,

都和建築師有合作關係，

like, I'm working with Vitra, which is a furniture company,

例如我目前合作的家具設計公司Vitra

and Alessi, which is a houseware company.

和家庭用具設計公司Alessi。

They saw this actually solving a problem:

他們認為這可以解決一個問題：

this ability to differentiate components

區分元件，並使它們

but keep them synthetic.

充分整合在一起的能力。

So, not to pick on BMW,

不是要挑剔BMW，

or to celebrate them,

也不是稱讚他們，

but take BMW as an example.

而是拿BMW當個例子。

They have to, in 2005,

在2005年，他們必須

have a distinct identity

要讓全系列的車種

for all their models of cars.

都具備鮮明的企業特徵。

So, the 300 series, or whatever their newest car is,

譬如300系列或者任何一款新車，

the 100 series that's coming out,

即將推出的100系列，

has to look like the 700 series,

也都要看起來像他們產品線另一端

at the other end of their product line,

昂貴的700系列，

so they need a distinct, coherent identity,

所以他們都需要一些鮮明而易於瞭解的特徵，

which is BMW.

也就是BMW。

At the same time, there's a person paying 30,000 dollars

同時，有人付三萬美元

for a 300-series car,

買300系列，

and a person paying 70,000 dollars

也有人願意花七萬美元

for a 700 series,

買七百系列，

and that person paying more than double

付了兩倍價錢的人

doesn't want their car to look too much like

不會希望他們的車看起來太像

the bottom-of-the-market car.

廉價車款。

So they have to also discriminate between these products.

所以不同等級車款間的差異勢必要易於辨識。

So, as manufacturing

當生產製造過程

starts to allow more

開始提供更多的

design options,

設計選擇，

this problem gets exacerbated,

這個問題就更加嚴重了，

of the whole and the parts.

對整體與局部而言都一樣。

Now, as an architect, part-to-whole relationships

身為建築師，全體-局部的關係 --

is all I think about,

是我最關注的，

but in terms of product design

但就產品設計來說

it's becoming more and more of an issue for companies.

也逐漸變成設計公司所需面對的問題了。

So, the first kind of test product we did

我們首先拿來測試的產品

was with Alessi,

是和Alessi合作，

which was for a coffee and tea set.

是一套咖啡茶具組。

It's an incredibly expensive coffee and tea set;

那是一套相當昂貴的咖啡茶具組；

we knew that at the beginning. So, I actually went to some people I knew

我們打從一開始就知道了。所以，我拜訪了

down south in San Diego,

聖地牙哥的一些朋友，

and we used an exploded

我們採用

titanium forming method

鈦金屬爆炸成形法，

that's used in the aerospace industry.

這種方法多用在航太工業。

Basically what we can do,

基本上我們能做的，

is just cut a graphite mold,

只是切割石墨模子，

put it in an oven, heat it to 1,000 degrees,

放進烤箱、加熱至一千度，

gently inflate titanium that's soft,

緩慢對軟化的鈦金屬充氣，

and then explode it at the last minute into this form.

接著在最後一刻將其爆炸，形成最終形體。

But what's great about it is,

但最棒的是，

the forms are only a few hundred dollars.

產生形體只需花幾百美金。

The titanium's several thousand dollars, but the forms are very cheap.

鈦金屬要花幾千美金，但產生形體變得很廉價。

So, we designed a system here

所以我們設計了一個系統

of eight curves that could be swapped,

其中包括可以相互置換的八條曲線，

very similar to that housing project I showed you,

那和我剛才提到的建築案很類似，

and we could recombine those together,

接著我們將他們合併在一起，

so that we always had ergonomic shapes

確保所得到的造型符合人因工程

that always had the same volume

同時維持相同體積

and could always be produced in the same way.

而且能被建造出來。

That way, each one of these tools we could pay for with

這麼一來，雖然這些工具的價值

a few hundred dollars,

每個只有幾百美金，

and get incredible variation in the components.

卻能產生元件之間令人意想不到的變化。

And this is one of those examples of the sets.

這僅是諸多例子之一。

So, for me, what was important is that

所以對我來說，重要的是

this coffee set --

這組咖啡茶具組 --

which is just a coffee pot, a teapot,

雖然只不過是咖啡壺、茶壺，

and those are the pots sitting on a tray --

一般放在托盤上的茶壺 --

that they would have a coherence --

他們有一種類似性 --

so, they would be Greg Lynn Alessi coffee pots --

他們可以被稱作Greg Lynn Alessi咖啡壺 --

but that everyone who bought one

但每個購買這組茶具的人

would have a one-of-a-kind object that was unique in some way.

都會買到一組在某些特點上獨一無二的設計。

To go back to architecture,

回到建築議題，

what's organic about architecture as a field,

對建築學科來說，

unlike product design,

有機的定義不同於產品設計，

is this whole issue of holism

乃在於機能整體性的問題

and of monumentality is really our realm.

以及不朽的價值，那才是我們的領域。

Like, we have to design things which are coherent as a single object,

像是我們所設計出來的東西通常具有類似性，

but also break down into small rooms

但同時也區分為不同的房間

and have an identity of both the big scale

而且無論在大尺度和小尺度上

and the small scale.

都能彰顯自我身分。

Architects tend to work with signature,

建築師偏好處理識別性，

so that an architect needs a signature

所以建築師需要識別性

and that signature has to work across the scale of houses

在房子的不同尺度下都要具備這種識別性

up to, say, skyscrapers,

大到摩天大樓都一樣。

and that problem of signatures is a thing we're very good at maintaining

處理識別性的問題是我們的專長

and working with; and intricacy,

而就複雜性，

which is the relationship of, say,

來自於建築物各種元素，如

the shape of a building, its structure, its windows,

建築物外型、結構、開窗、

its color, its pattern. These are real architectural problems.

顏色、樣式等。這些都是實際的建築問題。

So, my kind of hero for this in the natural world

所以自然界在這方面我所崇拜的

are these tropical frogs.

是熱帶雨蛙。

I got interested in them because they're the most

我對他們感到興趣的原因是

extreme example

他們極為特殊

of a surface where

的表皮以及

the texture and the -- let's call it the decoration --

紋理 -- 姑且稱作裝飾吧 --

I know the frog doesn't think of it as decoration, but that's how it works --

雖然雨蛙不這麼認為，但它呈現出來的的確是裝飾 --

are all intricately connected to one another.

這些複雜的紋理彼此相互連結。

So a change in the form

當雨蛙的形體有所改變

indicates a change in the color pattern.

身上的花紋隨之變化。

So, the pattern and the form aren't the same thing,

所以，花紋和型態雖然不是同一件事，

but they really work together and are fused

但他們卻以一種獨特的方式彼此融合、

in some way.

交互運作。

So, when doing a center

所以呢，當我設計

for the national parks in Costa Rica,

哥斯大黎加國家公園旅客中心時，

we tried to use that idea of a gradient color

我們嘗試運用漸層色以及

and a change in texture

以及紋理變化的想法

as the structure moves across the surface of the building.

它們會隨著結構的不同而有所改變。

We also used a continuity of change

我們也讓連續的變化從

from a main exhibition hall to a natural history museum,

展覽大廳延續到自然歷史博物館，

so it's all one continuous change

所以連續變化是整體性的

in the massing,

橫跨建築量體。

but within that massing are very different kinds of spaces and forms.

然而在量體之內，空間和形式卻大異其趣。

In a housing project in Valencia, Spain, we're doing,

在西班牙瓦倫西亞的住宅案裡，

the different towers of housing fused together

我們嘗試將不同的住宅高樓融合在一起

in shared curves so you get a single mass,

使其外圍曲線呈現一致性，結合為單一量體，

like a kind of monolith,

就像一整塊石頭般，

but it breaks down into individual elements.

但其實它卻由不同單元組合而成。

And you can see that that change in massing

這種在量體的變化

also gives all 48 of the apartments

同時也給所有48個住宅單元

a unique shape and size,

它們獨特的形狀與大小，

but always within a, kind of, controlled limit,

只不過被包覆在一種像是限制框架的

an envelope of change.

包覆容器內。

I work with a group of other architects.

我和一群建築師共事，

We have a company called United Architects.

我們的公司叫做「聯合建築師(United Architects)」。

We were one of the finalists for the World Trade Center site design.

我們的作品曾進入紐約世貿大樓原址競圖案決選。

And I think this just shows how

我想這呈現了

we were approaching

我們想嘗試

the problem of incredibly large-scale construction.

超大型建案的企圖。

We wanted to make a kind of Gothic cathedral

我們想在世貿大樓原址的基地周邊

around the footprints of the World Trade Center site.

圍繞著一圈哥德式教堂。

And to do that, we tried to connect up

為了達成目的，我們嘗試將

the five towers into a single system.

五棟大樓連結為單一系統。

And we looked at, from the 1950s on,

從1950年代開始，

there were numerous examples of other architects

已經有不少建築師嘗試

trying to do the same thing.

去做相同的事情。

We really approached it at the level

我們的作法是去

of the typology of the building,

處理建築物的類型，

where we could build these five separate towers,

使得五棟原本分離的大樓，

but they would all join at the 60th floor

能在60樓的位置相連結

and make a kind of single monolithic mass.

成為單一的巨型量體。

With United Architects, also,

聯合建築師事務所也參與了

we made a proposal for the European Central Bank headquarters

歐洲中央銀行總部的設計提案，

that used the same system,

也採用了相同系統，

but this time in a much more monolithic mass,

但這個提案的單一量體更大，

like a sphere.

就像一顆球。

But again, you can see this, kind of,

再一次強調，你所看到的這種

organic fusion

複合建築元素的

of multiple building elements

有機融合方法

to make a thing which is whole, but breaks down into smaller parts,

使得事物以一種令人驚異的有機方式建構為一個整體，

but in an incredibly organic way.

其構成單元又能獨立存在。

Finally, I'd like to just show you

最後，我想讓大家看一些

some of the effects of using digital fabrication.

數位製造技術的影響。

About six years ago, I bought one of these CNC mills,

大約六年前，我買了一部電腦數值控制雕銑機，

to just replace, kind of,

原本是為了減少

young people cutting their fingers off all the time building models.

年輕人切割建築模型的頻繁意外。

And I also bought a laser cutter

我也買了一部雷射切割機

and started to fabricate within my own shop,

放在模型工廠內，

kind of, large-scale building elements and models,

進行大型建築元件與模型的製作，

where we could go directly to the tooling.

方便大家使用各種工具與機具。

What I found out is that the tooling,

我發現在工具使用上，

if you intervened in the software,

如果你在軟體上下功夫，

actually produced decorative effects.

可以製造出裝飾效果。

So, for these interiors, like this shop in Stockholm, Sweden,

所以像是室內設計，例如這個瑞典斯德哥爾摩的商店，

or this installation wall in the Netherlands

或者荷蘭建築學會的

at the Netherlands Architecture Institute,

裝置牆面設計，

we could use the texture that the tool would leave

我們會用工具所留下的質感

to produce a lot of the spatial effects,

來產生不錯的空間效果，

and we could integrate the texture of the wall

我們會利用這種材料

with the form of the wall with the material.

將牆的紋理質感和形式整合起來。

So, in vacuum-formed plastic, in fiberglass,

所以傳統上真空成形塑膠、玻璃纖維、

and then even at the level of structural steel,

甚至結構鋼材，

which you think of as being linear and modular.

都被視為是線性、模矩化的建材。

The steel industry is so far

鋼鐵業已經

ahead of the design industry

嘗試和設計業合作，

that if you take advantage of it

如果你能利用這個機會

you can even start to think of beams and columns

你甚至可以開始想像建築中的樑與柱

all rolled together into a single system

扭曲纏繞為單一個

which is highly efficient,

效能極佳的結構系統，

but also produces decorative effects

卻也同時呈現了必要的裝飾效果

and formal effects

以及外形效果，

that are very beautiful and organic.

充分滿足了我們對美感與有機的需求。

Thanks very much.

謝謝大家。