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譯者: Shelley Krishna Tsang
審譯者: Geoff Chen
00:15
I'm going to speak to you today about architectural agency.
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今天我來和大家聊聊建築事務所。
00:19
What I mean by that is that it's time for architecture
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這裏的“建築”是指建築再現的過程,
00:21
to do things again, not just represent things.
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而不是簡簡單單的視覺表現。
00:25
This is a construction helmet that I received two years ago
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這是兩年前我在我和事務所參加的有史以來
00:29
at the groundbreaking of the largest project
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最具開拓性的項目中
00:31
I, and my firm, have ever been involved in.
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得到的一隻建築頭盔。
00:34
I was thrilled to get it. I was thrilled to be the only person
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當時得到它我興奮極了。能成為唯一一個頭戴銀光閃閃的頭盔
00:36
standing on the stage with a shiny silver helmet.
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站上舞臺的人,實在讓我激動不已。
00:39
I thought it represented the importance of the architect.
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我覺得它就代表了那座建築的重要性。
00:42
I stayed thrilled until I got home,
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直到回到家裏,我還激動得不行
00:44
threw the helmet onto my bed,
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我把頭盔扔到床上,
00:46
fell down onto my bed and realized inside
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在床上躺下,這才發現頭盔裏還刻了字。
00:49
there was an inscription.
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(警告:這個特製的鍍銀頭盔只能作裝飾用途,無實際保護功能)
00:52
(Laughter)
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(笑)
00:55
Now, I think that this is a great metaphor
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現在,我覺得這是一個深刻的隱喻
00:57
for the state of architecture and architects today.
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正傳達了當今建築師與建築的情況。
00:59
We are for decorative purposes only.
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我們都只是裝飾品而已。
01:02
(Laughter)
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(笑)
01:03
Now, who do we have to blame?
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那麼,這都怪誰呢?
01:05
We can only blame ourselves. Over the last 50 years
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只能怪我們自己。過去的這五十年來,
01:08
the design and construction industry has gotten much more complex
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設計和營造業變得如此複雜
01:11
and has gotten much more litigious.
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如此爭強好勝。
01:13
And we architects are cowards.
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而我們建築師卻成了膽小鬼。
01:15
So, as we have faced liability,
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當我們面對責任,
01:17
we have stepped back and back,
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就步步後退
01:20
and unfortunately, where there is liability, guess what there is:
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但不幸的是,哪里有責任,
01:22
power.
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哪里就有權力。
01:25
So, eventually we have found ourselves
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結果就是,我們最終發現自己
01:27
in a totally marginalized position, way over here.
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已經完全退到了最邊緣的地方。
01:30
Now, what did we do? We're cowards,
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現在,我們又該怎麼辦呢?我們確實是膽小鬼,
01:32
but we're smart cowards.
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但又是其中最聰明的。
01:35
And so we redefined this marginalized position as the place of architecture.
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所以我們得將這塊邊緣地帶重新設定成建築的存在空間。
01:38
And we announced, "Hey, architecture, it's over here,
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我們大聲招呼,「嗨,建築,看這兒!
01:41
in this autonomous language
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只有這種獨立宣言才能
01:43
we're going to seed control of processes."
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讓我們掌握整個過程。」
01:46
And we were going to do something that was horrible for the profession.
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然後我們要對這個職業進行駭人的改造
01:51
We actually created an artificial schism
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我們實際上人為地讓創造和執行
01:53
between creation and execution,
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分立為二,
01:57
as if you could actually create without knowing how to execute
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在創意的時候完全不用考慮執行的問題
01:59
and as if you could actually execute
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在執行的時候也不需要
02:01
without knowing how to create.
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知道該如何創新。
02:03
Now, something else happened.
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現在情況發生了變化。
02:05
And that's when we began to sell the world
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以前我們告訴世界
02:07
that architecture was created by individuals
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建築是由描繪出的天才的草圖的建築師
02:10
creating genius sketches.
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創造出來的。
02:12
And that the incredible amount of effort to deliver those sketches
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許多年來,為了實現這些草圖
02:16
for years and years and years is not only something
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所付出難以想像的努力
02:18
to be derided,
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不僅僅被嘲笑作白費力氣
02:20
but we would merely write it off as
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而且我們來說,這只是
02:22
merely execution.
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執行問題而已。
02:25
Now I'd argue that that is as absurd as stating
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但是這幾乎和把三十分鐘的交媾稱作創造,
02:28
that 30 minutes of copulation is the creative act,
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將十月懷胎過程
02:32
and nine months of gestation,
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以及二十四小時的生產過程
02:34
and, God forbid, 24 hours of child labor
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僅僅作為執行過程
02:39
is merely execution.
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一樣荒謬。
02:41
So, what do we architects need to do? We need to stitch back
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所以我們建築師到底要做些什麼?我們要將
02:43
creation and execution.
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創造和執行一步步地重新縫合。
02:46
And we need to start authoring processes again
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我們要掌控整個過程,
02:49
instead of authoring objects.
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而不是零碎的部件。
02:51
Now, if we do this, I believe we can go back 50 years
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如果我們能做到這些,我相信就能回到五十年前
02:54
and start reinjecting agency,
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將事務所和社會工程
02:56
social engineering, back into architecture.
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重新注入建築過程。
03:00
Now, there are all kinds of things that we architects need to learn how to do,
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現在,建築師們有太多東西需要學了
03:02
like managing contracts, learning how to write contracts,
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比如說管理契約,寫契約
03:06
understanding procurement processes,
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甚至要搞清採購流程
03:09
understanding the time value of money and cost estimation.
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知道時間就是金錢,還要懂得成本估算。
03:12
But I'm going to reduce this to the beginning of the process,
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但我要把這些“重任”都卸去,回到整個過程的原點,
03:15
into three very pedantic statements.
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三條不得不遵循的規則。
03:18
The first is: Take core positions with your client.
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首先,要在與客戶的接觸中占核心地位。
03:21
I know it's shocking, right, that architecture would actually say that.
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我知道,這聽來不是很妥當,但這正是“建築”需要的。
03:24
The second position is: Actually take positions.
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第二條,堅定立場,並且
03:27
Take joint positions with your client.
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要和客戶達成一致
03:29
This is the moment in which you as the architect
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這個時候作為建築師,
03:31
and your client can begin to inject
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就可以和客戶一同注入各自的
03:33
vision and agency.
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創想和作用。
03:35
But it has to be done together.
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這必須由你們共同參與完成。
03:37
And then only after this is done
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只有在這一步完成之後,
03:39
are you allowed to do this, begin to put forward
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你才能開始拿出你的
03:41
architectural manifestations
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建築設計
03:43
that manifest those positions.
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來展現你的立場。
03:45
And both owner and architect alike
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建築師和客戶雙方
03:48
are empowered to critique those manifestations
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都可以在你們達成的共識的基礎上
03:50
based on the positions that you've taken.
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對設計進行評價。
03:52
Now, I believe that one really amazing thing will happen if you do this.
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現在,我敢說你如果按我說的做,一定會達到意想不到的效果
03:57
I'd like to call it the lost art of productively losing control.
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我傾向於把它稱作一門幾近失傳的用鬆散管理來提高效率的藝術
04:01
You do not know what the end result is.
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你不知道結果會怎樣
04:04
But I promise you, with enough brain power
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但我保證,只要彙集足夠的智慧,
04:06
and enough passion and enough commitment,
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足夠的熱情和決心
04:09
you will arrive at conclusions
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就能得到超越傳統
04:11
that will transcend convention,
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的最終方案
04:13
and will simply be something
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那絕對是
04:16
that you could not have initially
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在專案開始時
04:18
or individually conceived of.
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每個人都無法想像的成功。
04:21
Alright, now I'm going to reduce all of this to a series
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好了,我現在就用一些簡單的圖畫
04:23
of simple dumb sketches.
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來說明以上的過程。
04:25
This is the modus operandi that we have today.
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這是我們現在慣用的伎倆。
04:28
We roll 120-foot Spartan,
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我們推出一個一百二十英尺高的斯巴達人
04:32
i.e. our vision, up to our clients' gates of Troy.
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現在,我們的目標就是打開顧客的特洛伊城門
04:37
And we don't understand why they won't let us in. Right?
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我們還不曉得為什麼他們不給我們開門,對吧?
04:42
Well, how about instead of doing that,
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那為什麼不這樣,
04:44
we roll up to the gates something they want.
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我們給他們送上他們想要的東西
04:47
Now this is a little bit of a dangerous metaphor,
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這就是有點危險性的偽裝了
04:50
because of course we all know that inside
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因為我們都知道特洛伊木馬裏面
04:52
of the Trojan Horse were a bunch of people with spears.
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有一干拿了長矛的戰士
04:54
So, we can change the metaphor. Let's call the Trojan Horse
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那麼,我們就改變原來容易識破的偽裝。
04:56
the vessel by which
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讓我們把特洛伊木馬稱做
04:58
you get through the gate,
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讓你攻克大門的容器
05:00
get through the constraints of a project.
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攻克一個項目的種種限制。
05:03
At which point, you and your client
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這時候,你和你的客戶
05:05
have the ability to start considering what
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就可以開始考慮在這個容器中
05:07
you're going to put inside that vessel,
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要放些什麼
05:09
the agency, the vision.
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事務所的作用,還有你們的創想
05:11
And if you do that, you do that responsibly,
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如果你那麼做,盡職盡責地進行
05:14
I believe that instead of delivering Spartans,
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我相信你完全可以將斯巴達人換成創想
05:16
you can deliver maidens.
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傳遞給客戶。
05:18
And if I could summarize that all up into one single sketch it would be this.
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要把剛才說的都總結一下,變成一張圖,就會使這樣。
05:21
If we are so good at our craft
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如果我們都那麼心靈手巧
05:23
shouldn't we be able to conceive
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為什麼就不能讓我們的建築構思
05:26
of an architectural manifestation
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天衣無縫地
05:28
that slides seamlessly through
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契合上專案和客戶
05:30
the project's and the client's constraints?
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的種種要求呢?
05:32
Now, with that in mind, I'm going to show a project
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有了這些鋪墊,我準備向你們展示一個
05:34
that's very dear to many people in this room--
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對很多在做觀眾都很親切熟悉的項目
05:36
well, maybe not dear, but certainly close to many people in this room.
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可能不那麼親切,但至少它就在你們身邊。
05:39
And that's a project that is just about to open next week,
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這個項目下周就要正式對外開放了
05:42
the new home for the Dallas Theater Center,
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它是達拉斯表演藝術中心
05:45
the Dee and Charles Wyly Theatre.
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迪和查理斯•威利劇院
05:47
Now, I'm going to present it on the same terms:
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現在,我就要把它置於同樣的條件,
05:49
issue, position and architectural manifestation.
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核心問題,立場和建築表現中來。
05:52
Now, the first issue that we faced
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我們遇到的第一個問題
05:54
was that the Dallas Theater Center
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就是達拉斯表演藝術中心
05:57
had a notoriety that was beyond what you would expect
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雖然在紐約,芝加哥和西雅圖
06:00
of some place outside of the triumvirate
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組成的三角區域之外,
06:02
of New York, Chicago and Seattle.
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卻一直“惡名昭著”。
06:05
And this had to do with the ambitions of the leadership.
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這與政治野心和領導勢力有關。
06:07
But it also had to do with something rather unusual,
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但同時,另一個不同尋常的原因
06:10
and that was this horrible little building that they'd been performing in.
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就是這個以前的表演場所,一幢極其醜陋的小房子
06:14
Why was this horrible little building
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為什麼這棟不起眼的小房子
06:17
so important to their renown and their innovation?
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對他們的名聲和革新那麼重要?
06:20
Because they could do whatever they wanted to to this building.
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因為在這裏,他們可以放肆大膽地表演。
06:23
When you're on Broadway, you cannot tear the proscenium down.
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如果是在百老匯,你就不能把幕前舞臺整個拆了。
06:28
This building, when an artistic director
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但在這裏,如果哪個藝術指導
06:30
wanted to do a "Cherry Orchard" and wanted people
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想要做一場《櫻桃園》,並希望人們
06:32
and wanted people to come out of a well on the stage,
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能直接從舞臺上出現,
06:34
they brought a backhoe in, and they simply dug the hole.
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他們就能找來挖土機,在舞臺上挖個洞。
06:37
Well, that's exciting.
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聽起來很刺激吧
06:39
And you can start to get the best artistic directors,
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這樣你就可以請全國最好的藝術指導,
06:41
scenic designers and actors from around the country
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佈景設計,和演員
06:43
to come to perform here
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來這裏表演
06:45
because you can do things you can't do elsewhere.
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因為在這兒他們可以任意發揮,不受限制。
06:47
So, the first position we took was,
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我們的第一個立場就是
06:49
"Hey, we as architects had better not show up
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“哎,我們建築師可不是來
06:52
and do a pristine building
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做什麼仿古建築的。
06:54
that doesn't engender the same freedoms that this
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那不能保證現在的自由,
06:56
old dilapidated shed provided the company."
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只是能夠提供遮蔽的做舊的棚子而已。
06:59
The second issue is a nuance of the first.
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第二個重要議題和第一個稍有不同
07:02
And that's that the company and the building was multiform.
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就是表演人員和場地是多用途的
07:05
That meant that they were able to perform,
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就是說只要他們還有力氣
07:08
as long as they had labor
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就可以在幕前,樓板
07:10
they were able to go between proscenium, thrust, flat floor,
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舞臺,橫斷
07:13
arena, traverse, you name it.
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各個地方表演,隨你挑。
07:15
All they needed was labor.
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他們需要的就是人力。
07:17
Well, something happened. In fact something happened to all institutions
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嗯...事情在變化。事實上世界各地的各個機構
07:19
around the world.
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都在發生改變。
07:21
It started to become hard to raise operational costs,
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現在越來越難籌集運營資金,
07:24
operational budgets.
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運營預算。
07:26
So, they stopped having inexpensive labor.
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所以,他們連廉價勞動力也不要了。
07:28
And eventually they had to freeze their organization
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最終,他們乾脆把整個機構凍結成了
07:31
into something called a bastardized thruscenium.
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他們口中所謂的“劣質場地”。
07:34
So, the second position we took is that the freedoms that we provided,
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由此,我們的第二個立場就是我們要提供一種自由,
07:37
the ability to move between stage configurations,
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可以讓舞臺結構任意變化
07:40
had better be able to be done
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一定要做到這點
07:42
without relying on operational costs. Alright? Affordably.
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使得演出不用擔心運營成本。對不?控制在可承受範圍內。
07:46
The architectural manifestation
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建築展示
07:48
was frankly just dumb.
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是事實的呈現,無需語言。
07:50
It was to take all the things that are known as front of house and back of house
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其中需要的就是把我們知道的房子的前部和後部
07:53
and redefine them as above house and below house.
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換成上部和下部。
07:56
At first blush you think, "Hey it's crazy,
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說到這兒你肯定會想,“哎呀,真是瘋了
07:58
what could you possibly gain?"
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這能得出什麼玩意兒啊?”
08:00
We created what we like to call superfly.
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我們把我們的創造叫做“超級蒼蠅”
08:03
(Laughter)
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(笑)
08:04
Now, superfly, the concept is
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現在,這個概念是這樣
08:06
you take all the freedoms you normally associate with the flytower,
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你可以想像舞臺升降塔的各種自由
08:08
and you smear them across flytower and auditorium.
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然後讓這種種便利散佈到觀眾席中。
08:11
Suddenly the artistic director
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突然間藝術指導
08:13
can move between different stage
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可以在不同的舞臺和觀眾區
08:15
and audience configurations.
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自由移動
08:18
And because that flytower has the ability to pick up
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因為舞臺升降塔可以實現各種
08:20
all the pristine elements, suddenly the rest of the environment
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基本需要,忽然間剩下的其他部分
08:23
can be provisional. And you can drill, cut, nail, screw
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都成了臨時的。你可以鑽洞,切割,固定,擰轉,
08:26
paint and replace,
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油漆和替換,
08:28
with a minimum of cost.
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用最小的花費就能實現。
08:30
But there was a third advantage that we got by doing this move
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這麼做還有一個好處
08:32
that was unexpected.
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還是出乎我們意料的。
08:34
And that was that it freed up the perimeter of the auditorium
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這種做法以最獨特的方式
08:37
in a most unusual way.
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將觀眾區的周長釋放開了。
08:40
And that provided the artistic director suddenly
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這種釋放忽然間給了藝術指導
08:42
the ability to define suspension of disbelief.
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定義“解除懷疑”的力量。
08:45
So, the building affords artistic directors the freedom
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於是,這棟建築成全了藝術指導們,
08:47
to conceive of almost any kind of activity
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讓他們可以在這個懸浮的物體下方
08:50
underneath this floating object.
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設計各種可以想像的活動。
08:52
But also to challenge the notion of suspension of disbelief
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同時挑戰“接觸懷疑”的理念
08:55
such that in the last act of Macbeth,
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比如說在《馬克白》的最後一幕,
08:58
if he or she wants you to associate
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如果哪個藝術指導想讓你把這一幕的故事
09:00
the parable that you're seeing with Dallas, with your real life,
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與達拉斯,與你的真實生活聯繫起來,
09:04
he or she can do so.
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他(她)就能做到。
09:06
Now, in order to do this we and the clients
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為了實現這個目標,我們和我們的客戶
09:08
had to do something fairly remarkable.
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必須要做一件相當不同尋常的事兒。
09:10
In fact it really was the clients who had to do it.
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事實上是客戶需要做這事兒。
09:13
They had to make a decision, based on the positions we took
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他們要在我們採取的立場上做一個決斷,
09:16
to redefine the budget being from two thirds capital-A architecture
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把原來三分之一基礎建設,三分之二建築設計
09:19
and one-third infrastructure,
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的預算分工
09:21
to actually the inverse,
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完全顛倒
09:23
two-thirds infrastructure and one-third capital-A architecture.
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三分之二基礎建設和三分之一建築設計。
09:26
That's a lot for a client to commit to
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對於客戶來說,這是不小的決定
09:28
before you actually see the fruition of the concept.
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尤其是在你能看到概念轉換成“成果”之前。
09:31
But based on the positions,
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但在我們的那些立場的基礎上,
09:33
they took the educated leap of faith to do so.
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他們邁出了極有借鑒意義的一步。
09:36
And effectively we created what we like to call
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作為回應,我們也做出了我們的
09:38
a theater machine.
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“劇院機器”。
09:40
Now, that theater machine has ability
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現在,這台機器的各個結構
09:42
to move between a whole series of configurations
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都可以進行重新組合
09:45
at the push of a button and a few stagehands
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只要按一個鈕,加上少量的工作人員,
09:48
in a short amount of time.
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很短的時間內就可以完成。
09:50
But it also has the potential
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不僅如此,
09:52
to not only provide multiform but multi-processional sequences.
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它在提供各種形式的變換之餘還能改變觀眾的入場順序。
09:56
Meaning: The artistic director
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就是說,藝術指導
09:58
doesn't necessarily need to go through our lobby.
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不一定非要經過大廳。
10:01
One of the things that we learned when we visited various theaters
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在我們還在參觀各個劇院的時候,學到的一點
10:03
is they hate us architects,
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就是他們對建築師恨之入骨,
10:05
because they say the first thing they have to do,
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因為他們說在任何一場演出的前五分鐘,
10:07
the first five minutes of any show,
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他們要做的頭等重要的事
10:09
is they have to get our architecture
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就是把整個建築趕出
10:11
out of the mind of their patron.
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資助人的腦海。
10:13
Well now there are potentials of this building
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而現在,這棟房子可以
10:15
to allow the artistic director
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讓藝術指導
10:17
to actually move into the building
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在劇院裏自由活動
10:19
without using our architecture.
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而不受到建築本身的限制。
10:21
So, in fact, there is the building, there is what we call the draw.
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這就是我們的劇院,這裏是一個坡道,
10:24
You're going down into our lobby,
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從這裏進入大廳
10:26
go through the lobby with our own little dangly bits, whether you like them or not,
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穿過大廳,這裏有我們懸掛的小物件,不論你喜歡與否
10:30
up through the stair that leads you into the auditorium.
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然後上樓,進入觀眾區。
10:32
But there is also the potential
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但它還可以
10:34
to allow people to move directly from the outside,
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將人們直接從外面帶入內部。
10:36
in this case suggesting kind of Wagnerian entrance,
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就是說這是一種華格納式的入口
10:40
into the interior of the auditorium.
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可以直接進入觀眾區。
10:42
And here is the fruition of that in actuality.
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這就是我們的成果。
10:44
These are the two large pivoting doors
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這是兩扇大轉門
10:46
that allow people to move directly from the outside, in
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可以讓人們直接從外面進到
10:49
or from the inside, out,
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裏面,自由進出
10:51
performers or audience alike.
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表演者、觀眾都可以。
10:54
Now, imagine what that could be. I have to say honestly
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現在,想像一下那是多麼有趣。我必須誠實的說
10:56
this is not something yet the building can do because it takes too long.
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現在這棟建築還不能做到這步,因為整個過程太長了。
10:59
But imagine the freedoms
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但是想像一下那種自由
11:01
if you could take this further, that in fact you could consider
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如果你能更進一步,可以想像一下
11:04
a Wagnerian entry,
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華格納式的入口
11:06
a first act in thrust,
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第一幕在開始,
11:08
an intermission in Greek, a second act in arena,
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幕間休息在希臘,然後第二幕在競技場,
11:10
and you leave through our lobby with dangly bits.
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然後你離開的時候再次穿過大廳。
11:14
Now that, I would say, is architecture performing.
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我想說,這簡直就是建築的表演。
11:16
It is taking the hand of the architect
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它在用建築師的方式
11:18
to actually remove the hand of the architect
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將建築本身的局限打破,
11:20
in favor of the hand of the artistic director.
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來實現藝術指導的需要。
11:24
I'll go through the three basic configurations.
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下面我來帶你們看一下三種不同結構構造。
11:26
This is the flat floor configuration.
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這是一整塊的平面構造。
11:28
You notice that there is no proscenium,
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你可以看到沒有舞臺,
11:30
the balconies have been raised up, there are no seats,
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包廂被移到上方了,也沒有觀眾座位
11:33
the floor in the auditorium is flat.
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觀眾區的地面是平的。
11:35
The first configuration is easy to understand.
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第一個構造很容易看懂。
11:38
The balconies come down, you see that the orchestra
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現在包廂下來了,適合交響樂演奏
11:41
begins to have a rake that's frontal towards the end stage,
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觀眾區有了傾斜,正對著舞臺
11:44
and the seats come in.
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觀眾座椅也加進來了。
11:46
The third configuration is a little harder to understand.
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第三個結構有點難懂
11:48
Here you see that the balconies actually have to move out of the way
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你可以看到包廂幾乎被完全移走了
11:52
in order to bring a thrust into the space.
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空出來的地方成為舞臺的眼神
11:54
And some of the seats need to actually change their direction,
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有些座位的方向也需要改變
11:57
and change their rake, to allow that to happen.
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相應的,坡度也要發生變化。
12:00
I'll do it again so you can see it.
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我再放一遍,讓你們看得清楚點
12:02
There you see it's the side balconies for the proscenium.
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你可以看到邊上的包廂給舞臺讓出了位置
12:06
And there it is in the thrust configuration.
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舞臺的突出部分形成了。
12:08
In order to do that,
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要想做到這種效果
12:10
again, we needed a client who was willing to take educational risks.
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我們同樣需要敢於冒險的客戶
12:13
And they told us one important thing:
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他們告訴我們非常重要的一點:
12:15
"You shall not beta-test."
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“你們可別成為試驗品。”
12:17
Meaning, nothing that we do
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也就是說,我們最好
12:19
can we be the first ones to do it.
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不要成為第一個吃螃蟹的人。
12:21
But they were willing for us to apply technologies
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但是他們很願意我們將其他領域的技術
12:23
from other areas that already had failsafe mechanisms to this building.
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已經經過安全試驗的裝置運用到這個專案中去。
12:27
And the solution in terms of the balconies
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解決移動包廂的問題,
12:30
was to use something that we all know as a scoreboard lift.
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我們用了一種“記分板升降機”
12:33
Now, if you were to take a scoreboard
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現在,如果你把一塊記分板
12:36
and drop it on dirt and whiskey,
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丟在土堆上,
12:38
that would be bad.
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結果會慘不忍睹。
12:40
If you were not able to take the scoreboard out of the arena
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如果你沒能把記分板拿出體育場,
12:43
and be able to do the Ice Capades the next night,
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第二天又有“白雪溜冰團”的表演,
12:45
that would also be bad.
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結果也會很糟糕。
12:47
And so this technology already had all the failsafe mechanisms
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而這項技術已經經過了安全保險驗證,
12:51
and allowed the theater and our client
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可以保證劇院和我們的客戶
12:53
to actually do this with confidence
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在移動包廂的時候信心十足
12:56
that they would be able to change over their configurations at will.
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根據自己的意願改變表演區的結構。
13:00
The second technology that we applied
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我們用到的第二項技術
13:02
was actually using things that you know from
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其實是從大家都知道的
13:05
the stage side of an opera house.
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劇院的舞臺兩側的側舞臺。
13:07
In this case what we're doing is we're taking
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我們將交響樂舞臺
13:09
the orchestra floor, lifting it up, spinning it,
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抬起來,旋轉
13:13
changing the rake, taking it back to flat floor,
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改變坡度,放在平地上,
13:16
changing the rake again. In essence, you can begin to define
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再一次改變坡度。簡單地說,就是
13:19
rakes and viewing angles
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你可以任意調整觀眾席的
13:21
of people in the orchestra seating, at will.
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坡度和視角。
13:24
Here you see the chairs being spun around to go from proscenium or end stage
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這是座椅的方向從面對舞臺變成
13:28
to thrust configuration.
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側對舞臺,第二種凸出舞臺的構造。
13:31
The proscenium, also. As far as we know this is the first building in the world
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據我們所知,這是世界上第一個可以
13:35
in which the proscenium can entirely fly out of the space.
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自由變換的舞臺。
13:38
Here you see the various acoustic baffles as well as
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這裏既有各種音樂會需要的降噪板,也有 懸空的構造
13:40
the flying mechanisms and catwalks over the auditorium.
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懸空的構造和延伸至觀眾席的T台。
13:45
And ultimately, up in the flytower,
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還有最重要的,舞臺塔上的
13:47
the scene sets that allow the transformations to occur.
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佈景可以任意變化。
13:51
As I said, all that was in service of creating a flexible
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正如我所說,這一切都是為了創造一個靈活多變
13:55
yet affordable configuration.
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造價又可控的結構。
13:58
But we got this other benefit, and that was
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我們還有另一個收穫,
14:00
the ability of the perimeter to suddenly engage
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即在釋放了演出廳的空間後它可以將
14:02
Dallas on the outside.
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外面的達拉斯城參與進來。
14:04
Here you see the building in its current state
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你現在看到的是建築當前的狀態,
14:06
with blinds closed. This is a trompe l'oeil.
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窗簾都拉上了。這是一張模擬圖
14:09
Actually this is not a curtain. These are vinyl blinds
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其實這並不是窗簾,而是與玻璃窗合一的
14:12
that are integrated into the windows themselves,
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塑膠百葉窗
14:14
again with failsafe mechanisms
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這也是絕對安全的技術。
14:17
that can be lifted such that you can completely demystify,
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如果你想看得清楚點,可以把它收起來
14:20
if you chose, the operations of the theater
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劇場內部進行的一切,
14:22
going on behind, rehearsals and so forth.
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排練之類的都可以看到。
14:24
But you also have the ability
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同時還能讓裏面的觀眾
14:27
to allow the audience to see Dallas,
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看到達拉斯的城市,
14:30
to perform with Dallas as the backdrop of your performance.
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將達拉斯當做表演的舞臺。
14:33
Now, if I'll take you through --
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現在,我想讓你們看一看
14:35
this is an early concept sketch --
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很早的一張概念性的草圖
14:37
take you through kind of a mixture of all these things together.
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是這些元素的混合
14:40
Effectively you would have something like this.
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是這樣子的
14:42
You would be allowed to bring objects or performers into the performing chamber:
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你可以把各種東西帶入演出廳。
14:46
"Aida," their elephants, you can bring the elephants in.
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《阿依達》中的大象你真的可以把它帶進去。
14:48
You would be able to expose the auditorium to Dallas
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你可以將觀眾區展現給達拉斯,
14:53
or vice versa, Dallas to the auditorium.
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反之亦然。
14:56
You'd be able to open portions in order to
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你還可以打開各個部分
14:58
change the procession,
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來改變觀眾入場的方向、順序
15:00
allow people to come in and out for an intermission,
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觀眾可以在休息時自由進出劇院
15:02
or to enter for the beginning or the end of a performance.
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或者是從頭到尾都待在劇院裏
15:05
As I said, all the balconies can move,
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我剛說過,所有包廂都是可以移動的
15:07
but they can also be disappeared completely.
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甚至可以讓它們徹底消失。
15:09
The proscenium can fly.
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舞臺可以懸空
15:11
You can bring large objects into the chamber itself.
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可以讓各種大件物品自己進入展廳
15:14
But most convincingly when we had to confront the idea
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但是最讓人稱道的就是我們成功挑戰了將建築設計的花費
15:17
of changing costs from architecture to infrastructure,
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轉移到基礎建設上
15:20
is something that is represented by this.
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這就是這所建築的代表性。
15:22
And again, this is not all the flexibilities of the building that is actually built,
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這裏所說到的還並不能涵蓋這座建築的所有靈活功能
15:25
but at least suggests the ideas.
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但至少能展現我們的基本意圖。
15:28
This building has the ability, in short order,
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這棟建築可以迅速地
15:30
to go back to a flat floor organization
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變成完全平面的空樓層
15:32
such that they can rent it out.
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需要的話可以租出去。
15:34
Now, if there is anyone here from American Airlines,
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如果在座有在美國航空工作的,
15:36
please consider doing your Christmas party here.
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可以考慮一下在這裏舉行你們的聖誕派對。
15:39
(Laughter)
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(笑)
15:40
That allows the company to raise operational budgets
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那可以給公司籌集運營預算
15:43
without having to compete with other venues
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完全不需要
15:45
with much larger auditoriums.
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再和其他場地比較了
15:47
That's an enormous benefit.
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在這兒辦活動的好處太多了。
15:49
So, the theater company has the ability
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在這裏,劇團可以進行
15:51
to do totally hermetic,
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完全封閉的演出,
15:53
light-controlled, sound-controlled, great acoustics,
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有可控的燈光、音效、一流的音響效果
15:55
great intimacy Shakespeare,
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可以演出一流的莎士比亞戲劇。
15:58
but can also do Beckett
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這裏還可以演貝克特,
16:00
with the skyline of Dallas sitting behind it.
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背景就用達拉斯的天際。
16:03
Here it is in a flat floor configuration.
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這是第一種平面結構。
16:05
The theater has been going through its kind of paces.
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劇院可以大展身手。
16:07
Here it is in an end stage configuration.
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這是第二種結構,
16:10
It's actually beautiful. There was a rock band.
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看上去非常漂亮,可以進行搖滾樂演出。
16:12
We stood outside trying to see if the acoustics worked,
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我們在外面測試了它的音響系統
16:14
and you could see the guys doing this but you couldn't hear them.
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你可以看到裏面的人的活動,但完全聽不到他們。
16:16
It was very unusual.
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這非常不同尋常。
16:18
Here it is in a thrust configuration.
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這是第三種延伸出來的結構。
16:20
And last but not least,
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它很重要
16:22
you see this already has the ability to create events
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不僅可以在這裏進行
16:24
in order to generate operational budgets
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籌集資金的活動
16:26
to overcome the building in fact performing
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這棟建築還可以幫助
16:29
to allow the company to overcome their biggest problem.
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公司解決它們最大的困難。
16:31
I'm going to show you a brief time lapse.
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我還要給你們展示一下整個建造的快進過程。
16:35
As I said, this can be done with only two people,
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我說過,兩個人就能完成
16:37
and with a minimum amount of time.
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用最少的時間完成。
16:39
This is the first time that actually the changeover was done
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這是第一個變化完成的時候
16:41
and so there is literally thousands of people because
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那裏大概聚了幾千人
16:43
everyone was excited and wanted to be a part of it.
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大家都非常興奮,想要參與到其中去。
16:45
So, in a way try to disregard all the thousands of ants running around.
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所以為了把那密密麻麻的幾千隻螞蟻去掉
16:49
And think of it being done with just a few people.
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影片進行了處理,只留下幾個人。
17:22
Again, just a couple people are required.
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是,幾個人就夠了
17:25
(Laughter)
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(笑)
17:26
I promise.
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我保證。
17:39
Et voila.
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就是這樣。
17:41
(Applause)
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(鼓掌)
17:48
So, just in conclusion, a few shots.
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所以,總的來說,不用費多大事兒。
17:50
This is the AT&T Performing Arts Center's
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這是AT&T(美國電信電話公司)表演藝術中心的
17:53
Dee and Charles Wyly Theater.
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迪和查理斯•懷利劇院
17:55
There it is at night.
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今天晚上就到這兒了
17:57
And last but not least the entire AT&T Performing Arts Center.
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最後,但同樣重要的是在整個AT&T表演藝術中心
18:01
You can see the Winspear Opera House on the right
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你可以看到右邊是溫斯皮爾歌劇院,
18:03
and the Dee and Charles Wyly Theater on the left.
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左邊是迪和查理斯•威利劇院
18:06
And to remind you that here is an example in which
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要提示你們的是這幢建築
18:09
architecture actually did something.
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確實有它存在的意義。
18:11
But we got to that conclusion
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但我們是在不知道
18:13
without understanding where we were going,
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到底在往哪里發展的情況下得到了這個結果。
18:15
what we knew were a series of issues that the company
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我們只知道一系列公司和客戶想要
18:18
and the client was confronted with.
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解決的問題。
18:20
And we took positions with them, and it was through those positions
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我們在各個問題中找到自己的立場,然後通過它們
18:22
that we began to take architectural manifestations
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漸漸看到了建築的形狀
18:25
and we arrived at a conclusion that none of us,
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我們得到的最終結論就是
18:27
really none of us could ever
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我們中間沒有任何一個人
18:29
have conceived of initially or individually.
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可以單獨或者在眾人之前完成這個構想。
18:32
Thank you.
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謝謝。
18:34
(Applause)
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(掌聲)
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