Why great architecture should tell a story | Ole Scheeren

譯者: 易帆 余 審譯者: WANWAN DUN

For much of the past century,

過去好幾個世紀，

architecture was under the spell of a famous doctrine.

建築物在一條著名的理論魔咒之下，

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

「型隨機能」這個理論 曾經一度成為當代的偉大宣言

and detrimental straitjacket,

及有害的的緊箍咒，

as it liberated architecture from the decorative,

因為這句話雖讓建築物 擺脫了裝飾的束縛，

but condemned it to utilitarian rigor and restrained purpose.

但也同時宣判建築物 走向功利嚴謹且倍受約束的終點。

Of course, architecture is about function,

當然，建築物與機能有關，

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

但我想向Bernard Tschumi 對這句話的重新改寫致意，

and I want to propose a completely different quality.

並同時提出一個我個人 完全不同的見解。

If form follows fiction,

如果「型隨小說」，

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

我們可以這樣想，建築設計與 建築物是一個空間的故事，

stories of the people that live there,

有關居住在那裡的人的故事，

of the people that work in these buildings.

有關在裡面工作的人的故事，

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

我們可以開始想像 我們的建築物創造出來的經歷。

In this sense, I'm interested in fiction

在這樣的概念下， 我對小說感興趣的原因，

not as the implausible but as the real,

不是因為它的虛幻，而是它的真實。

as the reality of what architecture means

像是，建物風格對那些 生活在裡面的居民

for the people that live in it and with it.

有甚麼意義的那樣的真實。

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

我們的建築物一開始 是一些雛形、想法，

or how the space of working could be different,

它讓我們了解生活或 工作空間可以有甚麼不同，

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

以及文化與媒體空間 現今可以如何展現。

Our buildings are real; they're being built.

我們的建築物是真實的； 它們會被建造出來，

They're an explicit engagement in physical reality

建築物是一種實體物質與想法概念

and conceptual possibility.

兩者之間明確的合約產物。

我認為我們的建築物是一種組織結構，

I think of our architecture as organizational structures.

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

它們的核心，的確是一種 結構思想，像是一個系統:

How can we arrange things in both a functional

我們要如何把事情

安排的具有機能性與經驗性 ?

and experiential way?

How can we create structures that generate a series

我們要如何創造出可以引發

of relationships and narratives?

一系列關係與故事腳本的結構 ?

And how can fictive stories

而我們在建築物裡面的居民

of the inhabitants and users of our buildings

及使用者的虛幻故事

script the architecture,

要如何在描繪建築物的同時

while the architecture scripts those stories at the same time?

也能讓建築物描繪出這些故事 ?

And here comes the second term into play,

而這當中就會產生出第二個詞彙，

what I call "narrative hybrids" --

我稱之為「故事的混合體」 --

structures of multiple simultaneous stories

多種不同故事的結構

that unfold throughout the buildings we create.

完全展現了我們要創造出的建築物。

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

所以我們可以想像 建築物是個關係複雜的系統，

一種結合可程序化、機能性、

both in a programmatic and functional way

and in an experiential and emotive or social way.

經驗性、情緒性或社交性的複雜系統。

這是中國國家廣播公司的總部，

This is the headquarters for China's national broadcaster,

which I designed together with Rem Koolhaas at OMA.

這建物是我和Rem Koolhaas在 大都會建築事務所共同設計，

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

2002年，當我第一次抵達北京時， 城市規劃員向我們展示了這張圖 :

除了當時少數的幾棟大樓，

a forest of several hundred skyscrapers

to emerge in the central business district,

雨林般的上百棟高樓大廈，

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

將會蓋在市中心的商務區。

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

所以我們必須在一個除了垂直概念以外

except one thing: it would all be about verticality.

其他都沒有的設計概念底下做設計。

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

當然，高樓大廈是垂直的-- 它是個死板板的層次結構，

the top always the best, the bottom the worst,

頂部總是最好的， 底部總是最差的，

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

所以似乎是，你蓋的越高越好。

And we wanted to ask ourselves,

我們質問我們自己，

could a building be about a completely different quality?

我們的建築物可不可以 有一個完全不同的概念?

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

它可不可以擺脫層次結構體系，

that is more about collaboration, rather than isolation?

它可不可以是一種 合作而不是隔離的系統 ?

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

所以我們把這個針 轉了個彎回到本身，

into a loop of interconnected activities.

行成一種可以互相聯絡活動的環狀物。

Our idea was to bring all aspects of television-making

我們的想法是，把電視製作的 所有概念融合到單一結構裡面：

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

新聞、節目製作、廣播、

research and training, administration --

研究、訓練、管理--

all into a circuit of interconnected activities

全部融合到可互相聯繫活動 的這個環形裡面，

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

一個人們在這裡見面 互相交流合作的地方。

I still very much like this image.

我仍然很喜歡這張圖，

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

如果你還記得人體構造的話， 有自己的器官及循環系統，

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

它像是一堂學校的生物課。

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

突然間，你會覺得建築物不再只是建築材料

but as an organism, as a life form.

而像是一種有機體、生命體。

And as you start to dissect this organism,

而當你開始剖析這個有機體，

you can identify a series of primary technical clusters --

你會辨識出一系列的主要技術群--

program production, broadcasting center and news.

節目製作、廣播中心、新聞。

Those are tightly intertwined with social clusters:

他們與一些社交設施 緊緊地纏繞在一起 :

meeting rooms, canteens, chat areas --

會議室，餐廳，交談區--

informal spaces for people to meet and exchange.

人們碰面交流的非正式場合。

So the organizational structure of this building was a hybrid

所以，這個建物的組織結構 是一種混合體，

between the technical and the social,

介於技術與社交及

the human and the performative.

人類與表演之間。

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

當然，我們是使用類似 循環系統的環形建物

to thread everything together and to allow both visitors and staff

來串聯每樣東西，使訪客與員工

to experience all these different functions in a great unity.

都能在這個偉大的聯合體裡面， 體驗不同的機能。

With 473,000 square meters,

擁有473,000平方公尺 的建築面積，

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

使它成為全世界 最大的建築物之一，

It has a population of over 10,000 people,

裡面有10,000人口，

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

當然，這樣的規模超出了我們

of many things and the scale of typical architecture.

對傳統建築物的理解範圍。

So we stopped work for a while

所以，我們停工了一陣子，

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

然後坐下來，剪出10,000張小貼紙， 然後把它們粘在一個模型上，

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

只是單純地想挑戰我們自己， 對數量本身真正的含意。

But of course, it's not a number,

當然，這與數字無關，

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

而是人，生活在這一棟大樓裡面的人，

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

為了同時理解並為這個 建築物寫腳本，

we identified five characters, hypothetical characters,

我們創造出五種假想的角色，

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

然後追蹤他們在 這棟大樓一整天的生活狀況，

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

他們會在哪碰面、 他們的體驗如何等。

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

所以，這是一種描繪與設計 建築物的方法，但當然，

also to communicate its experiences.

也是一種體會它的方式。

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

這是紐約及北京

部分現代美術館的收藏品。

in both New York and Beijing.

This is the main broadcast control room,

這是廣播主控室，

a technical installation so large,

技術性安裝層面的要求相當大，

it can broadcast over 200 channels simultaneously.

它可同時播放200個頻道，

And this is how the building stands in Beijing today.

這是它當今矗立在北京的狀況，

Its first broadcast live was the London Olympics 2012,

它的第一次現場直播是2012年 的倫敦奧林匹克運動會，

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

在這之前，它已經從外部 完成北京奧林匹克的轉播。

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

你可以在最頂端的 75米懸臂處看風景，

those three little circles.

這三個小圓圈，

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

它們就是貫穿整棟大樓的 開放空間環型設計。

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

你可以站在玻璃上面

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

俯瞰你腳下整個城市的慢動作。

The building has become part of everyday life in Beijing.

這棟建築物已經是 北京生活的的一部分，

It is there.

它就在那。

It has also become a very popular backdrop

它也變成了北京一個相當受歡迎的

for wedding photography.

婚紗攝影背景。

(Laughter)

( 笑聲 )

But its most important moment is maybe sill this one.

但最重要的時刻也許是這個，

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

這本《城市漫步》週刊 很像倫敦的《Time Out》週刊，

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

這本雜誌描述了當週 該城市發生了哪些事情，

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

突然間你會發現，這棟大樓 不再僅是一棟大樓而已，

but actually as an urban actor,

同時扮演了城市一員的角色，

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

它像是在北京生活的 一系列人物中的其中一員。

So architecture suddenly assumes the quality of a player,

所以，建築設計突然間像是 呈現了一位參與者的內涵品質，

of something that writes stories and performs stories.

它像是在寫故事、呈現故事。

And I think that could be one of its primary meanings

而我認為這可以成為

我們相信的事物當中的其中一個重要意義，

that we believe in.

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

當然，這棟大樓還有另外一個故事，

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

就是建造它的人的故事--

400 engineers and architects that I was guiding

400個合作幾乎超過10年

over almost a decade of collaborative work

我所帶領的工程人員與建築師，

that we spent together in scripting this building,

我們花時間一起蓋這棟大樓，

in imagining its reality

從想像它的真實性，

and ultimately getting it built in China.

到最終，在中國把它建造完成。

This is a residential development in Singapore, large scale.

這是一個在新加坡的 大型住宅開發案，

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

如果我們看一下新加坡、 亞洲，全世界的其他國家，

of course, it is dominated by the tower,

當然，他們都是以高樓大廈為主，

a typology that indeed creates more isolation than connectedness,

這種類型的大樓確實製造了 更多的疏離感而非親近感，

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

而我想質疑，我們對住家的 想法到底是甚麼 ?

not only in terms of the privacy and individuality of ourselves

不是只有我們自己的私密性、個性、

and our apartment,

我們的公寓大廈而已，

but in an idea of a collective?

而是集體的共同意識吧 ?

How could we think about creating a communal environment

我們要想想如何創造 一個社區交流的環境，

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

一個可以讓你樂於分享的環境 ?

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

典型的答案是-- 我們必須設計1,040間公寓--

would have looked like this:

外型會像這樣子 :

24-story height limit given by the planning authorities,

根據政府法規，會有24層的樓高限制，

12 towers with nothing but residual in between --

12棟大樓，只剩下一點點開放空間 ，其它甚麼都沒有--

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

相當擁擠嚴密的系統， 雖然大樓隔離了你，

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

但這根本不能給你隱私， 因為你離隔壁鄰居相當近，

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

所以很容易被質疑， 蓋好這樣的數量之後會有甚麼後果。

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

所以，我提議推掉高塔， 把垂直設計改成水平設計，

and stack them up,

並把它們堆疊起來，

and what looks a bit random from the side,

從側面看，它有點不規則排列，

if you look from the viewpoint of the helicopter,

如果你從直升機往下看，

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

你可以看到，它的組織架構實際上是個

水平建物堆疊起來的網狀六邊形，

in which these horizontal building blocks are stacked up

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

這是為了創造出幾個大型戶外庭院--

programmed with a variety of amenities and functions.

這些中央空間為社區 規劃了多種設施與功能。

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

你可以看到這些庭院空間 並非是封閉不透氣的空間，

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

它們是開放的、 通透的、互相連結的，

We called the project "The Interlace,"

我們稱呼這個項目是 " 交錯 " ( 社區名稱: 翠城新景 )

thinking that we interlace and interconnect

像是我們人類

the human beings and the spaces alike.

與空間彼此的交錯連結一樣。

And the detailed quality of everything we designed

我們設計的每樣細節，

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

都與「把空間賦予生命並還給社區居民」有關。

And, in fact, it was a system

事實上，這個系統

where we would layer primarily communal spaces,

可以在我們佈局主要的公共空間時，

stacked to more and more individual and private spaces.

讓它層層堆疊出越來越多的 個人與私密空間。

So we would open up a spectrum

所以，我們展開一種

between the collective and the individual.

介於總體與個人之間 的設計概念，

一個小小的數學算式 :

A little piece of math:

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

如果我們把所有在地面上 的綠色植物面積，

minus the footprint of the buildings,

扣除掉建物投影面積，

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

然後加上所有有綠色植物的陽台面積，

we have 112 percent green space,

我們會得出一個112%的綠覆率，

so more nature than not having built a building.

比不蓋大樓還要有更多的自然空間。

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

當然，這個小小的數學算式 有向你說明了

the space available to those who live there.

我們把有人住的空間也算進去。

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

事實上，這是第13樓的其中一個陽台，

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

所以你會看到提供給社交活動 的新基準平面、新地平面

We paid a lot of attention to sustainability.

我們在「可持續發展」上投入很多心力，

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

在熱帶地區，太陽是最必須留意的重要事項，

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

事實上，它們要找的是遮蔽處。

We first proved that all apartments would have sufficient daylight

我們首先確認所有的公寓大樓

整年都會有足夠的日照時間。

through the year.

We then went on to optimize the glazing of the facades

然後我們進行外牆玻璃優化，

to minimize the energy consumption of the building.

來減少建築物的能量消耗。

But most importantly, we could prove that through the geometry

但最重要的是，我們確認我們可以

of the building design,

透過地形設計來達成這個目的。

the building itself would provide sufficient shading to the courtyards

建物本身提供了足夠的 遮蔽給中庭花園，

so that those would be usable throughout the entire year.

因此這些遮蔽是一整年都可以使用的。

We further placed water bodies along the prevailing wind corridors,

我們更進一步地沿著主風廊， 設置了水體槽，

so that evaporative cooling would create microclimates

讓它蒸發冷卻後 形成一個微型氣候，

that, again, would enhance the quality of those spaces

進而有效地改善居民

available for the inhabitants.

居住的空間品質。

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

這個想法創造了多樣性的選擇、

of freedom to think where you would want to be,

一種你想去哪就去哪、

where you would want to escape, maybe,

想躲哪就躲哪的自由，

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

在一個多樣性的生活地方 產生個人的生活多樣性。

從亞洲來到歐洲 :

But coming from Asia to Europe:

a building for a German media company based in Berlin,

一棟座落在德國柏林的媒體公司，

transitioning from the traditional print media to the digital media.

正從傳統印刷媒體轉型到數位媒體，

And its CEO asked a few very pertinent questions:

而公司的執行長問了一個很中肯的問題 :

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

為什麼現今每個人仍希望到辦公室上班，

because you can actually work anywhere?

即使他們可以在任何地方辦公 ?

And how could a digital identity of a company be embodied

一個公司的數位辨識形象

in a building?

要如何在建築物上體現出來 ?

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

我們創作的不只是一個物體， 我們還在物體的中心

we created a giant space,

創造了一個大空間，

and this space was about the experience of a collective,

一個有關於共同合作、

the experience of collaboration and of togetherness.

一起團結奮鬥的空間。

Communication, interaction as the center of a space

溝通、互動是空間的核心思想，

that in itself would float,

它會自己浮上來，

like what we call the collaborative cloud,

像是我們所說的" 合作雲 "，

in the middle of the building,

它就在建物中間，

surrounded by an envelope of standard modular offices.

被一個標準模組的辦公室 所圍繞包裹著。

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

從你的辦公桌，只要走幾步，

you could participate in the giant collective experience

你就可以參與

核心空間裡的龐大共同體驗。

of the central space.

最後，我們來到倫敦，

Finally, we come to London, a project commissioned

by the London Legacy Development Corporation

一個倫敦市長的

傳承開發公司的項目任務。

of the Mayor of London.

We were asked to undertake a study

我們被要求要負責研究、

and investigate the potential of a site

調查奧林匹克公園

out in Stratford in the Olympic Park.

基地的開發潛力。

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

在19世紀，Albert王子 當時建立了Albert城。

And Boris Johnson thought of creating Olympicopolis.

而Boris Johnson想建立奧林匹克城。

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

想法是把一些英國最偉大的機構、

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

一些國際機構擺在一起， 來創造出一個新的協同效益系統。

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

當時Albert王子在 19世紀建立的Albert城，

thought of showcasing all achievements of mankind,

是想用來展示人類的所有成就，

bringing arts and science closer together.

讓藝術和科學緊密地結合在一起。

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

而且他還打造了會展路， 這區有一系列這樣的機構，

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

當然，現今社會已經比當時進步許多，

We no longer live in a world

我們不再是活在一種每樣東西都被 界定分開很清楚的世界。

in which everything is as clearly delineated

or separated from each other.

We live in a world in which boundaries start to blur

我們活在一種不同領域 之間開始模糊的世界，

between the different domains,

and in which collaboration and interaction becomes far more important

一個彼此合作互動遠比 保持疏離還要重要的世界。

than keeping separations.

So we wanted to think of a giant culture machine,

所以我們想建立一個大型的文化機器，

a building that would orchestrate and animate the various domains,

一個會協調並賦予不同 領域生命的建築物，

but allow them to interact and collaborate.

但同時也可以讓它們 彼此互動與合作。

At the base of it is a very simple module,

而它的基礎是個非常簡單的模組，

a ring module.

一個環形模組。

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

它有雙走道、日照、通風佳的功能

It can be glazed over

它可以被透視，

and turned into a giant exhibitional performance space.

也可以變成一個大型展覽表演空間。

These modules were stacked together

這些模組被堆疊起來，

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

隨著時間流逝，任何機能 彼此都可能會佔用到其他機能上，

occupy any of these modules.

So institutions could shrink or contract,

所以機構可能縮小或濃縮，

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

因為，文化的未來，在某種程度上， 是最無法預測的。

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

這棟建築將坐落在鄰近的水上運動中心旁，

opposite the Olympic Stadium.

正對奧林匹克運動場，

And you can see how its cantilevering volumes

你可以看到它的懸臂式空間如何

project out and engage the public space

伸出並融入開放空間，

and how its courtyards animate the public inside.

和它的中庭如何在 公共空間裡賦予生命，

The idea was to create a complex system

當時的想法是創造一個 多樣性複雜的系統，

in which institutional entities could maintain their own identity,

讓裡面的機構實體可以維持 它們本身的辨識性，

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

使它們不會被歸類為 單一個體空間，

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

這個它是與法國巴黎龐畢藝術中心 的比例對照圖，

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

兩者都顯示出其項目的龐大規模與潛力，

but also the difference:

但也有不一樣的地方 :

here, it is a multiplicity of a heterogeneous structure,

這裡，它是一個多重異質建物，

in which different entities can interact

裡面不同的機構彼此間可以互動，

without losing their own identity.

而不失它們的辨識度。

And it was this thought: to create an organizational structure

想法是這樣的 :創造一個組織結構

that would allow for multiple narratives to be scripted --

可以讓不同的故事 可以被描述出來--

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

包含文創教育部分 ;

for those that present the visual arts, the dance;

視覺藝術、舞蹈、

and for the public to be admitted into all of this

讓大眾可以獲准進入這個

with a series of possible trajectories,

一系列可能的軌跡動向，

to script their own reading of these narratives

來闡述他們個人

and their own experience.

對這些故事敘述的理解與經歷。

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

我想用一個很小的項目來做結束，

in a way, very different:

在某種程度上，相當不同 :

a floating cinema in the ocean of Thailand.

一個在泰國的海上漂浮電影院。

Friends of mine had founded a film festival,

我的其中一個朋友 已經投資一部片子，

and I thought,

而我當時在想，

if we think of the stories and narratives of movies,

如果，我們來思考電影的故事及腳本

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

我們也需要思考 觀看這部電影的觀眾的腳本，

So I designed a small modular floating platform,

所以，我設計了一個小型的飄浮平台模組，

based on the techniques of local fishermen,

主要技術來自當地漁民

how they built their lobster and fish farms.

的龍蝦田及魚田的技術，

We collaborated with the local community

我們與當地社團合作、建造

and built, out of recycled materials of their own,

全部是他們的回收材料，

this fantastical floating platform

這個令人驚豔的漂浮平台，

that gently moved in the ocean

慢慢地移往海裡，

as we watched films from the British film archive,

例如，當我們觀看來自英國電影資料館

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

1904年的「愛麗絲夢遊仙境」時，

The most primordial experiences of the audience

觀眾最原始的經歷會與 電影的故事情節相結合。

merged with the stories of the movies.

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

所以我相信，建築設計 不僅超越了實體物質、

of the built environment,

建築環境的範籌，

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

且真的與我們想如何生活、

how we script our own stories and those of others.

如何闡述我們的故事及 其他人的故事息息相關。

Thank you.

謝謝各位。

(Applause)

（掌聲）