A stealthy reimagining of urban public space | Elizabeth Diller

譯者: 穎君 紀 審譯者: Helen Chang

公共空間必須像空氣， 能夠自由取得，且足夠使用。

在這重視房地產的城市，

開放空間越來越被瓜分削減，

Public space must be as free and abundant as the air we breathe.

被當作貨品交易、販售，

建築師必須站出來守護公共空間，

In our real estate-driven cities,

提議打造更多公共空間，

where open space is increasingly carved up,

並重新奪回因無知或短視 而被浪費的空間。

traded and sold as a commodity,

architects must defend public space,

我們的做法裡，

advocate for more of it,

守護空間有時可能代表 和客戶爭論要不要切割公共空間，

and reclaim space that's been squandered by neglect

or lack of vision.

或甚至發明很難察覺、很低調的方式

In our practice,

this sometimes means openly sparring with a client

來將公共空間納入私人的建築計畫。

to carve out public space,

不管怎樣，每個民主國家都需要捍衛者。

or inventing stealthy, under-the-radar ways

of insinuating space for the public into otherwise private building projects.

我們建築師作為城市的管家

必須打造更多公共空間，

Either way, all democracies need champions.

並讓這快速私人化的城市 重新歸還給所有居民。

It's our role, as stewards of the urban realm,

2004 年，

to will public space into existence

我的工作室與兩位受啟發的 公民運動家的軌道交匯，

and to democratize our progressively privatized cities.

他們發起倡議，捍衛 約 2.4 公里長的廢棄建設，

In 2004,

my studio came into the orbit of two inspired citizen activists

將它變成一座公園。

who launched a campaign to save a 1.5-mile stretch

經歷過好幾年的奮鬥，扛下 來自地方房地開發商日漸增加的壓力，

of derelict infrastructure

「高線公園」終於逃過拆除，

and convert it into a public park.

我們和詹姆斯·科納、皮特·奧道爾夫

After years of struggle and mounting pressure

被指派來設計這個地方。

from local developers,

the High Line was saved from demolition,

我們深深愛上碰巧在這生根的生態系，

and we, along with our partners James Corner and Piet Oudolf,

因為多年的荒廢而欣欣向榮。

were put in charge of designing it.

我們不蓋建築，

We fell in love with the accidental ecosystem

發誓不讓人造建築侵入這個區域。

that developed there after years of neglect.

這個地方那時還太過脆弱， 無法分享給大眾，

Rather than making architecture,

所以我們重新詮釋在這奇妙、 自我繁衍的生態系統裡

we vowed to protect this place from architecture.

那種半自然半人為的基因，

The site was too fragile to share with the public,

創造了一個我們稱之為 「農園建築」的混合形式。

so we reinterpreted the DNA of this weird, self-seeded ecosystem

一般來說，公園可說是 對城市喧囂的逃避，

that was half natural and half man-made,

但這座公園卻是一座走向城市的入口，

into a hybrid we called agritecture.

一道進入城市潛意識的傳送門。

Typically, parks serve as an escape from the city.

俯瞰腳下熙來攘往的街道，

But this park was conceived as an entry into the city,

高線公園成為能體驗 紐約不同風情的地方，

a portal into the city's subconscious.

緊鄰著絕不可能印上明信片的街景。

Floating over the fast-paced streets below,

活在獎賞生產力的社會環境中，

the High Line became a place to experience an alternative New York,

高線公園成為忙碌日子裡， 能讓人喘口氣的地方，

with views that could never make it onto a postcard.

不用做什麼事，只需一起享受 活在大都會裡的快樂。

In a culture that rewards relentless productivity,

我們都沒想到高線公園成了 紐約最有名的景點之一，

the High Line became a parenthesis in the day for doing nothing

but sharing in the pleasures of being urban.

以及世界觀光客地圖裡的其中一站。

Unexpectedly, the High Line became one of the most popular destinations

去年，就有 8 百萬人來到高線公園。

in New York

高線公園走紅了，

and a landmark on the world tourist map.

許多城市被它啟發， 著手開始建造當地的高線公園。

Last year, over eight million people came.

我們引起了來自全世球的關注。

The High Line also went viral.

在這環境意識高漲的時代，

Hundreds of cities around the world were inspired to build one of their own.

這顆資源日漸減少的行星，

許多城市了解他們能夠把握機會 重塑老舊建築，

We touched a global nerve.

In a time of environmental awareness

將老舊建築重塑成環保的還地予民之道。

and shrinking resources on the planet,

cities realized they could seize the opportunity to reimagine

畢竟，

城市綠地的接近使用權 也是環境正義議題之一。

aging infrastructure

as a sustainable way to give back space to the public.

2013 年，我們被選上， 要設計一座位於莫斯科中心的公園。

After all,

access to green space is an environmental justice issue.

很慶幸這城市倖免於 龐大商業開發計畫的魔爪，

In 2013, we were selected to design a park in central Moscow.

在這充滿敏感歷史 和政治張力的地段之上，

鄰近克里姆林宮、紅場，

Thankfully, the city pivoted from its plan to build a giant commercial development

和聖巴西爾教堂。

on this historically sensitive and politically charged site,

這座公園將落足於

雄偉的赫魯雪夫時期風格飯店， 「羅西亞」的遺跡上。

adjacent to the Kremlin, Red Square

and St. Basil's Cathedral.

我們面臨了道德難題。

我們有辦法打造出民主開放的空間，

It would sit on the footprint

of the former massive Khrushchev-era hotel "Rossiya."

在這充滿壓抑感的歷史背景裡嗎？

We faced a moral dilemma.

即使這塊地離克里姆林宮不遠，

Was it possible to make a democratic public space

我們仍決定展現出莫斯科

in the context of a repressive regime?

成為進步、國際化的大都市的期望。

Despite being a stone's throw from the Kremlin,

國家政府做不到，

we decided to focus on Moscow's aspirations

都市進行社會改革的可能性較大。

of becoming a progressive, cosmopolitan city.

這座公園將會成為市民表現想法的地方，

As national governments are failing us,

軍隊閱兵遊行的映襯，

cities hold the promise of social reform.

以及紅場內其他 演示政治力量的活動的映襯。

The park would be a site of civic expression,

因為公共區域醞釀的反對聲浪 可能為執政方帶來打擊，

a foil to the military parades

政府便試圖介入控制。

and other demonstrations of power in Red Square.

我們收到的建築要求 並不希望有大片的開放空間，

Given the vulnerability that public spaces pose

可能是為了防止大型集會 和社會不穩在此埋下火種。

from opposition,

governments try to control them.

The architectural brief we got discouraged large open spaces,

我們的應對方案則是 做出開放的草地和廣場，

presumably out of concern for public assemblies

這些區域沒有固定的運用方法。

and social unrest.

我們沒設置精美的花園，

Our response was to make open meadows and plazas

沒種植選擇侷限的正式花種， 像是玫瑰花叢；

whose uses could be open-ended.

我們引進一套原則， 我們稱之為「野生都市主義」。

Instead of the manicured gardens

這座公園將會種植當地的植物品種，

and restricted inventories of official plantings, like rose bushes,

來自俄羅斯的四大主要風景區。

we introduced a principle we called wild urbanism.

這就是我們低調的一步。

The park would host native plants,

大眾將這些設計視為國家的驕傲。

sourced from the four major regional landscapes of Russia.

不同於莫斯科常見的

This was our stealthy move.

只能走在走道上的公園，

It was embraced as an expression of national pride.

用圍籬隔開人與植物的公園，

這座公園沒有任何規定，

In contrast to typical parks in Moscow,

並鼓勵人們融入公園的景色。

where you're only permitted to walk on pathways,

fenced off from vegetation,

扎里亞季耶公園取得莫大成功，

this park is unscripted

第一個月就吸引 100 萬人參訪。

and encouraged immersion in the landscape.

不意外地普丁將它抹上政治色彩， 把這公園當作他打造給人們的公園。

Zaryadye Park has been immensely successful.

One million people came the first month.

另一方面，這座公園的自由性 讓被壓抑的年輕一代所產生的變化

So, not surprisingly, Putin politicized Zaryadye as his park for the people.

被監視器捕捉了下來。

官方責怪美國帶來影響，

Meanwhile, the park's liberating effect on a repressed younger generation

讓俄羅斯青年們淪落至此。

但對我們來說，這是成功的一大徵兆，

was caught on security cameras.

Government officials blamed American influence

我們逐漸相信政權能夠淡出—

for corrupting Russian youth.

雖然有些走得比其他慢—

但公共區域不會消失。

But for us, this was a great sign of success.

它們能夠慢慢地、潛移默化地

We came to believe that regimes come and go --

some more slowly than others --

賦予大眾力量。

在民主國家，公共區域的威脅 來自對錢財的貪婪。

but public spaces endure.

They can work quietly, even subversively,

回到紐約，

to empower the public.

高線公園附近的社區

The threat to democratic public space comes also from financial greed.

從一片片開放停車場，

變成紐約最貴的房地產。

Returning to New York,

這公園意外地被自己的成功所陷害，

the neighborhood surrounding the High Line

had transformed from a sea of open parking lots

成為高速都市化的推手，

to the most expensive real estate in New York.

隨著此樣變遷， 這個地區迎來仕紳化，

The park inadvertently fell victim to its own success

我質疑建築師在塑造他們

and became an agent of rapid urbanization.

無意中產生的城市變遷 後果方面的責任是什麼。

And with it came gentrification.

我覺得我有義務對這項變化發表回應，

I question what is the responsibility of the architect

in shaping the aftermath of urban change that they've unwittingly produced.

所以我以高線公園的公共區域

當作都市裡的舞台，用來演出

浩大的表演：《英里長歌劇》。

I felt compelled to respond on the site where it happened,

這是對後工業時代都市裡， 前所未見的改變速度的一場沈思，

to use the public space of the High Line

as an urban stage for an epic performance

其中，誰得利，誰虧損。

called "The Mile-Long Opera."

這場歌劇將會體現我們 面對無法回溯的歷史的懷舊感，

It would be a meditation on the unprecedented speed of change

of the postindustrial city,

以及對冷漠的未來，所產生的不安。

its winners and losers.

And it would embody a sense of nostalgia we feel for an irretrievable past

人們傾向於認為歌劇昂貴、高攀不起，

and apprehension about an alienating future.

但這齣歌劇免費開放讓每個人享受。

我作為創作者、導演，及製作人參與，

People tend to think of opera as expensive and exclusive.

雖然我做得挺糟，

This would welcome everyone for free.

但我有其他優秀的合作者們幫忙。

I stepped into the role of creator, director and producer,

《英里長歌劇》由一大群人演出，

and basically off a cliff,

包含 40 個從教會、社區、 學校來的合唱團。

but I brought some brilliant collaborators with me.

共有 1000 位表演者分散在

"The Mile-Long Opera" was performed by a giant ensemble

這 2.4 公里長的高線公園。

of 40 church, community and school choirs.

（表演者唱歌劇）

One thousand singers in all were distributed

along the 1.5-mile stretch of the High Line.

(Singers singing opera)

每位歌手獨唱，

表演給在眼前散步的幾千位行人，

持續七個晚上，

每位表演者呈現出各自獨一無二 應對現代生活的方式，

Elizabeth Diller: Each singer performed solo

to a promenading audience of thousands

以焦慮、風趣、渴望、脆弱、

each night for seven nights,

快樂，及暴怒。

each expressing their unique way of coping with contemporary life.

整座城市都是他們的背幕，

在某些因政治爭執而感到憂鬱的日子裡，

Through anxiety, humor, longing, vulnerability,

joy and outrage.

在橫越曼哈頓的一長條地帶，

The city was their backdrop.

就能容易察覺紐約人們間的 共享價值及公民一體感。

During some particularly dark days of political strife in the country,

across a big swath of Manhattan,

但高線公園周邊的發展並未慢下腳步，

there was a palpable sense of shared values and citizenship

一項名叫「哈德遜城市廣場」的重大建案

among New Yorkers.

正在成為美國歷史上最大的 綜合用途開發建案。

But development around the High Line was not slowing down.

A huge real-estate play called Hudson Yards

聰明地，

紐約市自該建案附近奪回一小塊地

was in the process of becoming the largest mixed-use development

來建造一座尚未定案的文化機構，

in US history.

In its wisdom,

並開放招募點子。

the city of New York retained a small piece of that huge property

即使不是最理想的地段，

我們還是想「為何不樂觀一點？

for a yet-to-be-determined cultural facility,

何不用這些商業發展所產生的地面

and asked for ideas.

來發展反文化的活動？」

And while not the ideal spot,

在大衛・羅克威爾的合作下，

we thought, "Why not be opportunistic?

我們有了建築的雛形， 以及該建築的價值觀。

Why not use the space produced by commercial development

for countercultural activity?"

這座新的建築必須適應 無法預測的未來，

With our partner David Rockwell,

we had a vision for a building and an institutional ethos.

適應每位藝術家都能自由地 跨領域、跨媒介創作的未來，

The new entity had to be responsive to an unpredictable future

不論作品大小，不論室內室外。

為了做到這點， 我們必須改變現有範式，

in which artists would be free to work across all disciplines

挑戰建築的慣例。

and all media,

at all scales, indoors and out.

以固定的建築、許多多用途畫廊

To do so, we had to change the paradigm

和可隨時伸出來的外殼，

and challenge the inertia of architecture.

The Shed 能夠覆蓋 原面積兩倍的展場面積，

Made up of a fixed building with a stack of multi-use galleries

用來展示大型裝置藝術作品、 辦表演及活動。

and a telescoping outer shell that deploys on demand,

不需要這兩倍的面積時 可以將它收合，

The Shed is able to double its footprint

空出廣闊的室外空間， 供文化活動使用，或作為公共區域。

for large installations, performances and events.

拉開或收合都只需五分鐘，

If you don't need the extra space, you can just nest the shell

運作只需引擎的一馬力。

and open up a large outdoor space for cultural and public use.

The Shed 是個 剛起步的新創企業，

被一群有遠見的人們付諸實現，

The structure deploys in five minutes,

基於直覺和純粹的意志力。

and uses the horsepower of one car engine.

（音樂）

即使這只是對公共區域 和巨大商業用地的小小的反抗，

The Shed is a start-up

realized with a group of visionary collaborators

based on a hunch and sheer will.

The Shed 以它的內涵 強烈地主張獨立性。

(Music)

While it's a small pocket of resistance on publicly owned land

在人口持續暴增， 城市發展無法避免的未來，

and a giant commercial site,

The Shed asserts its independence strongly through its content.

我們建築師必須

持續守護民主的公共區域，

As populations expand and city growth is inevitable,

持續縮減的都市空間

it's important for those of us who build

才不會落入出價最高的那方。

to relentlessly advocate for a democratic public realm

謝謝。

so that dwindling urban space

is not forfeited to the highest bidder.

Thank you.