TED2005
Thom Mayne: How architecture can connect us
Thom Mayne 建築的聯繫
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建築家Thom Mayne做事從不草率，這一小段對他所設計的建築的旅程絕是一盤佳餚。這之中夾著這物質構成的大道理
Thom Mayne - Architect
Founder of the influential studio Morphosis, and co-founder of the Southern California Institute of Architecture, Pritzker Prize-winning architect Thom Mayne marries conceptual ideas with form, challenging the way we perceive structure, building and the environment. Full bio
Founder of the influential studio Morphosis, and co-founder of the Southern California Institute of Architecture, Pritzker Prize-winning architect Thom Mayne marries conceptual ideas with form, challenging the way we perceive structure, building and the environment. Full bio
Double-click the English transcript below to play the video.
00:26
I don't know your name. Audience Member: Howard. Howard.
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你叫什麼名字？（觀眾：Howard. Howard.)
00:28
Thom Mayne: Howard? I'm sitting next to Howard. I don't know Howard, obviously,
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Thom Mayne: Howard? 我就坐在Howard的旁邊。很顯然我並不認識他。
00:33
and he's going, I hope you're not next.
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而且他正準備離開。我希望你們不是下一個。
00:35
(Laughter)
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（笑聲)
00:42
Amazing. Amazing performance.
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非常精彩。非常精彩的表演。
00:44
I kind of erased everything in my brain to follow that.
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看完它之後，我幾乎都要忘記我要講什麽了。
00:49
Let me start some place. I'm interested --
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不過，讓我整理一下思路。我喜歡--
00:54
I kind of do the same thing, but I don't move my body. (Laughter)
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我的工作（跟剛才的表演）差不多，但是我不擺動我的身體。
00:58
And instead of using human figures to develop ideas of time and space,
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我不使用肢體語言來表達時間和空間的理念
01:09
I work in the mineral world. I work with more or less inert matter.
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相反，我在礦物世界里工作，和沒有生氣的材料打交道
01:13
And I organize it. And, well, it's also a bit different
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然後，我把它們組織起來。然後，恩，這里的話
01:17
because an architect versus, let's say, a dance company
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因為一個建築師，和一個，比方說，舞蹈團，是不一樣的
01:21
finally is a negotiation between one's private world,
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一個建築師最終要在他的個人世界
01:26
one's conceptual world, the world of ideas, the world of aspirations,
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他理想中的思想世界，靈感世界，
01:31
of inventions, with the relationship of the exterior world
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充滿了創造的世界，和外面的世界
01:35
and all the limitations, the naysayers.
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以及各種限制，反對者做協調。
01:40
Because I have to say, for my whole career,
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因為我必須說，在我的職業生涯中
01:43
if there's anything that's been consistent, it's been that you can't do it.
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如果有任何事是持久的，那就是“你做不到”
01:46
No matter what I've done, what I've tried to do,
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不管我的作品如何，不管我怎樣努力
01:48
everybody says it can't be done.
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所有人都說，這不可能做到
01:50
And it's continuous across the complete spectrum of the various
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這種“不可能”一直出現在每一次
01:54
kind of realities that you confront with your ideas.
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我的想法和現實的碰撞中
01:56
And to be an architect, somehow you have to negotiate between left and right,
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作為一個建築師，你不得不在左和右中進行協調
02:01
and you have to negotiate between this very private place where ideas take place
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你不得不把你想法產生的這個非常個人的世界
02:05
and the outside world, and then make it understood.
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和外面的世界進行協調，使它讓人理解
02:09
I can start any number of places, because this process is also --
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我可以從任何一個地方說起，因為這個過程也是
02:14
I think -- very different from some of the morning sessions,
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我認為，和今天早上的一些有著非常清晰明確的
02:17
which you had such a kind of very clear, such a lineal idea,
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理念的演講不同
02:21
like the last one, say, with Howard,
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就像上一個，比如說，Howard的演講
02:23
that I think the creative process in architecture,
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我認為建築中創造的過程，
02:26
the design process, is extremely circuitous. It's labyrinthine.
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設計的過程是非常迂迴的。就像一個迷宮。
02:31
It's Calvino's idea of the quickest way between two points
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Calvino認為兩點間最快的途徑是
02:35
is the circuitous line, not the straight line.
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一條曲線，而不是直線
02:37
And definitely my life has been part of that.
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而我的人生就是這樣的
02:39
I'm going to start with some simple kind of
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我打算从一些簡單的觀念
02:41
notions of how we organize things.
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來引出我們的工作流程
02:43
But basically, what we do is, we try to give coherence to the world.
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但是基本上，我们嘗試做的是把這個世界連為一體
02:47
We make physical things, buildings
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我们建造具体的東西，建築。
02:49
that become a part in an accretional process; they make cities.
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他們逐漸成為疊加過程的一部份，最終成為城市。
02:52
And those things are the reflection of the processes,
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而這些具體的東西就是這個過程
02:57
and the time that they are made.
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和這個時代的反映
02:59
And what I'm doing is attempting to synthesize the way one sees the world
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而我現在正試圖在做的是把人們看待世界的方式
03:04
and the territories which are useful as generative material.
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和一直生產著各種材料的土地整合起來
03:09
Because, really, all I'm interested in, always, as an architect,
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因為，真的，我所感興趣的，作為一個建築師
03:13
is the way things are produced because that's what I do. Right?
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總是事物成型的方式，這就是建築師的工作，不是嗎？
03:17
And it's not based on an a priori notion.
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而且，這並不是基於某個前提
03:19
I have no interest at all in conceiving something in my brain
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我對於事先在我大腦里設想一個模型，並對自己說
03:23
and saying, "This is what it looks like." In fact, somebody mentioned --
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這就是它應該有的樣子的事情沒有一點興趣，事實上，有人說過
03:26
Ewan, maybe it was you in your introduction --
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Ewan，可能你在你的介紹中提到過
03:28
about this is what architects --
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這就是建築師的工作
03:30
did somebody say it's what business people come to,
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有人說，這不就是商人們做的事嗎
03:32
it's what the corporate world comes to
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當企業想讓這項目看似很概念時
03:34
when they want to make it look like something at the end of the line? Huh. Wow.
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這不就是那些企業做的事嗎？的確
03:38
It doesn't work that way for me at all.
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我才不信這套
03:40
I have no interest in that whatsoever.
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我對這些屁話完全不感興趣
03:42
Architecture is the beginning of something, because it's --
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建築是事物的開始，因為--
03:44
if you're not involved in first principles,
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如果你沒有一開始就投入
03:46
if you're not involved in the absolute,
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如果你沒有從生產過程的最開始
03:48
the beginning of that generative process, it's cake decoration.
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的地方投入。這就知識一個蛋糕的裝飾。
03:53
And I've nothing wrong with cake decoration and cake decorators,
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而且我--蛋糕裝飾和蛋糕裝飾師沒有過錯
03:56
if anybody's involved in cake decorations --
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如果有任何人裝飾過蛋糕--
03:58
it's not what I'm interested in doing. (Laughter)
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這只是不是我想要做的
04:00
And so, in the formation of things, in giving it form,
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所以，事物成型的過程，我們賦予它形狀，賦予它--
04:05
in concretizing these things,
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把它實體化的過程
04:08
it starts with some notion of how one organizes.
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要從一開始我們怎樣組織事物的觀點開始。
04:11
And I've had for 30 years an interest in a series of complexities
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30年來，我一直對各種事物的複雜性深感興趣。
04:16
where a series of forces are brought to bear,
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各方力量被聚集在一起，去承受
04:19
and to understand the nature of the final result of that,
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和理解作為一個建築本身
04:23
representing the building itself.
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的最終結果的本質。
04:26
There's been a continual relationship between inventions,
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一直以來，私人的設計和
04:30
which are private, and reality, which has been important to me.
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現實，對我來說很重要的現實之間存在著一種持續的聯繫。
04:34
A project which is part of an exhibition in Copenhagen 10 years ago,
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十年前在哥本哈根某展覽有一個作品
04:39
which was the modeling of a hippocampus --
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那是一個海馬體的模型
04:41
the territory of the brain that records short-term memory --
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就是那個在人腦中儲存和記錄短期記憶的區域
04:44
and the documentation of that, the imaginative and documentation of that
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這個作品極富想像力地
04:48
through a series of drawings which literally attempt to organize that experience.
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用一系列圖畫非常直觀地去表現海馬區的變化
04:53
And it had to do with the notion of walking a kilometer,
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這裡我不得不提到一個“行走一公里"的概念
04:57
observing every kilometer a particular object of desire,
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把每一公里看做願望中的一個特定的目標
05:00
and then placing that within this.
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然後把這個觀念替換到事物成型的過程中
05:02
And the notion was that I could make an organization
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而這個觀念就是我可以組織一個事物
05:05
not built on normal coherencies, but built on non-sequiturs, built on randomness.
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不是根據一般的連貫性，而是根據一種不連貫，建立在完全隨意的基礎上
05:11
And I'd been extremely interested in this notion of randomness
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這種隨意性一直深深地吸引著我
05:14
as it produces architectural work
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因為它創造了建築
05:16
and as it definitely connects to the notion of the city,
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並且與城市的發展緊緊相連
05:18
an accretional notion of the city,
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城市的自然形成
05:20
and that led to various ideas of organization.
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同時它指出了事物組織的多樣性
05:23
And then this led to broader ideas of buildings
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再由此導出了更廣泛的建築理念
05:26
that come together through the multiplicity of systems.
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這些理念又通過多樣的系統 融合在一起
05:30
And it's not any single system that makes the work.
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一個系統是不能完成工作的
05:33
It's the relationship -- it's the dynamics between the systems --
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它們之間是有聯繫的 系統間是動態的過程
05:36
which have the power to transform and invent
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他是有力量去改變和發明的
05:39
and produce an architecture that is -- that would otherwise not exist.
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并創造出那種不存在的建築
05:45
And those systems could be identified,
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這樣的系統是可以被實際利用的
05:47
and they could be grouped together.
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是可以被組合在一起的
05:48
And of course, today, with the technology of the computer
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當然，如今我們有電腦的幫忙
05:51
and with the rapid prototyping, etc., we have the mechanisms
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還有快速打樣和其它的幫助，我們具備了完整的
05:55
to understand and to respond to these systems,
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機制去理解和回應這些系統
05:58
and to allow them to adjust to the various accommodations of functionalities
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並且讓他們調整到對應我們需求的功能
06:03
because that's all we do.
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因為這就是就是我們所做的。
06:05
We're producing spaces that accommodate human activity.
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我們建造空間去滿足人類各種活動的需求
06:08
And what I'm interested in is not the styling of that,
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讓我感興趣的不是這些空間的樣式風格
06:11
but the relationship of that as it enhances that activity.
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而是它如何提高人們開展各種活動的順利性
06:17
And that directly connects to ideas of city-making.
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這與城市的規劃建造直接相關。
06:20
This is a project that we just finished in Penang
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這是我們剛在馬來西亞的平安島完成的項目
06:22
for a very, very large city project that came directly out of this process,
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是一個非常非常大的城市規劃，是這個理念的直接體現
06:26
which is the result of the multiplicity of forces that produce it.
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各種力量交織最終產生了這個設計
06:32
And the project -- again, enormous, enormous competition --
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而這個三年前我們應邀參加的，--不得不提，競爭相當激烈--
06:34
on the Hudson River and in New York
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在紐約哈德遜河上的項目
06:36
that we were asked to do three years ago, which uses these processes.
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也使用了這個過程。
06:39
And what you're looking at are possibilities that have to do
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你現在看到的是一種可能性 可能用一種方法
06:42
with the generation of the city as one applies a methodology
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去應對城市的產生
06:48
that uses notions of these multiple forces,
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同時 這種方法使用到了多方面力量的理念
06:51
that deals with the enormity of the problem, the complexity of the problem,
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可以解決重大的問題 複雜的問題
06:56
when we're designing cities at larger and larger aggregates.
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當我們設計的城市越來越大時
06:59
Because one of the issues today is
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因為當今社會的一大問題就是
07:01
that the economic aggregate is driving the development aggregate,
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經濟的發展快速推進了城市建設的發展
07:06
and as the aggregates get larger we require
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隨著發展的增加，我們的越來越需要
07:08
more and more complex investigation processes to solve these problems.
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更複雜詳盡的調查去解決這些問題。
07:13
And that led us directly to the Olympic Village.
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奧林匹克村就是這樣一個例子。
07:16
I was in New York on Monday presenting it to the IOC.
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星期一我在紐約把它展示給奧組委。
07:19
We won the competition -- what was it, nine months ago?
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然後我們拿下了這個項目--這是什麽時候的事情了？九個月以前？
07:23
Again, a direct reflection from using these processes
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這又是一個運用這些過程
07:26
to develop extremely complicated, very large-scale organisms.
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來解決非常複雜，大規模項目的例子
07:31
And then, also, was working with broad strategies.
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然後，就是要採取各種廣泛策略。
07:34
In this case, we only used 15 of the 60 acres of land,
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在奧運村的項目里，我們只用了60英畝中的15英畝，
07:39
and the 45 acres was a park and would become the legacy of the Olympic Village.
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剩下的45畝是一個公園，而且會成為奧運村的永久保留財富。
07:43
And it would become the second largest park in the boroughs, etc.
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同時它還將成為這個行政區劃里第二大的公園，諸如此類。
07:47
Its position, of course, in the middle of Manhattan -- it's on Hunter's Point.
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它的位置，當然，是在曼哈頓的中心，在Hunter's Point
07:51
And then the broader ideas of city-making
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於是，城市規劃的理念開始
07:55
start having direct influences on architecture,
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對建築以及組成大藍圖、建築本身的
07:58
on the elements that make up the broader scheme,
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各種因素有了直接的影響
08:01
the buildings themselves, and start guiding us.
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並且開始指引我們。
08:06
Architecture for me has been an investigation of a multiplicity of forces
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對我來說，建築就是一項對可能產生自任何領域的
08:10
that could come from literally any place.
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的各種力量進行的研究。
08:12
And so I can start this discussion in any number of places,
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所以我可以對建築進行任何一方面的討論
08:16
and I've chosen three or four to talk about.
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我這裡只選了幾個來談談
08:19
And it has also to do with an interest in
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我對它們的興趣在於其中的建築
08:24
the vast kind of territory that architecture touches.
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都與它們所在的地理區域緊密相連。
08:28
It literally is connected to anything in terms of knowledge base.
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其實建築與各個知識領域都是有關聯的。
08:33
There's just no place that it doesn't somehow
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就想人體沒有哪一個建構
08:36
have a connective tissue to.
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可以脫離結締組織一樣。
08:38
This is Jim Dine, and it's the absence of presence, etc.
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這是Jim Dine的作品，缺失的存在
08:41
It's the clothing, the skin, without the presence of the character.
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這裡有衣服，有皮膚，但卻沒有一個人物
08:45
It became kind of an idea for the notion of the surface of a work,
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它要表現的概念是作品的表面
08:49
and it was used in a project where we could unravel that surface,
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這個概念被我們用在了其中的一個項目中，我們可以揭開表面
08:54
and it was a figurative idea that was going to be folded
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然後這個抽象的平面圖形可以折叠起來
08:58
and made into a very, kind of complex space.
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變成非常複雜的空間。
09:01
And the idea was the relationship of the space,
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它想要表達的是空間的結構
09:04
which was made up of the fold of the image,
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由幾層圖形和衝突組成的
09:07
and the dialectic or the conflict between the figuration,
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衝突則是圖形的清晰
09:12
and the clarity of the image
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和空間的複雜
09:14
and the complexity of the space, which were in dialog.
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之間可調和的衝突
09:17
And it made us rethink the whole notion of how we work
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這讓我們重新思考長久以來我們是如何工作
09:20
and how we make things,
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以及如何創造與生產
09:22
and it led us to ideas that were closer to fashion design as we flattened out surfaces,
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當我們把表面平展時我們就更接近服裝設計的領域。
09:28
and then brought them back together as they could make spatial combinations.
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然後把他們重新組合，就又回到了空間組合。
09:31
And this was the first prototype in Korea,
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這是在韓國的一個項目的模型。
09:34
as we're dealing with a dynamic envelope,
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我們在做一個動態信封。
09:37
and then the same characteristic of the fabric.
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這些材料有著相同的屬性。
09:40
It has a material identity and it's translucent and it's porous,
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這種材料很特別，半透明而且多孔，
09:45
and it allows us for a very different notion of what a skin of a building is.
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它為建築的表面提供了新的選擇。
09:49
And that turned right away into another project.
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而且它可以馬上在另外一個項目里，變成另外一個樣子。
09:51
This is the Caltrans building in Los Angeles.
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這是洛杉磯的加州交通總部大樓。
09:54
And now we're seeing as the skin and the body is differentiated.
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我們可以看到，建築的表面和主題是可以區別的，
09:58
Again, it's a very, very simple notion.
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再強調一下，這是一個非常非常簡單的理念。
10:00
If you look at most buildings,
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如果你看看周圍的建築，
10:02
what you look at is the building, the facade, and it is the building.
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你看到的是建築的外觀，而這就是建築
10:04
And all of a sudden we're kind of moving away,
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然後突然間，我們有種遠離建築的感覺
10:06
and we're separating the skin from the body,
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就像皮和肉分離似的
10:08
and that's going to lead to broader performance criteria,
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這就導出了廣義的建築表面標準
10:10
which I'm going to talk about in a minute.
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我之後會具體講一講
10:12
And you're looking at how it drapes over
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看它是如何垂下
10:14
and differentiates from the body.
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與母體分開的
10:16
And then, again, the building itself,
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再一次，這棟樓本身
10:19
middle of Los Angeles, right across from City Hall.
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就在洛杉磯的市中心，市政府的對面
10:22
And as it moves, it takes pieces of the earth with it. It bends up.
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當它動起來時 地球的一部份就跟它一起 彎曲
10:25
It's part of a sign system,
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它是成為了系統的一部份，
10:27
which was part of the kind of legacy of Los Angeles --
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成爲了洛杉磯的文化遺產，
10:29
the two-dimension, three-dimension signing, etc.
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2D 3D的標誌
10:33
And then it allows one to penetrate the work itself.
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然後它讓我們深入到作品中，
10:37
It's transparent, and it allows you to understand, I think,
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它是透明的，我認為，這便於使人理解，
10:41
what is always the most interesting thing in any building,
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這總是建築中最有趣的地方，
10:43
which is the actual constructional processes that make it.
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實際的建築過程賦予了它這個特性。
10:46
And it's probably the most intense kind of territory
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這可能是建築中最有張力的部份
10:51
of the work, which is not occupied,
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它沒有被填滿
10:53
because architecture is always the most interesting in some mechanism
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因為在建築的構造和功能分開的時候
10:56
when it's separated from function,
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才是它最吸引人的時候
10:58
and this is an area that allows for that.
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而我們現在在做的就是這個。
11:00
And then the skin starts transforming into other materials.
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然後，建築的表層可以轉換為其它材料，
11:03
We're using light as a building material in this case.
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在這個案例里，我們使用了燈光作為表層材料。
11:05
We're working with Keith Sonnier in New York,
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我們和紐約的Keith Sonnier合作，
11:07
and we're making this large outside room,
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製作了這個龐大的燈光系統
11:09
which is possible in Los Angeles, and which is very much reflective
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它很配洛杉磯，很能反映當代的
11:13
of the urban, the contemporary urban environments
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城市環境
11:16
that you would find in Shibuya or you'd find in Mexico City
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那種你能在東京涉谷，墨西哥城，
11:19
or Sao Paulo, etc.,
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或巴西聖保羅見到的城市景觀
11:21
that have to do with activating the city over a longer span of time.
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這樣的建築可以長時間的讓城市處於活躍狀態。
11:25
And that was very much part of the notion
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這也是這個項目
11:27
of the urban objective of this project in Los Angeles.
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非常適合洛杉磯的原因。
11:31
And, again, all of it promoting transparency.
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而且，我想再一次強調，它推崇透明化。
11:35
And an image which may be closest talks about the use of light as a medium,
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而且用它來談燈光作為媒介的用途再合適不過了，
11:42
that light becomes literally a building material.
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燈光真正的成為了建築材料
11:45
Well, that immediately turned into something much broader, and as a scope.
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這大大拓寬了我們的視野--我們的工作餘地也大大增加了。
11:49
And again, we're looking at an early sketch
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再次地，我們現在看到的是一幅早期的草圖
11:53
where I'm understanding now
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根據我的理解
11:55
that the skin can be a transition between the ground and the tower.
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它的表層可以成為地面和塔身的國度
11:58
This is a building in San Francisco which is under construction.
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這棟樓在舊金山，還在建造中。
12:01
And now it turned into something much, much broader as a problem,
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現在它看起來有很大的問題
12:05
and it has to do with performance.
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與建築表面相關的問題
12:07
This will be the first building in the United States that took --
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這是在美國境內的第一棟--
12:10
well, I can't say it took the air conditioning out. It's a hybrid.
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我不能說它完全去除了空調，它還是一個過渡混合品。
12:12
I wanted a pure thing, and I can't get it.
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我想要一個純粹的，但是我沒辦法得到它。
12:14
It's a wrong attitude, actually, because the hybrid is probably more interesting.
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這是一個錯誤的態度，因為實際上，雜種可能更更有意思。
12:17
But we took the air conditioning out of the tower.
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我們把塔樓中的空調都拿掉了
12:19
There's some air conditioning left in the base,
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但保留了一些在底座
12:21
but the skin now moves on hydraulics.
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現在建築的表層，在液壓下可以移動。
12:23
It forces air through a Venturi force if there's no wind.
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它把空氣押進來，如果沒有風的話，就採用機器鼓風。
12:27
It adjusts continually. And we removed the air conditioning.
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它可以一直工作。有了它，我們就可以把空調去掉了。
12:30
Huge, huge thing. Half a million dollars a year delta.
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非常了不起，每年能給三角洲節約50萬美元。
12:34
10 of these -- it's just under a million square feet --
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其中十塊--
12:36
800 and some thousand square feet --
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--每塊大概有800到1000平方英尺（288到360平米）--
12:38
10 of these would power Sausalito -- the delta on this.
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這裡面的十塊就足夠薩所利托，三角洲的所在地的能量供給。
12:41
And so now what we're looking at, as the projects get larger in scale,
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所以現在我們看到的是，隨著項目規模不斷增大，
12:44
as they interface with broader problems,
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就會牽涉到更多、各種各樣的問題，
12:49
that they expand the capabilities
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它們的規模越大
12:52
in terms of their performance.
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發展空間就越大。
12:55
Well, I could also start here.
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我們再看看這一個項目
12:57
We could talk about the relationship
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我們可以從生物學的角度
12:59
at a more biological sense of the relationship of building and ground.
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來探討一下建築和土地的關係。
13:03
Well, our research -- my generation for sure,
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我們的研究--我們這一代人
13:06
people who were going to school in the late '60s --
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60年代末上小學的這代--
13:08
made very much a shift out of the internal focus of architecture,
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對建築的關注不再局限於建築的內部結構
13:14
looking at architecture within its own territory,
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而是把建築和它所在的地域聯繫起來
13:16
and we were much more affected by film,
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我們深受電影
13:18
by what was going on in the art world, etc.
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和藝術的影響
13:20
This is, of course, Michael Heizer.
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這是，顯然的，邁克爾海澤的作品
13:22
And when I saw this, first an image and then visited,
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當我看到它時，第一次只是一張照片，後來又去現場看過
13:26
it completely changed the way I thought after that point.
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這完全顛覆了我之前的觀點
13:30
And I understood that building really could be
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我瞭解到建築真的可以
13:32
the augmentation of the Earth's surface,
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增強地球表面的視覺衝擊力
13:34
and it completely shifted the notion of building ground in the most basic sense.
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它完全顛覆了以前只把地面當做地基的普遍看法。
13:39
And then -- well, he was probably looking at this -- this is Nazca;
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這個--可能當時它從這裡得到了啓發--這是秘魯境內的納斯卡高原
13:42
this is 700 years ago -- the most amazing four-kilometer land sculptures.
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已經有七百年的歷史了--最宏偉綺麗的長達四公里的土地雕塑。
13:49
They're just totally incredible.
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不可思議的自然奇跡。
13:51
And that led us to then completely rethinking how we draw, how we work.
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它讓我們重新思考我們畫圖和工作的整個過程。
13:55
This is the first sketch of a high school in Pomona --
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這是加州波莫納高中一所高中的最初草圖。
13:58
well, whatever it is, a model, a conceptual, kind of idea.
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好吧，不管它是什麽，它是一個模型，一個概念化的想法
14:02
And it's the reshaping of the Earth to make it occupiable.
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想要通過重塑當地的地表，讓我們可以利用。
14:06
So it puts 200,000 square feet of stuff that make a high school work
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我們佔用了大概20萬平方英尺的土地，
14:11
in the surface of that Earth.
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好讓一所高中可以和土地結合起來
14:13
There it is modeled as it was developing into a piece of work.
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這個模型已經有點作品的樣子了
14:16
And there it is, again, as it's starting to get resolved tectonically,
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然後，是解決一些技術問題
14:20
and then there's the school.
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然後，這個學校最終的樣子
14:22
And, of course,
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當然，我們的興趣==
14:24
we're interested in participating with education.
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我們很喜歡參與教育工作
14:26
I have absolutely no interest in producing a building
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我對建造那種要滿足X,Y和Z功能的
14:28
that just accommodates X, Y and Z function.
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的建築完全不敢興趣
14:30
What I'm interested in are how these ideas
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我好奇的是，包含在建築中的觀點
14:32
participate in the educational process of young people.
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會怎樣影響在這裡學習的年輕人。
14:35
It demands some sort of notion of inquiry
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這需要有探求精神
14:37
because it's a system that's developed not sculpturally.
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因為這不是一個死板發展得系統
14:39
It's an idea that started from my first discussion.
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他和我最開始的討論有關
14:42
It has to do with a broad, consistent logic,
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它包含了一個寬廣又連貫的邏輯
14:45
and that logic could be understood as one occupies the building.
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這當我們在建築裏面時是可以體會得到的
14:49
And there's an overt -- at least,
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這其中有一種隱秘的--
14:51
there's an attempt to make a very overt notion of a building
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至少，我們嘗試用一種隱秘的方式表達
14:54
that connects to the land in a very different way
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土地與建築的鏈接
14:56
because I was interested in a very didactic approach to the problem,
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因為我一直希望賦予問題解決的過程一些教學意義
14:59
as one would understand that.
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可以讓人們看到建築時得到一點啓發
15:01
And the second project that was just finished in Los Angeles
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這個項目剛剛在洛杉磯完成
15:03
that uses some of the same ideas. It uses landscape as a major idea.
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運用了同樣的理念，把
15:07
Then, again, we're doing the headquarters for NOAA --
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然後我們正在設計建造NOAA的總部
15:10
National Oceanographic and Atmospheric Agency --
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美國國家海洋和大氣局
15:13
outside of Washington in Maryland.
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在華盛頓城外，馬裡蘭州里
15:15
And this is how they see the world.
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他們看到的世界是這樣的
15:17
They have 22 satellites zipping around at plus or minus 100 miles,
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他們有22個衛星以時速100英里的速度飛速運行
15:21
and the site's in red.
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紅色部份是建築所在地
15:23
And what we really want to do -- well, the architects,
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我們真正想做的--我是指，建築師
15:26
if there are architects out there, this is the Laugier Hut;
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如果這還算個職業的話--這就是勞吉爾小屋
15:29
this is the primitive hut that's been around for so long --
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這是一個非常原始的小屋，看起來已經在那兒很久了
15:31
and what we wanted to do is really build this,
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而我們想要做的是建一個類似的東西
15:33
because they see themselves as the caretakers of the world,
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因為他們把自己看做世界的保護人
15:37
and we wanted them to look down at their satellite,
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我們想讓他們從衛星圖里看看
15:39
how they see their own site, that eight-acre site,
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看看自己的根據地，那塊八英畝大的地方時
15:41
and we wanted nothing left. We wanted it to stay green.
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什麽也找不到。我們希望那裡始終是綠色的。
15:44
There's actually three baseball fields on it right now,
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現在圖中看到的建築物上鋪了三塊棒球場
15:46
and they're going to stay there.
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他們會一直待在那
15:47
We put one piece directly north-south,
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我們把一塊南北向放置
15:49
and it holds the dishes at the ears, right?
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衛星接收器像兩隻耳朵，對不？
15:52
And then right below that the processing, and the mission lift,
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棒球場下方是操作室和任務室
15:55
and the mission control room, and all the other spaces are underground.
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和任務控制室，其它空間都在地下
15:59
And what you look at is an aircraft carrier
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你現在看到的是一個搭載航母
16:01
that's performance-driven by the cone vision of these satellite dishes.
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它表現如何就要看這些衛星都能接收到什麽樣的吐了
16:05
And that the building itself is occupied in the lower portion,
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建築物的下半部份
16:09
broken up by a series of courts,
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被一系列場地分開
16:11
and it's five acres of uninterrupted, horizontal space
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這裡有五英畝的連續的空間
16:14
for their administrative offices.
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作為管理人員辦公室
16:17
And then that, in turn, propelled us to look at
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這又一次驅使我們關注
16:20
larger-scale projects where this notion of landscape building interface
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大規模項目中建築與地形的交接面
16:24
becomes a connective tissue.
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變成了結締組織
16:26
The new capital competition for Berlin, four years ago.
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四年前柏林新首都的競賽
16:32
And again we just finished the ECB --
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還有，這是我們剛剛完成的歐洲中央銀行圖紙--
16:34
actually Coop Himmelblau in Vienna just won this project,
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很可惜，維也納的庫普希米爾布勞建築事務所拿下了這個項目
16:37
where the building was separated into a series of landscape elements
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我們的方案中，整個建築物被分為一系列的地形元素
16:43
that became part of a connective tissue of a park,
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成爲了公園中連接各個部份的結締組織
16:46
which is parallel to the river, and develops ideas of the buildings themselves
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他們與河平行，讓每棟建築都由地形衍生
16:52
and becomes part of the connective fabric --
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成爲了連接結構的一部份--
16:55
the social, cultural and the landscape, recreational fabric of the city.
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具有社會，文化，地域，娛樂功能的城市結構
17:00
And the building is no longer seen as an autonomous thing,
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建築不再是一個孤立的個體
17:02
but something that's only inextricably connected
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而是與周圍的環境緊密相連
17:04
to this city and this place at this time.
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與城市的每一分每一秒都聯繫在一起
17:06
And a project that was realized in Austria, the Hooper Bank,
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還有一個在奧地利完成的項目，胡珀銀行
17:10
which again used this idea of connecting typology,
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其中也用到了“連接”的基本概念
17:13
the traditional buildings, and morphology,
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還有傳統的建築，以及擬態學，
17:16
or the relationship of the development of land as an idea,
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或者說將土地變成整個計劃的構件
17:19
into a complex, which is a piece of a city where we can see part of it
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成為整個複雜設計中的一部份，讓地形作為城市的一部份
17:23
is literally just this augmenting,
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在作品中呈現出來，得到放大
17:25
this movement of the land that's a very simple idea of
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這種處理地形的方法其實很簡單，就是將
17:28
just lifting it up and occupying it,
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原有的地形上升，進行填充
17:29
and other parts are much more energetic and intense.
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其它的地方則比較緊湊
17:32
And talk about that intensity
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說到緊湊
17:34
in terms of the collisions of the kind of events they make
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這種緊湊帶來各種空間交錯衝突的效果
17:38
that have to do with putting a series of systems together,
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與將一系列系統放在一起，一部份藏在地下，一部份在地上
17:40
and then where part of it is in the ground, part of it is oppositional lifts.
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帶來的錯雜的效果直接關聯
17:44
One enters the building as it lifts off the ground,
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當人走入建築物，同時也離開了地表
17:47
and it becomes part of the idea.
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這也是整個構想的一部份
17:49
And then the skin -- the edges of this --
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然後是建築的外層
17:52
all promote the dynamic, the movement of the building
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用一系列地震般，地殼運動一樣的活動
17:55
as a series of seismic shifts, geologic shifts. Right?
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賦予建築動態感
18:00
And it makes for event space and then it breaks in places
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這能創造出幾塊破碎的空間
18:04
that allow you to peer into the interior, and those interiors, again,
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讓你可以看到建築的裏面 這些內部
18:07
are promoting transparency for the workplace,
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由增強了建築的 透明度
18:09
which has been a continual interest of ours.
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這是我們一直的想法
18:14
And then, again, in a more, kind of traditional setting,
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再來 這一個較傳統的建築
18:17
this is a graduate student housing in Toronto,
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這是多倫多的學生公寓
18:19
and it's very much about the relationship of a building
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但是卻傳達出了建築與城市的關係
18:23
as it makes a connective tissue to the city.
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因為它與城市很有機的聯繫在了一起
18:25
The main idea was the gateway, where it breaks the site,
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大門是讓它很獨特的地方
18:28
and the building occupies both the public space and the private space.
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還有就是 建築是用的公用地和私人地
18:32
And it's that territory of -- it's this thing.
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感覺這是建築物的領地
18:36
I visited the site many times, and everybody, kind of --
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我去了幾次這個地方 路人都有點（他沒講了）
18:39
you can see this from two kilometers away; it's an exact center of the street,
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你可以看到這樣的感覺從2公里外街道的中心
18:43
and the whole notion is to engage the public,
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建築物就像是嵌在了市區里
18:45
to engage buildings as part of the public tissue of the city.
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是城市公共組織的一部份
18:51
And finally, one of the most interesting projects -- it's a courthouse.
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最後是 這個城市中最有趣的 建築 它的法院
18:55
And what I want to talk about -- this is the Supreme Court, of course --
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當然我想說的是 這是最高法院 當然
18:58
and, well, I'm dealing with Michael Hogan, the Chief Justice of Oregon.
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我是與最高法官Michael Hogan聊過的
19:02
You could not proceed without making this negotiation
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在沒有在你的價值觀和要在這裡
19:06
between one's own values and the relationship
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與我們我們一起工作的人
19:10
of the character you're working with and how he understands the court,
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瞭解他們是怎麼理解這個法院的 你是無法進行工作的
19:14
because I'm showing him, of course, Corbusier at Savoy,
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因為 我給他看的是Cobusier（著名建築家）在Savoy（法國某地）
19:17
which is 1928, which is the beginning of modern architecture.
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1928時的作品 可以說是現代建築的開端
19:20
Well, then we get to this image.
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然後我們得 到了這樣一個形象
19:23
And this is where the project started. Because I'm going,
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這也是工程開始的地方
19:27
I'm interested in the phenomenon that's taking place in here.
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我很感興趣在那裡所發生的事
19:32
And really what we're talking about is constructing reality.
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我們在討論的是如何去建造現實
19:36
And I'm a character that's extremely interested
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而且我也是一個極度對理解
19:38
in understanding the nature of that constructed reality
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自然感興趣的人
19:41
because there's no such thing as nature any more. Nature is gone.
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因為自然已經不在了
19:45
Nature in the 19th-century sense, alright?
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自然在19世紀很有感覺吧
19:47
Nature is only a cultural edifice today, right?
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但現在只是文化建築 對吧
19:50
We construct it and we construct those ideas.
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我們可以構建自然和那些理念
19:53
And then of course, this one, our governor at the moment.
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這個事是我們當時的主管
19:56
And we spent some time with Conan, believe it or not,
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我們還見到了Conan（美國虛構英雄）信不信由你
20:01
and then that led us to, kind of, the very differences of our worlds
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這讓我們感受到了很大的不同
20:05
from a legal and an artistic, architectural.
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與我們這個法制美學有結構的世界
20:07
And it forced us to talk about notions of how we work,
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這讓我們重新考慮應該用怎麼的理念做我們的工作
20:11
and the dynamics of that, and what other sources of the work is.
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應表達怎樣的變化 應該用到怎樣的元素
20:14
And it led us to the project, the courthouse,
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我們便得到了這樣一個法院
20:17
which is absolutely a part of a negotiation
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這絕對是考慮了傳統后
20:20
between tradition and pieces of the traditional courthouse.
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得到的答案
20:23
You'll find a stair that's the same length as the Supreme Court.
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你可以看到它有和最高法院一樣長的臺階
20:25
Here's a piano nobile, which is a device used in the Renaissance.
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這是一個有客廳的樓層 在文藝復興很常見的設計
20:28
The courts were made of that. The skin is this series of layers
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他的外層是由幾套層狀結構 構造的
20:32
that reflect even rusticated stonework,
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表現的是一種石器風格
20:35
but which were embedded with fragments of the Constitution,
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但是又刻上了憲法的一部份
20:39
which were part of the little process,
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這也是現代與古代調和的一部份
20:41
all set on a plinth that defined it from the community.
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底座上的結構又把它與社區分開
20:43
Thank you so much.
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謝謝！
20:45
(Applause)
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（掌聲）
ABOUT THE SPEAKER
Thom Mayne - ArchitectFounder of the influential studio Morphosis, and co-founder of the Southern California Institute of Architecture, Pritzker Prize-winning architect Thom Mayne marries conceptual ideas with form, challenging the way we perceive structure, building and the environment.
Why you should listen
Widely regarded as one of the world's most provocative architects, Thom Mayne is only interested in exploring the new, the present and the now. For him, architecture is not a matter of producing a readily imaginable building, but is instead a starting point for a larger discussion. The output of his Santa Monica-based studio, Morphosis, shows the results of the negotiations between concept and reality.
As Mayne describes things, the only constant in his professional career has been people telling him something can't be done. But he and his studio continue to produce astonishing work for clients worldwide, including government offices, hospitals, restaurants, residences and schools. Redefining how buildings work both within themselves and within their environment, Mayne and Morphosis are forging dramatic new landscapes for a startlingly modern world.
He joined President Obama's initiative Turnaround: Arts, which uses art education as a tool for success in struggling schools.
Thom Mayne | Speaker | TED.com