Walter Hood: How urban spaces can preserve history and build community
Walter Hood: Bagaimana ruang kota dapat menjaga sejarah dan membangun komunitas
Walter Hood imagines urban spaces as a new kind of public sculpture -- full of beauty, strangeness and idiosyncrasy. Full bio
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mengilhami kenangan?
this notion "e pluribus unum" --
"e pluribus unum" --
and cultures of people,
orang yang berbeda,
this idea of "e pluribus unum"
tentang gagasan "e pluribus unum"
those memories of diverse perspectives,
mengilhami kenangan berbagai sudut pandang
trying to narrow things down
mempersempit semua hal
five simple concepts
lima konsep sederhana
with you five projects
lima proyek
how the memory around us,
bagaimana memori di sekitar kita,
at one another in a different way.
satu sama lain dengan cara berbeda.
an American motto anymore.
moto Amerika saja,
when we exist in each other's world --
berada di dunia satu sama lain --
seen a community garden.
lihat kebun bersama
and food. Right?
dan makanan. Betul?
lebih dari satu dekade yang lalu.
more than a decade ago.
all of their community gardens,
semua kebun bersama mereka,
the New York Restoration Project.
nonprofit New York Restoration Project.
and make these beautiful gardens,
dan membuat kebun indah ini,
just be about food.
tentang makanan.
Queens.
Restoration Project Office,
New York Restoration Project,
on the door downstairs.
di pintu depan.
and before you knew it,
dan sebelum kau tahu,
formed this collaboration,
membentuk kolaborasi ini,
in Jamaica, Queens.
di Jamaica, Queens.
grew up in Jamaica.
tumbuh di Jamaica.
bringing these worlds together --
bergabung bersama --
secret gardens in New York.
kebun rahasia di New York,
about six months ago
enam bulan lalu
found solace in going to the garden.
menemukan kebahagiaan saat masuk ke kebun.
It had more to do with 50, I'm sure,
Lebih berhubungan dengan 50, saya yakin,
to think about gardens
untuk berpikir tentang kebun
in a different way.
dengan cara yang berbeda.
it would be to explain,
untuk menjelaskannya,
my father looked at me,
ayah saya melihat saya,
to be both black and white
menjadi hitam dan putih
parts of the 20th century,
abad 20,
of other people,
this double consciousness.
than a hundred years later,
lebih dari seratus tahun kemudian,
strong and resilient,
kuat dan tangguh,
berwarna, wanita --
the world through the eyes of others --
dunia lewat mata orang lain --
to the rest of those
pada mereka
can find itself in the world around us.
bisa ada di dunia sekitar kita.
we're beginning to share these stories.
kita mulai membagikan cerita ini.
by Thomas Jefferson,
to notice now was built by African hands.
dibangun oleh seorang Afrika.
was expanding to the south,
ke selatan,
that was the house of Kitty Foster,
yang merupakan rumah Kitty Foster,
mahasiswa UVA.
a commemorative piece.
membuat tugu peringatan.
both black and white ...
baik hitam dan putih,
based on shadows and light.
berdasarkan bayangan dan cahaya.
to develop a shadow-catcher
penangkap bayangan
in a different way.
dengan cara berbeda.
to be unresolved.
tidak terselesaikan.
allows us to have a conversation.
untuk berdialog.
in this conference,
di pertemuan ini,
when I was a young pup,
saat saya masih muda,
in downtown Oakland, California
di pusat Oakland, California
can be in the same space
bisa ada di satu ruang
"That's never going to work.
"Tidak mungkin berhasil.
with the homeless people."
dengan gelandangan."
barbecue pits, smokers,
panggangan,
we went to the then-mayor
lalu bertemu walikota saat itu
going to cost you 1.1 million dollars."
biayanya hanya 1,1 juta dolar."
and we raised the money.
dan menggalang dana.
built the bathroom.
membangun kamar mandi.
homeless problem in the Bay Area.
yang lebih besar di Bay Area.
for the people under freeways and tents,
mereka di tenda dan di kolong jembatan,
dan memaksa berempati?
is Lafayette Square Park today.
Taman Lafayette Square sekarang.
Golden Gate Park after the earthquake.
tahun 1906 setelah gempa.
and we don't see them.
dan kita tidak melihat mereka.
and they'll be visible.
dan mereka akan kelihatan.
people out there with empathy,
bahwa masih ada orang dengan empati,
that park became the vehicle for him.
taman itu jadi medianya.
beautiful architecture, beautiful parks --
arsitektur yang indah, taman yang indah --
and then new people come in
jika mereka pergi
places for community gatherings, etc.
dan lainnya.
taught many black actors.
mengajar banyak aktor kulit hitam.
1980s federal practices,
praktik federal tahun 1980an,
fell into disrepair.
yang mengalami kemunduran.
we were able to raise money
kami berhasil mengumpulkan uang
pertemuan komunitas.
a community meeting.
orang-orang berdiri dan berkata,
people got up and said,
Why are we locked in?
kenapa kita dikunci?
putting in chicken coops, hay bales,
menaruh kandang ayam, jerami,
that traditional thing behind them.
hal tradisional di belakang mereka.
the community back.
bawa kembali komunitas.
to get five million dollars.
kami berhasil dapat lima juta dolar.
to these brown and black people,
kulit hitam dan coklat,
a project that we're currently working on,
sebuah proyek yang sedang dikerjakan,
to remember in a really different way.
untuk mengingat dengan cara yang berbeda.
in the landscape around us,
what's below the ground.
ada apa di bawah sana.
Gadsden’s Wharf.
Gadsden's Wharf.
of the African diaspora landed here.
diaspora Afrika mendarat di sini.
dan menemukan dermaga.
African American Museum.
Afrika Amerika.
beneath the ground,
di bawah tanah,
the ground will erupt,
tanahnya akan meledak,
this tension that sits below.
tekanan yang ada di bawahnya.
is made of tabby shales
dari serpihan batu
menyedihkan itu.
on the other side,
the remains of the warehouse,
melewati sisa gudang yang ada,
berhari-hari
with the sickle-cell trait,
seharian,
for long, long days.
those other beautiful things
hal lain yang indah
brought with them:
that live in trees and rocks and water,
yang tinggal di pohon, batu, dan air,
for medicinal purposes.
di Charleston, Carolina Selatan,
in Charleston, South Carolina,
datang ke Charleston,
of blackness at all.
"kehitaman" sama sekali.
that helped abolitionists see
membantu para abolisionis melihat
condition of the crossing,
in a museum in Charleston.
sebuah museum di Charleston.
up on top of the surface,
air ke permukaan,
full length, six feet,
enam kaki,
to walk across that divide.
untuk menyebrangi pemisah itu.
with that memory of place,
dengan kenangan tempat itu,
again to reconcile the scale.
untuk berdamai dengan skala.
through this landscape every day,
melewati lansekap ini tiap hari,
ABOUT THE SPEAKER
Walter Hood - Creative directorWalter Hood imagines urban spaces as a new kind of public sculpture -- full of beauty, strangeness and idiosyncrasy.
Why you should listen
Walter Hood is the creative director and founder of Hood Design Studio in Oakland, California. He is also a professor at the University of California, Berkeley and lectures on professional and theoretical projects nationally and internationally. Hood Design Studio is a tripartite practice, working across art and fabrication, design and landscape, and research and urbanism. The resulting urban spaces and their objects act as public sculpture, creating new apertures through which to see the surrounding emergent beauty, strangeness and idiosyncrasies.
The Studio’s award-winning work has been featured in publications including Dwell, The Wall Street Journal, the New York Times, Fast Company, Architectural Digest, Places Journal and Landscape Architecture Magazine. Hood is a recipient of the 2017 Academy of Arts and Letters Architecture Award.
Walter Hood | Speaker | TED.com