TED2018
Walter Hood: How urban spaces can preserve history and build community
沃尔特 · 胡德: 城市空间如何能保护历史和建立社区？
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公共空间能否回归过去并拥抱未来？景观设计师沃尔特 · 胡德在他的职业生涯中探索了这个问题，他的设计项目包括旧金山的拉斐特广场公园，还有即将在南卡罗来纳州查尔斯顿建成的国际非裔美国人博物馆。在这场鼓舞人心的演讲中，胡德分享了五个简单的概念，指导他如何创造空间，为人们创造共享的记忆，促使我们以不同的方式看待彼此。
Walter Hood - Creative director
Walter Hood imagines urban spaces as a new kind of public sculpture -- full of beauty, strangeness and idiosyncrasy. Full bio
Walter Hood imagines urban spaces as a new kind of public sculpture -- full of beauty, strangeness and idiosyncrasy. Full bio
Double-click the English transcript below to play the video.
00:13
How can landscapes imbue memory?
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景观如何能够唤起记忆？
当我们去思考
"e pluribus unum" ——
"e pluribus unum" ——
00:16
When we think about
this notion "e pluribus unum" --
this notion "e pluribus unum" --
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即“合众为一” 这个概念。
00:21
"out of many, one,"
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这听着还挺奇怪的，不是吗？
00:23
it's a pretty strange concept, right?
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我的意思是，在这么多不同种族
不同传统背景的人中，
不同传统背景的人中，
00:26
I mean, with all different races
and cultures of people,
and cultures of people,
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你怎么让事情达到一个统一的效果呢？
00:29
how do you boil it down to one thing?
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00:33
I want to share with you today
this idea of "e pluribus unum"
this idea of "e pluribus unum"
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在此，我想和大家分享一下
有关"合众为一"的一些想法，
有关"合众为一"的一些想法，
以及我们的景观如何被赋予
这些不同视角的记忆，
这些不同视角的记忆，
00:37
and how our landscape might imbue
those memories of diverse perspectives,
those memories of diverse perspectives,
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并迫使我们停止将事物过度简化成
00:44
as well as force us to stop
trying to narrow things down
trying to narrow things down
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一套单一的，纯粹的身份象征。
00:50
to a single, clean set of identities.
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00:54
As an educator, designer,
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作为一名教育工作者和设计师，
00:57
I'd like to share with you
five simple concepts
five simple concepts
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今天我想和大家分享5个简单的概念，
这些都是我从自己的
工作中总结出来的。
工作中总结出来的。
01:01
that I've developed through my work.
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01:03
And I'd like to share
with you five projects
with you five projects
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同时，我也想给大家分享5个项目，
我们正是从这些项目里，
发现身边的回忆，
发现身边的回忆，
01:06
where we can begin to see
how the memory around us,
how the memory around us,
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以及事情发生的地方，
01:10
where things have happened,
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01:12
can actually force us to look
at one another in a different way.
at one another in a different way.
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从而促使我们用不同的角度看问题。
“合众为一”，现在不仅是一句美国格言，
01:18
And lastly: this is not just
an American motto anymore.
an American motto anymore.
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我认为它成为了一个全球性的现象。
01:22
I think e pluribus unum is global.
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01:24
We're in this thing together.
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我们都在经历这些事情。
01:28
First, great things happen
when we exist in each other's world --
when we exist in each other's world --
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首先，当我们存在于彼此的世界时，
伟大的事情就发生了 ——
伟大的事情就发生了 ——
像今天我们聚在这里一样，对吗？
01:32
like today, right?
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01:36
The world of community gardens --
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在社区园艺这个领域里 ——
01:37
most of you have probably
seen a community garden.
seen a community garden.
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相信在座的大多数人都见过社区花园，
01:40
They're all about subsistence
and food. Right?
and food. Right?
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它们的存在始终围绕着生存和温饱。对吧？
01:43
I'll tell you a little story,
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我想给大家讲一个，
大概十年前发生在纽约的故事。
01:45
what happened in New York
more than a decade ago.
more than a decade ago.
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当时这些社区花园都在销售中。
01:47
They tried to sell
all of their community gardens,
all of their community gardens,
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01:50
and Bette Midler developed a nonprofit,
the New York Restoration Project.
the New York Restoration Project.
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贝特 · 米德勒成立了一个
非营利组织 ——纽约复兴计划——
非营利组织 ——纽约复兴计划——
他们差不多把这些社区花园都买下了，
01:54
They literally brought all the gardens
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决定开始实施拯救。
01:57
and decided to save them.
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01:59
And then they had another novel idea:
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接着这个组织提出了一个新奇的想法：
引进世界级的设计师，
02:01
let's bring in world-class designers
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02:05
and let them go out into communities
and make these beautiful gardens,
and make these beautiful gardens,
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让他们来到这些社区，
改造这些漂亮的花园吧！
改造这些漂亮的花园吧！
02:08
and maybe they might not
just be about food.
just be about food.
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也许这些花园就不再是
简单地为食物而存在了。
简单地为食物而存在了。
所以他们找来了我，
02:11
And so they called me,
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让我在皇后区牙买加区设计一个花园。
02:14
and I designed one in Jamaica, Queens.
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在这个设计的过程中，
02:16
And on the way to designing this garden,
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我去了纽约复兴计划办公室，
02:19
I went to the New York
Restoration Project Office,
Restoration Project Office,
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在那儿我留意到楼下的门上
有一个熟悉的名字。
有一个熟悉的名字。
02:21
and I noticed a familiar name
on the door downstairs.
on the door downstairs.
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02:25
I go upstairs, and I said,
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我回到楼上问大家，
“你们知道楼下住了谁吗？”
02:27
"Do you guys know who is downstairs?"
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他们说：“Gunit啊。”
02:29
And they said, "Gunit."
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02:31
And I said, "Gunit?
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我问：“Gunit？
你们说的是嘻哈组合
G-Unit（五角兵团）吧？
G-Unit（五角兵团）吧？
02:33
You mean G-Unit?
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02:35
Curtis '50 Cent' Jackson?"
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那个柯蒂斯 · “五角” · 杰克逊啊？“
（笑声）
02:37
(Laughter)
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他们接着问：”真的吗？“
02:38
And they said, "Yeah?"
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我说：“真的！”
02:40
And I said, "Yes."
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然后我们就下楼了。
02:41
And so we went downstairs,
and before you knew it,
and before you knew it,
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要知道，柯蒂斯，贝特
和其他几个人创建了这个组织，
和其他几个人创建了这个组织，
02:45
Curtis, Bette and the rest of them
formed this collaboration,
formed this collaboration,
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02:50
and they built this garden
in Jamaica, Queens.
in Jamaica, Queens.
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并且建立了这个位于皇后区
牙买加区的花园。
牙买加区的花园。
02:52
And it turned out Curtis, 50 Cent,
grew up in Jamaica.
grew up in Jamaica.
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原来柯蒂斯正是在牙买加区长大的。
再一次，当你开始
将这些不同的人联系在一起——
将这些不同的人联系在一起——
02:56
And so again, when you start
bringing these worlds together --
bringing these worlds together --
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我，柯蒂斯，贝特——
02:59
me, Curtis, Bette --
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你会得到更令人叹为观止的东西。
03:01
you get something more incredible.
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03:04
You get a garden
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你得到了这个花园，
这个花园去年还被票选为纽约
十大神秘花园之一。
十大神秘花园之一。
03:05
that last year was voted one of the top 10
secret gardens in New York.
secret gardens in New York.
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看到了吧？
03:10
Right?
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（掌声）
03:11
(Applause)
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它属于每一个人，无论老少，
03:13
It's for young and old,
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03:15
but more importantly, it's a place --
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更重要的是，这是个特殊的地方——
时代杂志六个月前
刊登了这样一个故事，
刊登了这样一个故事，
03:17
there was a story in the Times
about six months ago
about six months ago
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有个年轻的女士在公园里
找到了心灵的慰藉。
找到了心灵的慰藉。
03:20
where this young woman
found solace in going to the garden.
found solace in going to the garden.
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我没做什么，我肯定，
50角乐队的贡献比我大多了。
50角乐队的贡献比我大多了。
03:24
It had nothing to do with me.
It had more to do with 50, I'm sure,
It had more to do with 50, I'm sure,
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不过这个公园的确激发了
大家对花园的思考，
大家对花园的思考，
03:28
but it has inspired people
to think about gardens
to think about gardens
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用不同的方式互相分享彼此的世界。
03:32
and sharing each other's worlds
in a different way.
in a different way.
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03:36
This next concept, "two-ness" --
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下一个概念，“两面性”——
03:39
it's not as simple as I thought
it would be to explain,
it would be to explain,
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解释起来不容易，
03:43
but as I left to go to college,
my father looked at me,
my father looked at me,
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我离开家去上大学的时候，
我爸曾看着我说，
我爸曾看着我说，
“小子，进入社会后，
03:46
and said, "Junior, you're going to have
to be both black and white
to be both black and white
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你要懂得区分黑白两面。”
03:49
when you go out there."
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03:50
And if you go back to the early
parts of the 20th century,
parts of the 20th century,
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追溯到20世纪早期，
著名的活动家，
W·E·B· 杜波依斯曾经说过，
W·E·B· 杜波依斯曾经说过，
03:53
W.E.B. Du Bois, the famous activist,
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03:56
said it's this peculiar sensation
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想想看这样一个奇特的感觉：
黑人需要在别人的
03:59
that the Negro has to walk around
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有色眼镜里行动，
04:02
being viewed through the lens
of other people,
of other people,
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04:05
and this two-ness,
this double consciousness.
this double consciousness.
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有这么一种双重意识。
04:08
And I want to argue that more
than a hundred years later,
than a hundred years later,
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我想要强调的是，这一百多年以来，
这种双重感使我们
成长得更强壮和坚韧，
成长得更强壮和坚韧，
04:12
that two-ness has made us
strong and resilient,
strong and resilient,
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04:16
and I would say for brown people, women --
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我也想对所有棕色人种和女性说——
04:19
all of us who have had to navigate
the world through the eyes of others --
the world through the eyes of others --
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我们都被这个世界的有色眼镜引导着——
04:24
we should now share that strength
to the rest of those
to the rest of those
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我们现在应该把这种力量
分享给那些有幸拥有特权的人。
04:28
who have had the privilege to be singular.
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04:31
I'd like to share with you a project,
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我想给大家介绍另一个项目，
因为我确实认为，我们可以在
身边的世界中找到这种两面性。
身边的世界中找到这种两面性。
04:33
because I do think this two-ness
can find itself in the world around us.
can find itself in the world around us.
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它会在我们开始分享
这些故事的时候发生。
这些故事的时候发生。
04:36
And it's beginning to happen where
we're beginning to share these stories.
we're beginning to share these stories.
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在弗吉尼亚大学，
04:40
At the University of Virginia,
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托马斯 · 杰斐逊建立的学术区里，
04:41
the academical village
by Thomas Jefferson,
by Thomas Jefferson,
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04:44
it's a place that we're beginning
to notice now was built by African hands.
to notice now was built by African hands.
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我们逐渐开始注意到，这可是
由非洲人亲手建造的地方啊！
由非洲人亲手建造的地方啊！
04:49
So we have to begin to say,
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所以我们开始问，
04:50
"OK, how do we talk about that?"
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“我们聊一聊这个话题怎么样？”
04:53
As the University
was expanding to the south,
was expanding to the south,
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随着大学校园向南扩张，
他们找到了基蒂 · 福斯特的故居所在地，
04:56
they found a site
that was the house of Kitty Foster,
that was the house of Kitty Foster,
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05:01
free African American woman.
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一个自由的非洲裔美国女人。
她曾经住在那里，
05:04
And she was there,
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她的后代们
05:06
and her descendants,
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也都曾住在那里，
05:07
they all lived there,
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她曾经为弗吉尼亚大学的
男孩们打扫卫生。
男孩们打扫卫生。
05:08
and she cleaned for the boys of UVA.
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05:12
But as they found the archaeology,
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考古发掘工作开展后，
他们问我要不要在这里立个纪念牌。
05:14
they asked me if I would do
a commemorative piece.
a commemorative piece.
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这时候我想把景观的
两面性设计出来，黑和白，
两面性设计出来，黑和白，
05:17
So the two-ness of this landscape,
both black and white ...
both black and white ...
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我决定利用光和阴影。
05:20
I decided to do a piece
based on shadows and light.
based on shadows and light.
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05:24
And through that, we were able
to develop a shadow-catcher
to develop a shadow-catcher
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通过光和阴影，
我们设计了一个影子捕手，
我们设计了一个影子捕手，
用不同的方式表达这种两面性。
05:27
that would talk about this two-ness
in a different way.
in a different way.
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所以当有光射下来的时候，
05:30
So when the light came down,
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这就像一个通往天堂的阶梯。
05:32
there would be this ride to heaven.
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当没有光的时候，这里只有静默。
05:35
When there's no light, it's silent.
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在托马斯 · 杰斐逊的校园景观中，
05:37
And in the landscape of Thomas Jefferson,
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这是一件奇怪的事情：
05:40
it's a strange thing.
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05:42
It's not made of brick.
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它不是用砖砌成的。
05:44
It's a strange thing,
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这真是一件奇怪的事情：
它允许这两种现象彼此独立。
05:45
and it allows these two things
to be unresolved.
to be unresolved.
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05:50
And we don't have to resolve these things.
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我们其实不需要解决这些问题。
05:52
I want to live in a world
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我想生活在一个世界，
在那儿 ——
05:54
where the resolution --
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05:56
there's an ambiguity between things,
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事物之间没有明确的界限，
而正是因为这个含糊，
令我们之间有了沟通。
令我们之间有了沟通。
05:58
because that ambiguity
allows us to have a conversation.
allows us to have a conversation.
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06:03
When things are clear and defined,
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当事情清晰明了的时候，
06:05
we forget.
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我们就很容易遗忘。
06:08
The next example? Empathy.
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下一个例子：同理心。
06:11
And I've heard that a couple of times
in this conference,
in this conference,
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我在这个会议里也听了好几遍，
有关关怀的概念。
06:15
this notion of caring.
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06:17
Twenty-five years ago,
when I was a young pup,
when I was a young pup,
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二十五年前，
我还是一个年轻的学生，
我还是一个年轻的学生，
06:21
very optimistic,
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非常乐观积极，
06:22
we wanted to design a park
in downtown Oakland, California
in downtown Oakland, California
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我们想为无家可归的人，
在加利福尼亚州奥克兰市中心
在加利福尼亚州奥克兰市中心
设计一个公园。
06:26
for the homeless people.
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06:27
And we said, homeless people
can be in the same space
can be in the same space
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我们认为，无家可归的人
可以和西装革履的人
可以和西装革履的人
同处于一个地方。
06:30
as people who wear suits.
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当时每个人都说，
“这不可能的。
“这不可能的。
06:32
And everyone was like,
"That's never going to work.
"That's never going to work.
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06:35
People are not going to eat lunch
with the homeless people."
with the homeless people."
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他们不会去和流浪汉一起吃午餐啦。”
06:39
We built the park.
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我们最后建了那个公园，
06:41
It cost 1.1 million dollars.
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耗资110万美元。
我们想要一个卫生间，
06:43
We wanted a bathroom.
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06:46
We wanted horseshoes,
barbecue pits, smokers,
barbecue pits, smokers,
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想要马蹄区、烧烤炉和吸烟点，
还有野餐桌，帐篷区之类的设施。
06:49
picnic tables, shelter and all of that.
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我们拿着这个设计去找当时的市长，
06:52
We had the design,
we went to the then-mayor
we went to the then-mayor
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和他说，“市长先生，
这只需要花费您110万美元。”
这只需要花费您110万美元。”
06:54
and said, "Mr. Mayor, it's only
going to cost you 1.1 million dollars."
going to cost you 1.1 million dollars."
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他看着我。
06:58
And he looked at me.
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07:00
"For homeless people?"
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“为流浪汉设计的？”
07:03
And he didn't give us the money.
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结果他没有给我们钱。
所以我们离开了那里，
没有任何负担， 还筹集了资金。
没有任何负担， 还筹集了资金。
07:04
So we walked out, unfettered,
and we raised the money.
and we raised the money.
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高乐氏（Clorox）给了我们这笔钱。
07:07
Clorox gave us money.
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国家公园管理局建了卫生间。
07:09
The National Park Service
built the bathroom.
built the bathroom.
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07:13
So we were able to go ahead
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所以我们才能够继续前进，
因为我们拥有同理心。
07:15
because we had empathy.
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25年过去了，
07:17
Now, 25 years later,
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我们在湾区有了个更大的流浪汉问题。
07:20
we have an even larger
homeless problem in the Bay Area.
homeless problem in the Bay Area.
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07:25
But the park is still there,
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不过那个公园依然在那里，
07:27
and the people are still there.
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那些人也依然在那里。
07:29
So for me, that's a success.
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对我而言，这是一个成功。
当大家看到这个场景时，
希望他们对这些
希望他们对这些
07:31
And when people see that,
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在高速公路和帐篷里的人，
也产生这样的同理心，
也产生这样的同理心，
07:33
hopefully, they'll have empathy
for the people under freeways and tents,
for the people under freeways and tents,
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我们为什么不能
在公共空间安置他们？
在公共空间安置他们？
07:37
and why can't our public spaces
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07:40
house them and force us to be empathetic?
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同时让我们学会感同身受呢？
07:44
The image on the left
is Lafayette Square Park today.
is Lafayette Square Park today.
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左边的这张图片，
是今天的拉斐特广场公园。
是今天的拉斐特广场公园。
右边的这张是1906年
地震发生后的金门公园。
地震发生后的金门公园。
07:48
The image on the right is 1906,
Golden Gate Park after the earthquake.
Golden Gate Park after the earthquake.
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为何我们要等到灾难发生后，
07:53
Why do we have to have cataclysmic events
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07:56
to be empathetic?
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才产生同理心呢？
07:58
Our fellow men are out there starving,
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我们的男同胞们在外面快饿死了，
女人也睡在大街上，
而我们却对此视而不见。
而我们却对此视而不见。
08:01
women sleeping on the street,
and we don't see them.
and we don't see them.
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08:04
Put them in those spaces,
and they'll be visible.
and they'll be visible.
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把他们放在公园里吧，
这样我们就能看到他们了。
这样我们就能看到他们了。
08:09
(Applause)
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（掌声）
08:15
And to show you that there are still
people out there with empathy,
people out there with empathy,
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为了证明有同理心的人依然存在，
这是奥克兰突袭者队的布鲁斯 · 欧文，
08:19
the Oakland Raiders' Bruce Irvin
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每周五下午都在那里，
08:21
fries fish every Friday afternoon
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08:24
for anyone who wants it.
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为有需要的人免费派送炸鱼。
08:26
And by going to that park,
that park became the vehicle for him.
that park became the vehicle for him.
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通过去那个公园，
那个公园成了他的载体。
那个公园成了他的载体。
08:32
The traditional belongs to all of us,
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传统属于我们每一个人，
08:34
and this is a simple one.
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举一个简单的例子。
08:37
You go into some neighborhoods --
beautiful architecture, beautiful parks --
beautiful architecture, beautiful parks --
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你走进一些街区——
那里有美丽的建筑和公园 ——
那里有美丽的建筑和公园 ——
如果大家的视角都不一样，
08:40
but if people look a different way,
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08:42
it's not traditional.
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那这儿就还不传统。
08:44
It's not until they leave
and then new people come in
and then new people come in
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只有等到原来的人都离开了，新人搬来了，
08:48
where the traditional gets valued.
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传统才得以表现出来。
讲一个小故事：
08:50
A little quick story here:
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08:52
1888 opera house,
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建于1888年的歌剧院，
08:54
the oldest in San Francisco,
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三藩市最老的歌剧院，
08:56
sits in Bayview–Hunters Point.
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坐落于湾景猎人角。
08:58
Over its history,
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在这座城市的历史中，
它扮演着剧院，
09:00
it's provided theater,
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09:02
places for businesses,
places for community gatherings, etc.
places for community gatherings, etc.
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商业场所，社区聚会等场所的角色。
09:07
It's also a place where Ruth Williams
taught many black actors.
taught many black actors.
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这也是露丝威 · 廉姆斯
指导黑人演员的地方。
指导黑人演员的地方。
比如，丹尼 · 格洛弗——
09:11
Think: Danny Glover --
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09:14
came from this place.
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就来自这里。
但随着时间的推移，
20世纪80年代联邦政策的实施，
20世纪80年代联邦政策的实施，
09:16
But over time, with our
1980s federal practices,
1980s federal practices,
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09:20
a lot of these community institutions
fell into disrepair.
fell into disrepair.
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这些社区机构有很多
都存在年久失修的状况。
都存在年久失修的状况。
09:25
With the San Francisco Arts Council,
we were able to raise money
we were able to raise money
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多亏了旧金山艺术委员会，
我们能够筹集资金
我们能够筹集资金
为这个地方实施翻新，
09:30
and to actually refurbish the place.
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并在这里举行社区会议。
09:31
And we were able to have
a community meeting.
a community meeting.
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在社区会议中，有人站起来说，
09:33
And within the community meeting,
people got up and said,
people got up and said,
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09:37
"This place feels like a plantation.
Why are we locked in?
Why are we locked in?
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“这个地方感觉像一个种植园。
为什么我们要变成这样呢？
为什么我们要变成这样呢？
09:40
Why can't we learn theater?"
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为什么不能在这儿学戏剧呢？“
09:41
Over the years, people had started
putting in chicken coops, hay bales,
putting in chicken coops, hay bales,
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过去这些年来，人们开始
在其中放入鸡舍，干草捆，
在其中放入鸡舍，干草捆，
09:45
community gardens and all of these things,
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社区花园之类的东西，
09:47
and they could not see
that traditional thing behind them.
that traditional thing behind them.
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他们再也看不到这栋建筑物
背后的传统了。
背后的传统了。
所以我们说，要把社区带回来。
09:50
But we said, we're bringing
the community back.
the community back.
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09:53
American Disability Act -- we were able
to get five million dollars.
to get five million dollars.
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我们通过美国残疾人法案
获得了500万美元。
获得了500万美元。
现在，属于这些棕色
和黑色人种的传统回来了，
和黑色人种的传统回来了，
09:56
And now, the tradition belongs
to these brown and black people,
to these brown and black people,
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他们正在使用这栋建筑物。
10:01
and they use it.
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他们学习戏剧，
10:02
And they learn theater,
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课后项目。
10:04
after-school programs.
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这儿再也没有鸡了，
10:05
There's no more chickens.
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10:07
But there is art.
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但却有了艺术。
10:09
And lastly, I want to share with you
a project that we're currently working on,
a project that we're currently working on,
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最后，我想给大家分享
我们正在做的一个项目，
我们正在做的一个项目，
我想它会令我们所有人
以一种不同的方式记住今天的话题。
以一种不同的方式记住今天的话题。
10:15
and I think it will force us all
to remember in a really different way.
to remember in a really different way.
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10:19
There are lots of things
in the landscape around us,
in the landscape around us,
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我们周围的景观包含了许多事物，
而我们大多数时候都忽略了
这些景观的地下部分。
这些景观的地下部分。
10:22
and most of the time we don't know
what's below the ground.
what's below the ground.
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10:26
Here in Charleston, South Carolina,
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在南卡罗来纳州的查尔斯顿，
有这么一片青翠的草地
10:28
a verdant piece of grass.
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10:30
Most people just pass by it daily.
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这儿是许多人的日常必经之地。
但在这片草地之下，
10:33
But underneath it,
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10:35
it's where they discovered
Gadsden’s Wharf.
Gadsden’s Wharf.
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是刚被发现的，加兹登码头。
10:39
We think more than 40 percent
of the African diaspora landed here.
of the African diaspora landed here.
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我们认为，超过40%的
非洲侨民是从这里登陆的。
非洲侨民是从这里登陆的。
10:45
How could you forget that?
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我们怎么能把这些历史忘记了呢？
10:47
How could you forget?
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怎么能忘记呢？
所以我们挖啊挖，找到了码头。
10:49
So we dug, dug, and we found the wharf.
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10:53
And so in 2020,
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所以在未来的2020年，
10:55
Harry Cobb and myself and others
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我和哈瑞 · 科布和其他人，
会在这里建一个非裔美国人博物馆。
10:57
are building the International
African American Museum.
African American Museum.
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到时我们会纪念——
11:00
And it will celebrate --
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11:02
(Applause)
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（掌声）
在这个我们已知的地方的下面，
11:07
this place where we know,
beneath the ground,
beneath the ground,
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数以千计的人在这里遇难，
11:11
thousands died, perished,
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海湾的食物链甚至因此发生了变化：
11:13
the food chain of the bay changed.
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鲨鱼离海湾越来越近了。
11:15
Sharks came closer to the bay.
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11:18
It's where slaves were stored.
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它是存储奴隶的地方。
11:21
Imagine this hallowed ground.
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想象一下这片神圣的土地，
在这个新设计中，这片地面会凸显。
11:23
So in this new design,
the ground will erupt,
the ground will erupt,
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它会讲述地面下方紧张的情绪。
11:26
and it will talk about
this tension that sits below.
this tension that sits below.
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柱子和地面都是由从大西洋捞起来的
11:30
The columns and the ground
is made of tabby shales
is made of tabby shales
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平纹页岩构成，
11:34
scooped up from the Atlantic,
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提醒着我们那些可怕的过境点。
11:35
a reminder of that awful crossing.
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11:39
And as you make your way through
on the other side,
on the other side,
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当你走到建筑的另一边时，
你会被迫经过那片仓库的遗迹，
11:41
you are forced to walk through
the remains of the warehouse,
the remains of the warehouse,
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奴隶当时就是被安置在那里。
11:45
where slaves were stored
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11:47
on hot, sultry days, for days,
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他们在那些闷热的日子里，
一呆就是好几天，
一呆就是好几天，
然后死去。
11:49
and perished.
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在这里，
11:51
And you'll have to come face-to-face
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你必须直面黑奴。
11:53
with the Negro,
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11:56
who worked in the marshes,
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是他们，在沼泽地工作，
是他们，顶着疟疾
11:59
who was able to,
with the sickle-cell trait,
with the sickle-cell trait,
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还在高水域里站立工作上
一段段漫长的时间。
一段段漫长的时间。
12:03
able to stand in high waters
for long, long days.
for long, long days.
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12:07
And at night, it'll be open 24/7,
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这片景观将全天候开放，
欢迎任何一个人随时参观。
12:09
for everybody to experience.
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12:11
But we'll also talk about
those other beautiful things
those other beautiful things
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我们也会讲述我们的非洲祖先
12:15
that my African ancestors
brought with them:
brought with them:
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带来的美好的事情：
美丽的非洲景观，
12:17
a love of landscape,
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12:19
a respect for the spirits
that live in trees and rocks and water,
that live in trees and rocks and water,
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尊重住在树木、
岩石和水中的灵魂的习俗，
岩石和水中的灵魂的习俗，
以及在民族植物学方面，
12:24
the ethnobotanical aspects,
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12:27
the plants that we use
for medicinal purposes.
for medicinal purposes.
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那些我们使用的植物的药用目的。
更重要的是，
12:31
But more importantly,
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12:34
we want to remind people
in Charleston, South Carolina,
in Charleston, South Carolina,
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我们想提醒生活在南卡罗来纳州
查尔斯顿的人们，
查尔斯顿的人们，
这里有黑人的尸体，
12:37
of the black bodies,
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因为今天去查尔斯顿的时候，
12:39
because when you go to Charleston today,
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你会发现联邦在纪念他们，
12:41
the Confederacy is celebrated,
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也许未来会有越来越多的城市效仿，
12:43
probably more than any other city,
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而你将不再感受到黑人白人之分。
12:46
and you don't have a sense
of blackness at all.
of blackness at all.
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这是布鲁克斯地图，
12:49
The Brookes map,
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1179
可以帮助废奴主义者看到，
12:51
which was an image
that helped abolitionists see
that helped abolitionists see
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当时过境的恶劣条件，
12:55
and be merciful for that
condition of the crossing,
condition of the crossing,
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是我们想要重复表达的事情。
12:58
is something that we want to repeat.
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我被这个概念所吸引，
13:01
And I was taken by the conceptuality
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想让这种数字印刷品
出现在查尔斯顿博物馆里。
出现在查尔斯顿博物馆里。
13:04
of this kind of digital print that sits
in a museum in Charleston.
in a museum in Charleston.
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13:08
So we decided to bring the water
up on top of the surface,
up on top of the surface,
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所以我们决定在比潮汐高7英尺的
13:13
seven feet above tide,
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表面铺上水。
13:16
and then cast the figures
full length, six feet,
full length, six feet,
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4597
然后浇铸上全长六英尺的这些图片，
13:20
multiply them across the surface,
267
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将它们布满表面，
13:23
in tabby,
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像虎斑一样。
然后让游客经过这条分界线。
13:24
and then allow people
to walk across that divide.
to walk across that divide.
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设计的情景是，
当人们来到这儿的时候：
当人们来到这儿的时候：
13:28
And hopefully, as people come,
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13:31
the water will drain out,
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水会流干，
再填满，
13:33
fill up,
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13:34
drain out and fill up.
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1930
流干再填满。
你将被迫来到这个充满记忆的地方，
13:36
And you'll be forced to come to terms
with that memory of place,
with that memory of place,
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感受交界处的回忆。
13:43
that memory of that crossing,
275
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1877
13:45
that at times seems very lucid and clear,
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有时看起来非常清晰，
但有时候，也会迫使我们再次
调和我们自己的想法。
调和我们自己的想法。
13:49
but at other times, forces us
again to reconcile the scale.
again to reconcile the scale.
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13:55
And hopefully, as people move
through this landscape every day,
through this landscape every day,
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我希望，当人们每天经过这个景观，
13:59
unreconciled, they'll remember,
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不需要过分刺激，
人们就能想起来这些故事。
人们就能想起来这些故事。
14:02
and hopefully when we remember,
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我也希望，他们能因此牢记这件事情，
14:04
e pluribus unum.
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合众为一。
14:05
Thank you.
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谢谢大家！
（掌声）
14:07
(Applause)
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Translated by Ziyi Zhang
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