EG 2007
Liz Diller: The Blur Building and other tech-empowered architecture
Liz Diller玩建筑
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在这个引人入胜的演讲中, 建筑师Liz Diller 分享她的公司DS+R的不寻常工作,包括墙壁是雾做的模糊的房子(Blur Building),他们把Alice Tully大会堂翻新成激情四射的木头外观.
Liz Diller - Designer
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice. Full bio
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice. Full bio
Double-click the English transcript below to play the video.
00:16
Aside from keeping the rain out and producing some usable space,
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除了遮风挡雪和提供一些可用的空间之外,
00:23
architecture is nothing but a special-effects machine
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建筑只不过是一个
00:27
that delights and disturbs the senses.
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取悦和打搅人类感官的特效机器.
00:30
Our work is across media. The work comes in all shapes and sizes.
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我们的职业是跨媒界的. 这个职业包含所有的外形和尺寸.
00:35
It's small and large. This is an ashtray, a water glass.
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它可小可大. 比如一个烟灰缸,一个茶杯.
00:39
From urban planning and master planning
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或从城市和总体规划到剧院
00:42
to theater and all sorts of stuff.
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以及里面所有的东西.
00:46
The thing that all the work has in common
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这些作品都有一个共同点,
00:48
is that it challenges the assumptions about conventions of space.
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就是挑战人们对空间的传统看法.
00:53
And these are everyday conventions,
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这些是我们的习惯,
00:55
conventions that are so obvious that we are blinded by their familiarity.
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这些习惯太明显以至于我们忽略掉他们的相似性.
01:00
And I've assembled a sampling of work
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我收集了一个设计的样品,
01:04
that all share a kind of productive nihilism
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他们常用一种特定效果，
01:08
that's used in the service of creating a particular special effect.
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华丽的虚无主义.
01:12
And that is something like nothing, or something next to nothing.
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就像什么也没有,或者几乎没有.
01:18
It's done through a form of subtraction or obstruction or interference
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在我们自然幻想的世界里,
01:23
in a world that we naturally sleepwalk through.
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我们在各种干扰或影响之下完成
01:27
This is an image that won us a competition
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这张照片是我们在瑞士纽沙特尔湖附近的日内瓦
01:30
for an exhibition pavilion for the Swiss Expo 2002
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举办的2002展会时
01:34
on Lake Neuchatel, near Geneva.
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所获得的一个奖项.
01:36
And we wanted to use the water not only as a context,
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我们用水做的不仅仅是背景,
01:39
but as a primary building material.
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而是一种基本的建筑材料.
01:41
We wanted to make an architecture of atmosphere.
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我们要建造一种大气建筑.
01:44
So, no walls, no roof, no purpose --
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所以, 没有墙壁, 没有房顶, 没有用途 --
01:47
just a mass of atomized water, a big cloud.
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只是一片雾化的水气, 一大片云朵.
01:50
And this proposal was a reaction to the over-saturation
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这个建议有着过渡饱和的反应.
01:53
of emergent technologies in recent national and world expositions,
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在全世界最新应急技术博览会上,
01:58
which feeds, or has been feeding, our insatiable appetite
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我们贪得无厌的寻找能源和释放能源
02:03
for visual stimulation with an ever greater digital virtuosity.
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为了完成一次更宏伟的视觉盛宴.
02:09
High definition, in our opinion, has become the new orthodoxy.
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主观条件下高清晰度已经成为主流.
02:14
And we ask the question, can we use technology, high technology,
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我们提出质询,我们可以用技术，高端技术.
02:18
to make an expo pavilion that's decidedly low definition,
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使博览馆有着果断的定义,
02:24
that also challenges the conventions of space and skin,
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挑战条约中的空间和外观.
02:27
and rethinks our dependence on vision?
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让我们从新思考是否完全依赖视于觉感官.
02:29
So this is how we sought to do it.
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这就是我们力争去做的事情.
02:32
Water's pumped from the lake and is filtered
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水从湖中过滤出来
02:34
and shot as a fine mist through an array of high-pressure fog nozzles,
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通过高压喷雾嘴形成细雾喷射，
02:39
35,000 of them. And a weather station is on the structure.
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由35000人组建成的气象站.
02:43
It reads the shifting conditions of temperature, humidity,
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它将读取温度,湿度,
02:46
wind direction, wind speed, dew point,
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风向,风速,霜的变化,
02:49
and it processes this data in a central computer
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中央处理器会处理数据
02:52
that calibrates the degree of water pressure
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通过计时器测量水压力的程度
02:55
and distribution of water throughout.
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在水底是如何分布的.
02:57
And it's a responsive system that's trained on actual weather.
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此系统受过气象变化训练.
03:02
So, this is just in construction, and there's a tensegrity structure.
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因此,这并不是仅仅是建筑,而是一个整体构造.
03:06
It's about 300 feet wide, the size of a football field,
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这块场地有300英尺,
03:09
and it sits on just four very delicate columns.
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它坐落在四列塔器之间.
03:13
These are the fog nozzles, the interface,
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这些都是喷雾管接口,
03:16
and basically the system is kind of reading the real weather,
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系统像电子书一样展示气象变化.
03:20
and producing kind of semi-artificial and real weather.
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天气的变换就像半自动化生产.
03:24
So, we're very interested in creating weather. I don't know why.
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不知道为什么.我们对天气产生很大的兴趣.
03:28
Now, here we go, one side, the outside
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现在,让我们向外界展示内在的一面
03:31
and then from the inside of the space
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然后从内部空间
03:33
you can see what the quality of the space was.
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你可以鉴赏到外部空间的变换.
03:35
Unlike entering any normal space,
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不同于正常的空间,
03:38
entering Blur is like stepping into a habitable medium.
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进入雾气空间就像跨入一个可以居住的地方.
03:42
It's formless, featureless, depthless, scaleless, massless,
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它是无形的,无特点的 ,深不可测的,无外表 ,无重量.
03:47
purposeless and dimensionless.
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无目的,无量纲的(物理量).
03:49
All references are erased,
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除去所有的轮廓,
03:52
leaving only an optical whiteout and white noise of the pulsing nozzles.
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只剩下一个光气象和白噪声的脉动喷嘴.
03:58
So, this is an exhibition pavilion
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这就像是一个展览馆
04:01
where there is absolutely nothing to see and nothing to do.
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在那里你绝对看不到也做不了任何事.
04:05
And we pride ourselves -- it's a spectacular anti-spectacle
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并且我们非常自豪--这是另一个世界
04:11
in which all the conventions of spectacle are turned on their head.
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所有的景象将吸引人们的眼球.
04:15
So, the audience is dispersed,
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因此,分散的注意力,
04:17
focused attention and dramatic build-up and climax
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将重点关注雾气空间的建设，
04:20
are all replaced by a kind of attenuated attention
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所有减少的注意力被放回原位
04:23
that's sustained by a sense of apprehension caused by the fog.
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是因为一个持续的大雾造成的恐惧感.
04:27
And this is very much like how the Victorian novel used fog in this way.
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这就是维多利亚时期小说里运用雾的方式.
04:33
So here the world is put out of focus,
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这将成为世界的焦点,
04:36
while our visual dependence is put into focus.
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世人关注的是视觉效果.
04:40
The public, you know, once disoriented
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如你所知，大家总是迷失方向
04:43
can actually ascend to the angel deck above
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但实际上在桥面上看
04:47
and then just come down under those lips into the water bar.
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水是从桥下过滤出来。
04:50
So, all the waters of the world are served there,
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因此，水填充着整个世界，
04:52
so we thought that, you know, after being at the water
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人们认为在水雾中
04:56
and moving through the water and breathing the water,
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我们可以在这里行走，呼吸
04:59
you could also drink this building.
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你也可以喝掉这个建筑.
05:02
And so it is sort of a theme,
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这就是一个水簇馆,
05:06
but it goes a little bit, you know, deeper than that.
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但是我们应该深入的了解.
05:09
We really wanted to bring out
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我们真正想要什么
05:11
our absolute dependence on this master sense,
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而且是完全依赖于主观感官,
05:15
and maybe share our kind of sensibility with our other senses.
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用感官触碰敏感底线.
05:19
You know, when we did this project it was a kind of tough sell,
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我们做这个项目是相当不容易的,
05:23
because the Swiss said, "Well, why are we going to spend, you know,
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因为瑞士人说：“为什么我们要
05:25
10 million dollars producing an effect
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用1000万美元
05:29
that we already have in natural abundance that we hate?"
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来制造一种我们讨厌的到处都是自然现象?
05:31
And, you know, we thought -- well, we tried to convince them.
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我们努力的想答案--并试图说服他们.
05:36
And in the end, you know, they adapted this as a national icon
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最终,你知道,这将成为一个国家的标志.
05:42
that came to represent Swiss doubt, which we -- you know,
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我们代表瑞士质疑，你知道，
05:47
it was kind of a meaning machine
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它是有着不同理念的机器
05:49
that everybody kind of laid on their own meanings off of.
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每个人都有自己的见解
05:51
Anyway, it's a temporary structure that was ultimately destroyed,
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总之，它只是一个最终将被销毁的结构，
05:54
and so it's now a memory of an apparition, actually,
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并且，虽然它现在只是一个特异的景象，
05:58
but it continues to live in edible form.
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但它仍然有实用价值.
06:01
And this is the highest honor
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这是授予我们的最高荣誉
06:03
to be bestowed upon an architect in Switzerland -- to have a chocolate bar.
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颁予瑞士建筑师--一个巧克力.
06:08
Anyway, moving along.
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无论如何,我们一直努力去做.
06:10
So in the '80s and '90s, we were mostly known for independent work,
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八,九十年代我们都知道要独立工作,
06:15
such as installation artist, architect,
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如安装师,艺术家,建筑师,
06:19
commissioned projects by museums and non-for-profit organizations.
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博物馆以及福利机构，
06:24
And we did a lot of media work,
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我们做了大量媒体工作，
06:27
also a lot of experimental theater projects.
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也做了很多戏剧项目实验.
06:29
In 2003, the Whitney mounted a retrospective of our work
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2003 年，在惠特尼回顾我们的工作
06:34
that featured a lot of this work from the '80s and '90s.
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这个项目有许多来自80,90年代的人.
06:38
However, the work itself resisted the very nature of a retrospective,
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然而,回顾的本质并不是评论工作的本身.
06:44
and this is just some of the stuff that was in the show.
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这些是展示的一部分.
06:47
This was a piece on tourism in the United States.
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现在,这也是美国旅游业的一个部分.
06:50
This is "Soft Sell" for 42nd Street.
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这是第四十二街的"软推销"
06:53
This was something done at the Cartier Foundation.
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这是由卡地亚基金会完成的"主人与奴隶".
06:56
"Master/Slave" at the MOMA, the project series, a piece called "Parasite."
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现在存放于纽约现代艺术博物馆里的项目系列中,一块叫"寄生虫"的地方.
07:01
And so there were many, many of these kinds of projects.
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并且,那里非常多的这类的项目.
07:04
Anyway, they gave us the whole fourth floor, and, you know,
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不论以何种方式,他们提供了整个第四层的展示.
07:10
the problem of the retrospective
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但你知道
07:12
was something we were very uncomfortable with.
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回顾的问题是在于, 我们并不是很喜欢.
07:14
It's a kind of invention of the museum
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这有点像博物馆的发明，
07:16
that's supposed to bring a kind of cohesive understanding
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理论上把你的工作以一种通俗易懂的形式
07:20
to the public of a body of work.
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展现给大众.
07:22
And our work doesn't really resolve itself into a body in any way at all.
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我们的工作没有真正的达到这个目的.
07:27
And one of the recurring themes, by the way, that in the work
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重现这个主题, 实际上
07:32
was a kind of hostility toward the museum itself,
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在工作中有点与博物馆的抵制意识.
07:35
and asking about the conventions of the museum, like the wall, the white wall.
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征询博物馆的惯例时,比如墙壁需要是白色的.
07:40
So, what you see here
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所以, 你在这张图上看到的
07:42
is basically a plan of many installations that were put there.
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是我们很多设备的安装计划.
07:45
And we actually had to install white walls
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我们其实需要安装在白墙上
07:48
to separate these pieces, which didn't belong together.
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区分开这些不同的部分.
07:50
But these white walls became a kind of target and weapon at the same time.
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但这些白墙就变成了一种武器和目标.
07:55
We used the wall to partition the 13 installations of the project
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我们把这个项目分成13块装备
07:58
and produce a kind of acoustic and visual separation.
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并且将声音和视觉相分离.
08:03
And what you see is -- actually,
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你可以看到, 实际上,
08:05
the red dotted line shows the track of this performing element,
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红色虚线表示这些表现元素的状态,
08:10
which was a new piece that created -- that we created for the --
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创建了一个新的块.
08:13
which was a robotic drill, basically, that went all the way around,
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我们用一个四处游动的机器人钻头
08:17
cruised the museum, went all around the walls and did a lot of damage.
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在博物馆的墙上到处流动,搞了不少破坏.
08:23
So, the drill was mounted on this robotic arm.
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这个钻头是挂载到一个机器人手臂上的.
08:26
We worked with, by the way, Honeybee Robotics. This is the brain.
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我们用的是蜜蜂机器人(Honeybee Robotics),这是大脑.
08:30
Honeybee Robotics designed the Mars Driller,
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蜜蜂机器人的设计者是Mars Driller.
08:33
and it was really very much fun to work with them.
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跟它们工作真的是很有趣.
08:35
They weren't doing their primary work, which was for the government,
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它们没有做它们首要的工作,
08:39
while they were helping us with this.
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在帮助我们的时候它们停止政府给它们的工作.
08:42
In any case, the way it works is that
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在任何情况下, 它应该是基于智能导航地图
08:44
an intelligent navigator basically maps the entire surface of these walls.
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定位墙面的位置.
08:50
So, unfolded it's about 300 linear feet.
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所以, 完全打开要300尺高.
08:53
And it randomly generates points within a three-dimensional matrix.
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并且它会随机产生3维模型
08:57
It selects a point, it guides the drill to that point, it pierces the dry wall,
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利用定位点将钻头定位准确,然后打孔.
09:02
leaving a half-inch hole before traveling to the next location.
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完成一个半寸的孔后开始新一轮的打孔.
09:07
Initially these holes were lone blemishes,
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最初这些孔只是白墙上寂寞的缺陷
09:11
and as the exhibition continued
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但随着展览进行
09:13
the walls became increasingly perforated.
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墙上的孔不断的增加.
09:16
So eventually holes on both sides of the wall aligned,
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墙的两面的孔连接起来.
09:19
opening views from gallery to gallery.
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画廊到画廊的开放视角.
09:21
Clusters of holes randomly opened up sections of wall.
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这些孔随机的打开了部分的墙壁.
09:25
And so this was a three-month performance piece
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这是三个月的成果
09:28
in which the wall was made into kind of an increasingly unstable element.
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把这面墙搞的越来越不稳定.
09:35
And also the acoustic separation was destroyed.
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听觉部分已经被破坏了.
09:39
Also the visual separation.
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视觉部分也差不多.
09:41
And there was also this constant background groan, which was very annoying.
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并且还会有不断的杂音,非常烦人.
09:47
And this is one of the blackout spaces
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这是一块灰暗的空间
09:49
where there's a video piece that became totally not useful.
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视频块已经完全没用.
09:52
So rather than securing a neutral background for the artworks on display,
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将一个中性背景当作艺术品
09:56
the wall now actively competed for attention.
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这面墙的积极争取到很多眼球.
10:00
And this acoustical nuisance and visual nuisance
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并且这种声学和视觉厌恶
10:04
basically exposed the discomfort of the work
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基本上暴露了工作的不适
10:07
to this encompassing nature of the retrospective.
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包括对自然的回顾.
10:13
It was really great when it started to break up all of the curatorial text.
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它开始打破馆长的预言. 它真的很棒.
10:17
Moving along to a project that we finished about a year ago.
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再来看看我们一年之前完成的一个项目.
10:21
It's the ICA -- the Institute of Contemporary Art -- in Boston,
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这是在波士顿的当代艺术研究所,
10:26
which is on the waterfront.
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就在江边.
10:28
And there's not enough time to really introduce the building,
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我们没有太多时间来介绍这个建筑,
10:31
but I'll simply say that the building negotiates
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但我要说这栋建筑
10:33
between this outwardly focused nature of the site --
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外表上看着重于自然
10:39
you know, it's a really great waterfront site in Boston --
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这是波士顿一处非常好的临江之地.
10:42
and this contradictory other desire to have an inwardly focused museum.
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矛盾的是它内在却着重于博物馆.
10:47
So, the nature of the building is that it looks at looking --
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所以, 建筑的自然特性是长相如何--
10:51
I mean that's its primary objective,
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我是指基本目标.
10:54
both its program and its architectural conceit.
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项目和建筑特点都是.
11:00
The building incorporates the site,
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这个建筑融入了周围的环境.
11:04
but it dispenses it in very small doses
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但它分解出很多很小的细节，
11:08
in the way that the museum is choreographed.
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细节到博物馆的舞蹈编排上.
11:11
So, you come in and you're basically squeezed by the theater,
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所以,你走进去就基本被挤到剧院里了,
11:15
by the belly of the theater, into this very compressed space
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在剧院的后半部分,紧缩的空间里.
11:17
where the view is turned off.
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视觉被关闭了.
11:19
Then you come up in this glass elevator right near the curtain wall.
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你走进窗帘附近的玻璃电梯里.
11:24
This elevator's about the size of a New York City studio apartment.
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这个电梯有纽约城市的演播间那么大.
11:28
And then, this is a view going up,
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然后,视觉开始不断上升.
11:30
and then you could come into the theater,
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接着你进入剧院,
11:32
which can actually deny the view or open it up and become a backdrop.
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这个剧院可以开辟或拒绝这些视角,并变为一个背景.
11:37
And many musicians choose to use the theater glass walls totally open.
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很多音乐家选择把这个剧院的玻璃幕墙全部打开.
11:43
The view is denied in the galleries
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景色落在剧院里
11:45
where we receive just natural light,
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我们看到的自然光线
11:48
and then exposed again in the north gallery with a panoramic view.
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然后转换成北面的全景图.
11:53
The original intention of this space,
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这个空间的原意,
11:55
which was unfortunately never realized,
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很遗憾从来没有实现过.
11:58
was to use lenticular glass
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最初设计是用透镜
12:00
which allowed only a kind of perpendicular view out.
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仅允许一些垂直的视角.
12:03
In this very narrow space that connects east and west galleries
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在非常狭窄的空间里将东部和西部的走廊连接进来
12:06
the intention was really to not get a climax,
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意图真的不是把高潮连接起来.
12:10
but to have the view stalk you,
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而是让视觉跟着你走.
12:12
so the view would open up as you walked from one end to the other.
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所以视角会随着你的移动而不断改变.
12:16
This was eliminated because the view was too good,
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因为视角太好
12:19
and the mayor said, "No, we just want this open."
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而且市长说:"不, 我们只要它打开就好了."
12:22
The architect lost here.
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设计师在这里迷惑了.
12:24
But culminating -- and that's where this hooks into the theme of my little talk --
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但最高点 -- 这也是我把它放在演讲里的原因.
12:27
is this Mediatheque,
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就是Mediatheque,
12:29
which is suspended from the cantilevered portion of the building.
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就挂在大厦的悬臂部分.
12:33
So this is an 80-foot cantilever -- it's quite substantial.
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这是个80英尺长的悬臂 -- 它相当牢固.
12:36
So, it's already sticking out into space enough,
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它已经突出了足够大一部分空间了,
12:40
and then from that is this, is this small area called the Mediatheque.
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突出的这一小部分空间叫做Mediatheque.
12:45
The Mediatheque has something like 16 stations
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Mediatheque 有一些东西像16号站
12:49
where the public can get onto the server
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公众可以登录到服务器上
12:51
and look at digital artworks or also curated artworks off the web.
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查看数字艺术或策划美术作品.
12:55
And this was really a kind of very important part of this building,
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这是整个建筑非常重要的一部分,
13:02
and here is a point where architecture --
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这是建筑学上的一点 --
13:04
this is like technology-free -- architecture is only a framing device,
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这像是不受科技所局限,建筑学仅仅是个框架,
13:08
it only edits the harbor view, the industrial harbor
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它仅能编辑港口视角,
13:12
just through its walls, its floors and its ceiling,
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通过墙壁,地板和天花板看到的工业港
13:16
to only expose the water itself, the texture of water,
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露出的水平和水纹.
13:22
much like a hypnotic effect created by electronic snow
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很像催眠效果创造的电子雪景
13:26
or a lava lamp or something like that.
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或是岩浆灯之类的东西.
13:29
And here is where we really felt that there was a great convergence
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这里我们真的感到了,这是一个伟大的技术合成
13:33
of the technological and the natural in the project.
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也是大自然的工程.
13:38
But there is just no information, it's just -- it's just hypnosis.
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但那里没有信息, 它只是 -- 它只是催眠状态
13:45
Moving along to Lincoln Center.
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我们接着看林肯中心(Lincoln Center),
13:48
These are the guys that did the project in the first place, 50 years ago.
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这是完成这个工程的第一批工程师, 五十年前.
13:52
We're taking over now, doing work that ranges in scale
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我们正在接管,
13:55
from small-scale repairs to major renovations and major facility expansions.
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从一些小维护到大整修以及设备的扩容.
14:01
But we're doing it with a lot less testosterone.
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但我们做的不是很有激情.
14:04
This is the extent of the work that's to be completed by 2010.
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这是将在2010年完成的扩展工作.
14:09
And for the purposes of this talk,
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这次演讲的目的,
14:11
I wanted to isolate just a part of a project that's even a part of a project
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我希望单独讲讲一个项目的一部分.
14:15
that touches a little bit on this theme of architectural special effects,
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甚至这部分附带一点建筑特效的主题,
14:19
and it happens to be our current obsession,
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并且它是我们现存的困扰,
14:23
and it plays a little bit with the purging and adding of distraction.
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分散了注意力.
14:29
It's Alice Tully Hall, and it's tucked under the Juilliard Building
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这是Alice Tully大会堂, 就在茱莉亚大厦下面
14:33
and descends several levels under the street.
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并且在街道下面有几层.
14:37
So, this is the entrance to Tully Hall as it used to be,
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这里, 是大会堂在整修之前的入口,
14:41
before the renovation, which we just started.
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我们刚开始整修.
14:43
And we asked ourselves, why couldn't it be exhibitionistic,
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我们会问自己,为什么不让它更拉风一点呢?
14:46
like the Met, or like some of the other buildings at Lincoln Center?
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像里兹大厦(the Met) 或者其它位于林肯中心的大厦?
14:49
And one of the things that we were asked to do
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我们被要求的一件事是
14:52
was give it a street identity, expand the lobbies and make it visually accessible.
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作为街道的标志性建筑,扩展大堂并让它在视觉上很拉风.
14:57
And this building, which is just naturally hermetic, we stripped.
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并且这座大厦, 是天然密封的.
15:01
We basically did a striptease, architectural striptease,
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我们基本上搞了个脱衣舞, 建筑学脱衣舞,
15:04
where we're framing with this kind of canopy --
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在这个被顶篷罩住的空间
15:09
the underside of three levels of expansion of Juilliard,
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背面是被茱莉亚大厦扩展出来的三个台阶,
15:12
about 45,000 square feet -- cutting it to the angle of Broadway,
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大概有45,000平方英尺,与百老汇大街成一定弧度,
15:17
and then exposing, using that canopy to frame Tully Hall.
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然后用Tully大会堂的顶篷.
15:22
Before and after shot. (Applause)
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术前和术后对比照片.
15:26
Wait a minute, it's just in that state, we have a long way to go.
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等一分钟,这只是个说明, 我们还有很多东西没说呢.
15:30
But what I wanted to do was take a couple of seconds that I have left
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但我想做的是花几秒钟时间去
15:33
to just talk about the hall itself,
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谈谈大会堂本身,
15:35
which is kind of where we're really doing a massive amount of work.
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我们真在它上面花了大量的心血.
15:39
So, the hall is a multi-purpose hall.
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这个大会堂是个多功能大厅.
15:42
The clients have asked us to produce a great chamber music hall.
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客户要求我们设计一个顶级的室内音乐厅.
15:47
Now, that's really tough to do with a hall that has 1,100 seats.
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现在, 设计一个容纳1100座位的大厅是非常不容易的.
15:51
Chamber and the notion of chamber has to do with salons
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会所,沙龙和小规模的表演等概念一起.
15:54
and small-scale performances. They asked us to bring an intimacy.
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他们要求我们把各部分都亲密接触起来.
15:57
How do you bring an intimacy into a hall?
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你如何让大会堂整体上亲密接触?
16:00
Intimacy for us means a lot of different things.
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亲密接触对我们意味着各种不同的东西.
16:02
It means acoustic intimacy and it means visual intimacy.
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它意味着声觉上和视觉上的亲密接触.
16:06
One thing is that the subway is running and rumbling right under the hall.
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一是地铁经常从大厅下面轰隆隆而过.
16:10
Another thing that could be fixed is the shape of the hall.
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还有就是我们要改变大厅的形状.
16:12
It's like a coffin, it basically sends all the sound,
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它像一个棺材, 基本发送各种声音,
16:15
like a gutter-ball effect, down the aisles.
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像一个球掉进沟里的效果.
16:17
The walls are made of absorptive surface,
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墙壁的表面是吸收材料,
16:20
half absorptive, half reflective,
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半吸收半反射型,
16:22
which is not very good for concert sound.
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对于音乐会的声音,效果不会太好.
16:25
This is Avery Fisher Hall, but the notion of junk -- visual junk --
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这是Avery Fisher音乐厅,但垃圾概念,视觉垃圾
16:29
was very, very important to us, to get rid of visual noise.
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对我们非常非常重要, 摆脱掉视觉杂物.
16:33
Because we can't eliminate a single seat,
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因为我们不能拆掉座位,
16:35
the architecture is restricted to 18 inches.
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建筑被限定为18英寸.
16:38
So it's a very, very thin architecture.
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所以它是非常非常薄的建筑.
16:41
First we do a kind of partial box and box separation,
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首先我们一个盒子一个盒子的分开,
16:45
to take away the distraction of the subway noise.
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用于消除地铁的噪音.
16:47
Next we wrap the entire hall -- almost like this Olivetti keyboard --
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然后将整个大厅包起来 -- 像极了Olivetti 键盘 --
16:52
with a material, with a wood material
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带一些材料,木质材料
16:55
that basically covers all the surfaces:
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基本覆盖所有的墙面:
16:57
wall, ceiling, floor, stage, steps, everything, boxes.
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脑子基本不转, 请检查之前翻译质量.
17:01
But it's acoustically engineered to focus the sound into the house
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但是声学工程会关注房屋里的声音
17:05
and back to the stage. And here's an acoustic shelf.
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以及返回舞台的声音,并且这是一个音响架.
17:08
Looking up the hall. Just a section of the stage.
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看大厅的上方.只是舞台的一部分.
17:11
Just everything is lined, it incorporates --
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只是把所有东西对齐,它包括 --
17:14
every single thing that you could possibly imagine
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你能想像到的任何一样东西
17:16
is tucked into this high-performance skin.
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都可以塞进高性能的外壳中.
17:18
But one more added feature.
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但还有一个功能.
17:20
So now that we've stripped the hall of all visual distraction,
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所以我们解除了大会堂所有的视觉分散点,
17:23
everything that prevents this intimacy
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任何影响"亲密接触"的东西,
17:26
which is supposed to connect the house, the audience,
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我们要把建筑,观众和表演者们连接起来,
17:29
with the performers, we add one little detail,
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亲密接触,
17:33
one piece of architectural excess, a special effect: lighting.
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建筑学的一种特效: 灯光.
17:37
We very strongly believe that the theatrics of a concert hall
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我们坚信,音乐厅的戏剧表演艺术
17:41
is as much in the space of intermission and the space of arrival
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跟中场休息时
17:45
as it is when the concert starts.
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以及和音乐会开场时一样.
17:47
So what we wanted to do was produce this effect,
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所以我们希望制造这些 -- 这种效果,
17:51
this lighting effect,
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灯光效果,
17:53
which made us have to bioengineer the wood walls.
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我们有生物工程的木墙.
17:57
And what it entails is the use of resin, of this very thick resin
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我们需要用到树脂,非常厚的树脂
18:03
with a veneer of the same kind of wood that's used throughout the hall,
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这些树脂外表像木头一样用于整个大会厅,
18:07
in a kind of seamless continuity
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无缝的连接在一起
18:11
that wraps the hall in light, like a belt of light: rather than separating,
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把大厅包转在光线上,像皮带一样的光线,而不是分开的,
18:16
like a proscenium would separate the audience from performers,
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像一个舞台区分观众和演员
18:20
it connects audience with players.
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它连接着听众和演奏者.
18:22
And this is a mockup that is in Salt Lake City
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这是一个盐湖城的模型
18:28
that gives you a sense of what this is going to look like in full-scale.
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给你一个整个规模的概念.
18:33
And this is a guy from Salt Lake City,
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这是一个来自盐湖城的男孩,
18:36
this is what they look like out there.
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这是他们从外面看起来的样子.
18:38
(Laughter)
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(笑声)
18:41
And for us, I mean it's really kind of a very strange thing,
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对于我们,我认为这确实是怪异的东西,
18:44
but the moments in the hall that the buzz kind of dies down
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可是在音乐厅听到嗡嗡声杂音变弱的时刻
18:50
when the audience is waiting for the performance to begin,
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当观众们坐好期待着表演开始的时刻,
18:53
very similar to the parting of curtains or the raising of a chandelier,
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感觉特别像幕布掀开或烛台升起的时刻,
18:57
the walls will just exude this glow, temporarily stealing attention from the stage.
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这面墙开始激情四溢的获取台下所有观众的注意力.
19:03
And this is Tully in construction now.
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这就是现在Tully的建筑.
19:07
I have no ending to say, except that I'm a couple of minutes over.
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由于我超时了,这就是我的结尾.
19:11
Thank you very much.
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非常感谢.
19:13
(Applause)
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(掌声)
ABOUT THE SPEAKER
Liz Diller - DesignerLiz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice.
Why you should listen
Liz Diller's firm, Diller Scofidio & Renfro, might just be the first post-wall architects. From a mid-lake rotunda made of fog to a gallery that destroys itself with a robotic drill, her brainy takes on the essence of buildings are mind-bending and rebellious. DS+R partakes of criticism that goes past academic papers and into real structures -- buildings and art installations that seem to tease the squareness of their neighbors.
DS+R was the first architecture firm to receive a MacArthur "genius" grant -- and it also won an Obie for Jet Lag, a wildly creative piece of multimedia off-Broadway theater. A reputation for rampant repurposing of materials and tricksy tinkering with space -- on stage, on paper, on the waterfront -- have made DS+R a sought-after firm, winning accounts from the Juilliard School, Alice Tully Hall and the School of American Ballet, as part of the Lincoln Center overhaul; at Brown University; and on New York's revamp of Governer's Island. Their Institute for Comtemporary Art has opened up a new piece of Boston's waterfront, creating an elegant space that embraces the water.
Liz Diller | Speaker | TED.com