TED2005
Greg Lynn: Organic algorithms in architecture
格雷格 林恩谈论建筑中的微积分
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格雷格 林恩将讲述建筑的数学根源--以及微积分和数位工具是如何使得现代设计师超越传统建筑模式。在纽约市皇后区的一座壮丽的教堂（和一套钛金属茶具）将描绘出他的理论。
Greg Lynn - Designer
Greg Lynn is the head of Greg Lynn FORM, an architecture firm known for its boundary-breaking, biomorphic shapes and its embrace of digital tools for design and fabrication. Full bio
Greg Lynn is the head of Greg Lynn FORM, an architecture firm known for its boundary-breaking, biomorphic shapes and its embrace of digital tools for design and fabrication. Full bio
Double-click the English transcript below to play the video.
00:12
What I thought I would talk about today
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我今天将要讲述的是
00:14
is the transition from one mode
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一种思路的转变
00:17
of thinking about nature
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从对自然的思索
00:19
to another that's tracked by architecture.
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到建筑的形式。
00:21
What's interesting about architects is,
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在建筑领域非常有趣的是，
00:24
we always have tried to justify beauty
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我们评判美的依据往往是
00:27
by looking to nature,
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自然，
00:29
and arguably, beautiful architecture
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而且这也有据可循，美的建筑
00:32
has always been looking at a model of nature.
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也经常是以自然为师的。
00:34
So, for roughly 300 years,
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于是，将近三百年来，
00:37
the hot debate in architecture
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建筑学中最热门的话题
00:39
was whether the number five
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总是究竟是数字五
00:41
or the number seven
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还是数字七
00:43
was a better proportion to think about architecture,
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是建筑学中的黄金分割。
00:45
because the nose was one-fifth of your head,
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因为我们的鼻子长在头部的五分之一，
00:49
or because your head was one-seventh of your body.
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而我们的头部占全身长度的七分之一。
00:52
And the reason that that was the model
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之所以用这一标准来衡量
00:54
of beauty and of nature
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美以及自然
00:56
was because the decimal point had not been invented yet --
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是因为当时还没有发明小数点--
00:59
it wasn't the 16th century --
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直到十六世纪--
01:02
and everybody had to dimension a building
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人们丈量建筑时
01:05
in terms of fractions,
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不得不使用比例关系，
01:07
so a room would be dimensioned
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比如一个房间是
01:09
as one-fourth of a facade;
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一个立面的四分之一；
01:11
the structural dais of that might be dimensioned as 10 units,
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如果结构基座是十个单位，
01:15
and you would get down to the small elements
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要得到更小的单元
01:18
by fractional subdivision:
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可以进一步拆分：
01:20
finer and finer and finer.
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越拆越细，越拆越细。
01:22
In the 15th century, the decimal point was invented;
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十五世纪的时候，发明了小数点；
01:25
architects stopped using fractions,
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建筑师们才不再使用比例，
01:27
and they had a new model of nature.
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他们有了描绘自然的新模型。
01:29
So, what's going on today
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所以，我们现在使用的
01:32
is that there's a model of natural form
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是基于自然形式的模型
01:35
which is calculus-based
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它基于微积分运算
01:37
and which is using digital tools,
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依据数字工具，
01:39
and that has a lot of implications
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这样更加丰富了我们
01:41
to the way we think about beauty and form,
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对于美和形式的理解，
01:43
and it has a lot of implications in the way we think about nature.
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还有我们理解大自然的方式。
01:47
The best example of this would probably be the Gothic,
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最好的例子应该就是哥特式建筑，
01:50
and the Gothic was invented after the invention of calculus,
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而哥特式建筑在微积分发明之后出现，
01:54
although the Gothic architects
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虽然哥特式建筑师们
01:56
weren't really using calculus to define their forms.
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并不真正使用微积分定义模型。
01:59
But what was important is,
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但重要的是，
02:01
the Gothic moment in architecture was the first time
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哥特时代的建筑是首次
02:03
that force and motion was thought of in terms of form.
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用形式来考量力与动态。
02:07
So, examples like Christopher Wren's King's Cross:
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以克里斯多弗 雷恩的国王十字车站为例，
02:10
you can see that the structural forces of the vaulting
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大家可以看到拱形结构的力量
02:14
get articulated as lines, so you're really actually seeing
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以线条的方式连接，所以真的可以看到
02:17
the expression of structural force and form.
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结构力量和形式的表现。
02:20
Much later, Robert Maillart's bridges,
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再看罗伯特 马亚尔的桥，
02:23
which optimize structural form
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其结构透过
02:26
with a calculus curvature almost like a parabola.
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曲率运算的最佳形式得以表现，就像抛物线一样。
02:29
The Hanging Chain models of Antonio Gaudi,
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再看建筑师安东尼高地的悬吊绳索模型，
02:33
the Catalan architect.
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他是西班牙加泰隆建筑师。
02:35
The end of the 19th century, beginning of the 20th century,
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这是在十九世纪末二十世纪初时，
02:40
and how that Hanging Chain model
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令人感兴趣的是悬吊绳索模型
02:42
translates into archways
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如何被诠释为拱门
02:44
and vaulting.
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和拱顶结构。
02:46
So, in all of these examples,
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所以，所有这些例子，
02:48
structure is the determining force.
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结构是其决定因素。
02:52
Frei Otto was starting to use foam bubble diagrams
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弗赖 奥托首次利用泡沫的气泡图解
02:55
and foam bubble models to generate his Mannheim Concert Hall.
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和气泡模型创造出了他的曼海姆音乐厅。
03:00
Interestingly, in the last 10 years
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有趣的是在过去这十年里
03:03
Norman Foster used a similar heat thermal transfer model
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诺曼 福斯特也使用了类似的热传导模型
03:07
to generate the roof of the National Gallery,
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建造了国家艺术馆的屋顶，
03:11
with the structural engineer Chris Williams.
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那是他与结构工程师克里斯 威廉姆斯合作的成果。
03:13
In all these examples,
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在所有这些例子中，
03:15
there's one ideal form,
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都有个理想模式，
03:17
because these are thought in terms of structure.
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源于对结构因素的考虑。
03:20
And as an architect, I've always found these kinds of systems
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作为一名建筑师，我一直认为这种模式
03:23
very limiting, because I'm not interested in ideal forms
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相当局限，因为我对理想模式并不感兴趣
03:27
and I'm not interested in optimizing to some perfect moment.
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而且我也对最优化到某种完美境界不感兴趣。
03:32
So, what I thought I would bring up is
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所以，我展示给大家的
03:35
another component that needs to be thought of,
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是另一个值得我们思考的层面，
03:37
whenever you think about nature,
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每当我们想到自然，
03:39
and that's basically the invention of
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一般都是
03:41
generic form in genetic evolution.
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自然形体经过基因演化后的结果。
03:46
My hero is actually not Darwin;
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我心中的英雄，并非达尔文，
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it's a guy named William Bateson,
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而是一个叫威廉 贝特森的人，
03:50
father of Greg Bateson, who was here for a long time in Monterey.
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他是格雷格 贝特森的父亲，一直住在蒙特里。
03:55
And he was what you'd call a teratologist:
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你可以称他为畸形学家：
03:57
he looked at all of the monstrosities and mutations
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他观测各种畸形和突变案例
04:02
to find rules and laws, rather than looking at the norms.
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为了找寻其规律及法则，而非仅仅观察其基准。
04:05
So, instead of trying to find the ideal type
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所以，与其寻找理想型
04:08
or the ideal average,
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或是理想均值，
04:10
he'd always look for the exception. So, in this example,
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他总是寻找特例。所以，举例说，
04:13
which is an example of what's called Bateson's Rule,
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在贝特森定律这个例子中，
04:15
he has two kinds of mutations of a human thumb.
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他举出两种人类大拇指的突变基因。
04:19
When I first saw this image, 10 years ago,
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当我10年前第一眼看到这幅图的时候，
04:21
I actually found it very strange and beautiful at the same time.
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我发现它非常奇怪，但同时也很美丽。
04:25
Beautiful, because it has symmetry.
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美丽，是因为它具有对称性。
04:27
So, what he found is that in all cases of thumb mutations,
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所以，他发现在所有拇指突变的案例中，
04:31
instead of having a thumb,
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与仅有一个拇指所不同地，
04:34
you would either get another opposable thumb,
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那些不是长出个反方向的拇指，
04:36
or you would get four fingers.
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要不就是四个手指（无拇指）。
04:38
So, the mutations reverted to symmetry.
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所以，突变就回归到对称了。
04:41
And Bateson invented
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据此，贝特森发明了
04:43
the concept of symmetry breaking,
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对称断裂的概念，
04:45
which is that
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也就是说
04:47
wherever you lose information in a system,
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无论你在系统的某处丢失了信息，
04:50
you revert back to symmetry.
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你都可以回归到对称。
04:52
So, symmetry wasn't the sign of order and organization --
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所以，对称并非代表秩序和组织--
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which is what I was always understanding, and as is an architect --
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作为一名建筑师的我也一直这样认为，
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symmetry was the absence of information.
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对称是信息缺失的象征。
05:02
So, whenever you lost information, you'd move to symmetry;
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所以，一旦你丢失信息，你将趋向对称；
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whenever you added information to a system, you would break symmetry.
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当你往系统中添加信息时，就破坏了对称。
05:08
So, this whole idea of natural form shifted at that moment
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于是，从此我们对于自然的想法开始转变
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from looking for ideal shapes
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从寻找理想模型
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to looking for a combination of
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到变成寻找一种组合
05:17
information and generic form.
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一种信息和普通模式的组合。
05:21
You know, literally after seeing that image,
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大家知道，看了那幅图，
05:24
and finding out what Bateson was working with,
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发现贝特森在研究什么之后，
05:27
we started to use these rules for symmetry breaking and branching
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我们才开始利用这些规则研究对称断裂和其分支，
05:31
to start to think about architectural form.
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开始思考建筑的形式。
05:33
To just talk for a minute about the
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我们来稍微谈谈
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digital mediums that we're using now
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我们现在使用的数位方法
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and how they integrate calculus:
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及其如何与微积分整合：
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the fact that they're calculus-based
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以微积分为基础的实质是
05:43
means that we don't have to think about dimension
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我们不需要
05:46
in terms of ideal units
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以理想的度量单位
05:48
or discreet elements.
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或是缜密的元素来考虑面积。
05:51
So, in architecture we deal with
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所以，在建筑界我们处理的是
05:53
big assemblies of components,
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零件的大型装配，
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so there might be up to, say,
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例如说可能有
05:58
50,000 pieces of material
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五万件材料
06:00
in this room you're sitting in right now
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构成了你所身处的这个房间，
06:02
that all need to get organized.
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而这些材料都必须被妥善安置。
06:05
Now, typically you'd think that they would all be the same:
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一般而言，你可能认为这些材料都是一样的：
06:07
like, the chairs you're sitting in would all be the same dimension.
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例如你所坐的椅子尺寸应该都相同。
06:09
You know, I haven't verified this, but it's the norm
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我还没确认这件事，但根据标准规范
06:12
that every chair would be a slightly different dimension,
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每张椅子的尺寸应该略有不同，
06:15
because you'd want to space them all out for everybody's sight lines.
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因为你需要将椅子错开排列，避免遮住后排视线。
06:19
The elements that make up the ceiling grid and the lighting,
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构成天花板和照明的元件，
06:23
they're all losing their modular quality,
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也都逐渐失去它们的基准特性，
06:26
and moving more and more to these infinitesimal dimensions.
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而变成极微小的尺度元素。
06:29
That's because we're all using calculus tools
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那是因为我们都用微积分为工具
06:31
for manufacturing and for design.
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来生产与设计。
06:34
Calculus is also a mathematics of curves.
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微积分也是一种曲线数学。
06:38
So, even a straight line, defined with calculus, is a curve.
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所以，即使是直线，用微积分来定义则也必定是一种曲线，
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It's just a curve without inflection.
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它只不过是没有弯曲的曲线。
06:44
So, a new vocabulary of form
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所以，有一种新形式的语汇
06:47
is now pervading all design fields:
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正充斥在各种设计领域：
06:50
whether it's automobiles, architecture, products, etc.,
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无论是汽车、建筑、产品等等，
06:54
it's really being affected by this digital medium of curvature.
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都被这种以数位为媒介的曲率所影响。
06:57
The intricacies of scale that come out of that --
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其中尺度的错综复杂 --
07:00
you know, in the example of the nose to the face,
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就像鼻子与脸部的比例，
07:03
there's a fractional part-to-whole idea.
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都存在一种局部-整体的比例上的概念。
07:06
With calculus, the whole idea
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就微积分而言，细部分割的想法
07:09
of subdivision is more complex,
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就更为复杂了
07:11
because the whole and the parts are one continuous series.
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因为全体和局部是一个连续的序列。
07:15
It's too early in the morning for a lecture on calculus,
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一大早上微积分课恐怕太辛苦了，
07:18
so I brought some images to just describe how that works.
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所以我带了一些图片来示范它如何运作。
07:22
This is a Korean church that we did in Queens.
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这是我们设计的位于纽约市皇后区的韩国教堂。
07:25
And in this example, you can see
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在这个例子中，你会看到
07:28
that the components of this stair are repetitive,
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这个梯子的元件是重复出现的，
07:32
but they're repetitive without being modular.
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但却不是模型式的重复。
07:34
Each one of the elements in this structure
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这个结构中的每一个元素
07:36
is a unique distance and dimension,
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在距离和尺寸上都不一样，
07:40
and all of the connections are unique angles.
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每个接点的角度也不同。
07:42
Now, the only way we could design that,
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我们能设计，或是建造出它的
07:44
or possibly construct it,
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唯一办法，
07:47
is by using a calculus-based definition
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就是要使用该形体的
07:49
of the form.
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微积分定义。
07:51
It also is much more dynamic,
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这个形体十分动态，
07:53
so that you can see that the same form opens and closes
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所以当你走过这个建筑时，你可以看到
07:56
in a very dynamic way as you move across it,
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它随之以一种动态的方式打开与闭合，
07:59
because it has this quality of vector in motion
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因为它由一种动态矢量
08:02
built into it.
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建造而成。
08:04
So the same space that appears to be a kind of closed volume,
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所以呈现为封闭量体的相同空间，
08:07
when seen from the other side becomes a kind of open vista.
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从另外一侧看，却变成了开放的景观。
08:11
And you also get a sense of
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同时你还会感受到
08:13
visual movement in the space,
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空间中的视觉移动，
08:15
because every one of the elements is changing in a pattern,
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因为每个元素都依据一定的样式而不断改变，
08:19
so that pattern leads your eye towards the altar.
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所以这种样式会将你的视线带向圣坛。
08:23
I think that's one of the main changes,
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我认为这是一种重大的改变，
08:26
also, in architecture:
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就是，在建筑学中：
08:28
that we're starting to look now not for some ideal form,
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我们并不再追寻
08:31
like a Latin cross for a church,
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像教堂里拉丁十字般的理想形式，
08:34
but actually all the traits of a church:
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而是教堂的所有特征：
08:36
so, light that comes from behind from an invisible source,
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例如由背后投出的不知从何而来的光线，
08:40
directionality that focuses you towards an altar.
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很自然让你聚焦至圣坛的方向。
08:44
It turns out it's not rocket science
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我们并不需要多么深奥的学问
08:46
to design a sacred space.
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去设计、造就神圣的空间。
08:48
You just need to incorporate a certain number of traits
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你只需要用自然的方式
08:51
in a very kind of genetic way.
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去结合若干（本身的）特点即可。
08:54
So, these are the different perspectives of that interior,
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所以，这些是不同的关于内部的视觉，
08:56
which has a very complex
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这些内部设计都具备一个非常复杂的
08:58
set of orientations all in a simple form.
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定位结构却以一种简单的形式呈现。
09:02
In terms of construction and manufacturing,
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就营造和构筑而言，
09:05
this is a kilometer-long housing block
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这是个约莫一公里长的住宅街廓
09:08
that was built in the '70s in Amsterdam.
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建于七零年代的阿姆斯特丹。
09:11
And here we've broken the 500 apartments
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我们将五百间公寓打散
09:13
up into small neighborhoods,
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成为若干小型区域，
09:16
and differentiated those neighborhoods.
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并且区别这些区域。
09:18
I won't go into too much description of any of these projects,
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我不打算讲述太多关于这些计划的细节，
09:21
but what you can see is that
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但大家可以看到
09:23
the escalators and elevators
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电扶梯和升降梯
09:26
that circulate people along the face of the building
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沿着建筑物表面循环输送人群
09:29
are all held up by
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它们是由
09:31
122 structural trusses.
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一百二十二根结构桁架支撑。
09:35
Because we're using escalators
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因为我们用电扶梯
09:37
to move people,
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输送人群，
09:39
all of these trusses are picking up diagonal loads.
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这些构架承受了对角线方向的重量。
09:44
So, every one of them is a little bit different-shaped
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所以，每根构架的形状都有些许差异
09:47
as you move down the length of the building.
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尤其当沿着建筑物长轴移动时可以观察到。
09:49
So, working with
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所以，我们在
09:51
Bentley and MicroStation,
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宾特利公司的微型工作站上
09:54
we've written a custom piece of software
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撰写了一个订制的软件
09:56
that networks all of the components together
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将所有元件以网路形式串连
09:59
into these chunks of information,
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串联成一段信息，
10:02
so that if we change any element
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当我们沿着建筑物长轴
10:04
along the length of the building,
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变更任何元件时，
10:06
not only does that change distribute
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不仅会连带改变
10:09
through each one of the trusses,
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整栋建筑的每根构架，
10:11
but each one of the trusses then distributes that information
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这些构架还会将信息
10:14
down the length of the entire facade of the building.
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传递到建筑的整个表面。
10:17
So it's a single calculation
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对建筑物的每个元件而言，
10:19
for every single component of the building
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我们所加上的
10:22
that we're adding onto.
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都是独立的运算。
10:24
So, it's tens of millions of calculations
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所以，仅为了设计
10:28
just to design one connection between a piece of structural steel
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两组结构钢梁之间的接点
10:31
and another piece of structural steel.
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就要进行千万次的运算。
10:33
But what it gives us is a harmonic
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但它所赋与我们的是一种
10:35
and synthesized
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介于所有元件彼此之间的
10:39
relationship of all these components, one to another.
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和谐与合成的关系。
10:43
This idea has, kind of, brought me into doing
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受到这想法影响，我也涉猎了
10:46
some product design,
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一些产品设计方面的领域，
10:48
and it's because design firms
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因为不少与
10:51
that have connections to architects,
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建筑师有合作关系的设计公司，
10:53
like, I'm working with Vitra, which is a furniture company,
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例如，我目前合作的家具设计公司维特拉，
10:56
and Alessi, which is a houseware company.
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和家庭用具设计公司阿莱西。
10:59
They saw this actually solving a problem:
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他们认为这可以解决一个问题：
11:01
this ability to differentiate components
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区分元件，并使它们
11:03
but keep them synthetic.
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合成在一起。
11:06
So, not to pick on BMW,
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在此不是挑剔宝马，
11:08
or to celebrate them,
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也不是称赞它，
11:10
but take BMW as an example.
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而是拿宝马当个例子。
11:12
They have to, in 2005,
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在二零零五年，他们必须
11:15
have a distinct identity
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要让所有类型的车款
11:17
for all their models of cars.
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都具备鲜明的特征。
11:19
So, the 300 series, or whatever their newest car is,
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譬如300系列或者任何一款新车，
11:22
the 100 series that's coming out,
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或者是即将推出的100系列，
11:24
has to look like the 700 series,
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也都要看起来像
11:27
at the other end of their product line,
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他们产品线另一端的700系列，
11:30
so they need a distinct, coherent identity,
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所以他们都需要一个鲜明而协调的特征,
11:32
which is BMW.
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也就是宝马。
11:34
At the same time, there's a person paying 30,000 dollars
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同时，有人付三万美元
11:37
for a 300-series car,
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买一辆300系列的车，
11:39
and a person paying 70,000 dollars
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也有人愿意花七万美元
11:41
for a 700 series,
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买一辆700系列的车，
11:43
and that person paying more than double
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付了超过两倍价钱的那个人
11:45
doesn't want their car to look too much like
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是不会希望他们的车看起来太像
11:47
the bottom-of-the-market car.
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低端市场车款的。
11:49
So they have to also discriminate between these products.
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所以他们需要区别对待这些不同的商品。
11:52
So, as manufacturing
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所以，当生产制造过程
11:54
starts to allow more
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开始允许更多的
11:57
design options,
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设计选择，
11:59
this problem gets exacerbated,
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这个问题就更加严重了，
12:01
of the whole and the parts.
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对整体与局部而言都一样。
12:03
Now, as an architect, part-to-whole relationships
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身为建筑师，全体-局部的关系 --
12:05
is all I think about,
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是我最关注的，
12:07
but in terms of product design
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但就产品设计来说
12:09
it's becoming more and more of an issue for companies.
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也逐渐变成设计公司所需面对的问题了。
12:12
So, the first kind of test product we did
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我们首先拿来测试的产品
12:14
was with Alessi,
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是与阿莱西（注：意大利家用品制造商） 合作，
12:16
which was for a coffee and tea set.
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是一套咖啡茶具组。
12:18
It's an incredibly expensive coffee and tea set;
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那是一套相当昂贵的咖啡茶具组；
12:21
we knew that at the beginning. So, I actually went to some people I knew
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我们打从一开始就知道了。所以，我拜访了
12:24
down south in San Diego,
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圣地牙哥的一些朋友，
12:27
and we used an exploded
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我们采用
12:29
titanium forming method
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钛金属爆炸成形法，
12:31
that's used in the aerospace industry.
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这种方法多用在航太工业。
12:34
Basically what we can do,
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基本上我们能做的，
12:36
is just cut a graphite mold,
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只是切割一个石墨模子，
12:38
put it in an oven, heat it to 1,000 degrees,
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放进烤箱、加热至一千度，
12:42
gently inflate titanium that's soft,
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小心地对软化的钛金属充气，
12:44
and then explode it at the last minute into this form.
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最终将其爆炸，成型。
12:47
But what's great about it is,
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但最棒的是，
12:49
the forms are only a few hundred dollars.
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产生形体只需花几百美金。
12:51
The titanium's several thousand dollars, but the forms are very cheap.
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钛金属要花几千美金，但产生形体则很廉价。
12:54
So, we designed a system here
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所以我们设计了一个系统
12:57
of eight curves that could be swapped,
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其中包括可以相互置换的八条曲线，
13:00
very similar to that housing project I showed you,
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和我刚才提到的建筑案例类似，
13:03
and we could recombine those together,
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接着我们将他们合并在一起，
13:05
so that we always had ergonomic shapes
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确保所得到的造型符合人体工程学理论
13:08
that always had the same volume
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同时有同样的体积
13:11
and could always be produced in the same way.
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而且能用同样的方式再造。
13:13
That way, each one of these tools we could pay for with
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这么一来，虽然这些工具的价值
13:15
a few hundred dollars,
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每个只有几百美金，
13:17
and get incredible variation in the components.
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却能产生元件之间令人意想不到的变化。
13:20
And this is one of those examples of the sets.
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这仅是诸多例子之一。
13:23
So, for me, what was important is that
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所以对我来说，重要的是
13:25
this coffee set --
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这组咖啡茶具组 --
13:27
which is just a coffee pot, a teapot,
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虽然只不过是一个咖啡壶、一个茶壶，
13:29
and those are the pots sitting on a tray --
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放在托盘上的茶壶 --
13:31
that they would have a coherence --
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他们有一种一致性 --
13:33
so, they would be Greg Lynn Alessi coffee pots --
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他们可以被称作格雷格 林恩阿莱西咖啡壶 --
13:36
but that everyone who bought one
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但每个购买这组茶具的人
13:38
would have a one-of-a-kind object that was unique in some way.
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都会买到一组在某些特点上独一无二的设计
13:43
To go back to architecture,
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谈回到建筑，
13:45
what's organic about architecture as a field,
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对建筑学科来说有机的定义，
13:48
unlike product design,
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不同于产品设计，
13:50
is this whole issue of holism
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在于机能整体性的问题
13:52
and of monumentality is really our realm.
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以及不朽的价值，那才是我们的领域。
13:56
Like, we have to design things which are coherent as a single object,
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像是我们所设计出来的通常是具有一致性的一个单一工程，
14:00
but also break down into small rooms
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但同时也区分为不同的房间
14:03
and have an identity of both the big scale
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而且无论在大尺度和小尺度上
14:05
and the small scale.
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都能彰显个性。
14:07
Architects tend to work with signature,
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建筑师偏好处理识别性，
14:11
so that an architect needs a signature
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所以建筑师需要识别性
14:13
and that signature has to work across the scale of houses
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在房子的任一尺度下都要具备这种识别性
14:16
up to, say, skyscrapers,
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大到摩天大楼都一样。
14:19
and that problem of signatures is a thing we're very good at maintaining
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处理识别性的问题是我们的专长
14:22
and working with; and intricacy,
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而复杂度
14:24
which is the relationship of, say,
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即建筑物各种元素间的关系，如
14:26
the shape of a building, its structure, its windows,
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建筑物外型、结构、窗户、
14:29
its color, its pattern. These are real architectural problems.
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颜色、样式等。这些都是实际的建筑问题。
14:34
So, my kind of hero for this in the natural world
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所以自然界在这方面我所崇拜的
14:37
are these tropical frogs.
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是热带雨蛙。
14:39
I got interested in them because they're the most
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我对他们感兴趣的原因是
14:41
extreme example
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他们极为特殊
14:43
of a surface where
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的表皮以及
14:46
the texture and the -- let's call it the decoration --
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纹理 -- 姑且称作装饰吧 --
14:50
I know the frog doesn't think of it as decoration, but that's how it works --
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虽然雨蛙不这么认为，但它呈现出来的的确是装饰--
14:53
are all intricately connected to one another.
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这些复杂的纹理彼此相互连结。
14:56
So a change in the form
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当雨蛙的形体有所改变
14:58
indicates a change in the color pattern.
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身上的花纹随之变化
15:00
So, the pattern and the form aren't the same thing,
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所以，花纹和型态虽然不是同一件事，
15:03
but they really work together and are fused
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但他们却以一种独特的方式彼此融合、
15:05
in some way.
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交互运作。
15:07
So, when doing a center
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所以呢，当我设计
15:10
for the national parks in Costa Rica,
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哥斯大黎加国家公园旅客中心时，
15:13
we tried to use that idea of a gradient color
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我们尝试运用渐层色以及
15:15
and a change in texture
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以及纹理变化的想法
15:18
as the structure moves across the surface of the building.
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使建筑随着结构的不同而有所改变。
15:22
We also used a continuity of change
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我们也让变化连续从
15:25
from a main exhibition hall to a natural history museum,
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展览大厅延续到自然历史博物馆，
15:29
so it's all one continuous change
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所以连续变化是整体性的
15:31
in the massing,
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横跨建筑量体。
15:33
but within that massing are very different kinds of spaces and forms.
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然而在量体之内，空间和形式却大异其趣
15:37
In a housing project in Valencia, Spain, we're doing,
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在西班牙瓦伦西亚的住宅这一案例里，
15:40
the different towers of housing fused together
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我们尝试将不同的住宅高楼融合在一起
15:44
in shared curves so you get a single mass,
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使其外围曲线呈现一致性，结合为单一量体，
15:47
like a kind of monolith,
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就像一整块石头般，
15:49
but it breaks down into individual elements.
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但其实它却由不同单元组合而成。
15:54
And you can see that that change in massing
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这种量的变化
15:57
also gives all 48 of the apartments
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同时也给所有四十八个住宅单元
16:00
a unique shape and size,
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独特的形状与大小，
16:02
but always within a, kind of, controlled limit,
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却总在一个被控制的有限制的
16:05
an envelope of change.
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变化外壳中。
16:09
I work with a group of other architects.
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我和一群建筑师共事，
16:11
We have a company called United Architects.
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我们的公司叫做联合建筑师。
16:13
We were one of the finalists for the World Trade Center site design.
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我们的作品曾进入纽约世贸大楼原址竞图案决选。
16:17
And I think this just shows how
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我认为这展示了
16:20
we were approaching
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我们想尝试
16:22
the problem of incredibly large-scale construction.
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超大型建筑的想法。
16:25
We wanted to make a kind of Gothic cathedral
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我们想在世贸大楼原址的基地
16:28
around the footprints of the World Trade Center site.
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周围建筑一种哥德式教堂。
16:32
And to do that, we tried to connect up
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为了实现这个想法，我们尝试将
16:35
the five towers into a single system.
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五栋大楼连结为单一系统。
16:39
And we looked at, from the 1950s on,
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我们发现，从一九五零年代开始，
16:43
there were numerous examples of other architects
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已经有不少建筑师尝试
16:45
trying to do the same thing.
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做与此相同的事情。
16:47
We really approached it at the level
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我们的作法是以
16:49
of the typology of the building,
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建筑物的类型为基础，
16:51
where we could build these five separate towers,
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也就是我们本可以使五栋原本分离的大楼，
16:53
but they would all join at the 60th floor
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在六十楼的位置相连结
16:56
and make a kind of single monolithic mass.
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成为一个单一的巨型个体。
17:00
With United Architects, also,
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联合建筑师事务所也参与了
17:02
we made a proposal for the European Central Bank headquarters
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欧洲中央银行总部的设计提案，
17:05
that used the same system,
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在那我们也采用了相同系统，
17:07
but this time in a much more monolithic mass,
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但这个提案的单一量体更大，
17:09
like a sphere.
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就像一颗球。
17:11
But again, you can see this, kind of,
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但是，你所看到的这种
17:13
organic fusion
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复合建筑元素的
17:15
of multiple building elements
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有机融合方法
17:17
to make a thing which is whole, but breaks down into smaller parts,
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使得事物以一种令人惊异的有机方式建构为一个整体，
17:21
but in an incredibly organic way.
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其构成单元又能独立存在。
17:24
Finally, I'd like to just show you
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最后，我想让大家看看
17:26
some of the effects of using digital fabrication.
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利用数位制造技术的影响。
17:30
About six years ago, I bought one of these CNC mills,
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大约六年前，我买了一部电脑数字控制雕铣机，
17:33
to just replace, kind of,
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原本是为了防止
17:35
young people cutting their fingers off all the time building models.
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年轻人做建筑模型时频繁发生的手指切割意外。
17:39
And I also bought a laser cutter
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我也买了一部雷射切割机
17:41
and started to fabricate within my own shop,
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在我自己的店里用作模型制作，
17:44
kind of, large-scale building elements and models,
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类似大型建筑元件与模型的制作，
17:47
where we could go directly to the tooling.
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方便大家直接使用各种工具。
17:50
What I found out is that the tooling,
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我发现在工具使用上，
17:53
if you intervened in the software,
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如果加上软件的介入，
17:55
actually produced decorative effects.
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可以制造出装饰效果。
17:57
So, for these interiors, like this shop in Stockholm, Sweden,
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所以像是室内设计，例如这个瑞典斯德哥尔摩的商店，
18:01
or this installation wall in the Netherlands
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或者荷兰建筑学会的
18:04
at the Netherlands Architecture Institute,
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装置墙面设计，
18:07
we could use the texture that the tool would leave
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我们会用工具所留下的质感
18:10
to produce a lot of the spatial effects,
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来产生不错的空间效果，
18:13
and we could integrate the texture of the wall
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我们可以利用此材料将墙壁的纹理
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with the form of the wall with the material.
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和形式整合起来。
18:18
So, in vacuum-formed plastic, in fiberglass,
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同样地适用于真空成形塑胶、玻璃纤维、
18:22
and then even at the level of structural steel,
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甚至结构钢材，
18:24
which you think of as being linear and modular.
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这些都被视为是线性、模矩化的建材。
18:26
The steel industry is so far
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目前，制钢业
18:28
ahead of the design industry
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远领先于设计行业。
18:30
that if you take advantage of it
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如果你想利用它，
18:32
you can even start to think of beams and columns
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你甚至可以想像得到那些滚轴和圆柱
18:35
all rolled together into a single system
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堆在一起，形成一个
18:38
which is highly efficient,
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不仅高效率，
18:40
but also produces decorative effects
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又充满装饰感，
18:42
and formal effects
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以及包含一种有机美的，
18:44
that are very beautiful and organic.
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统一的系统。
18:46
Thanks very much.
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非常感谢。
ABOUT THE SPEAKER
Greg Lynn - DesignerGreg Lynn is the head of Greg Lynn FORM, an architecture firm known for its boundary-breaking, biomorphic shapes and its embrace of digital tools for design and fabrication.
Why you should listen
Who says great architecture must be proportional and symmetrical? Not Greg Lynn. He and his firm, Greg Lynn FORM, have been pushing the edges of building design, by stripping away the traditional dictates of line and proportion and looking into the heart of what a building needs to be.
A series of revelations about building practice -- "Vertical structure is overrated"; "Symmetry is bankrupt" -- helped Lynn and his studio conceptualize a new approach, which uses calculus, sophisticated modeling tools, and an embrace of new manufacturing techniques to make buildings that, at their core, enclose space in the best possible way. The New York Presbyterian church that Lynn designed with Douglas Garofalo and Michael McInturf, collaborating remotely, is a glorious example of this -- as a quiet industrial building is transformed into a space for worship and contemplation with soaring, uniquely shaped and tuned elements.
In a sort of midcareer retrospective, the book Greg Lynn Form (watch the video) was released in October 2008; recently, Lynn has collaborated with the video team Imaginary Forces on the New City installation as part of the MOMA exhibit "Design and the Elastic Mind." In November 2008, FORM won a Golden Lion at the Venice Bienniale for its exhibition Recycled Toy Furniture.
Greg Lynn | Speaker | TED.com