TED2006
Joshua Prince-Ramus: Behind the design of Seattle's library
喬書亞 普林斯-瑞姆斯（Joshua Prince-Ramus）介紹西雅圖圖書館
Filmed:
Readability: 4.2
1,198,264 views
建築師喬書亞 普林斯-瑞姆斯（Joshua Prince-Ramus）, 利用虛擬現實軟件向聽眾介紹了三個最近的項目: 西雅圖中心圖書館, 路易斯威而的展覽館, 和達拉斯的查理斯懷利大劇院.
Joshua Prince-Ramus - Architect
Joshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006. Full bio
Joshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006. Full bio
Double-click the English transcript below to play the video.
00:26
I'm going to present
three projects in rapid fire.
three projects in rapid fire.
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我要快速地介紹三個項目
時間不多,
00:29
I don't have much time to do it.
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00:30
And I want to reinforce three ideas
with that rapid-fire presentation.
with that rapid-fire presentation.
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通過介紹這三個項目,我想強調三個概念.
我把第一個概念稱為超理性過程.
00:34
The first is what I like to call
a hyper-rational process.
a hyper-rational process.
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這個過程
00:37
It's a process that takes rationality
almost to an absurd level,
almost to an absurd level,
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把理性提高到一個難以置信的境界
以至於它超越了
00:41
and it transcends all the baggage
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通常伴隨
00:43
that normally comes
with what people would call,
with what people would call,
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(人們常說的), 理性結論的所有累贅.
00:45
sort of a rational
conclusion to something.
conclusion to something.
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00:47
And it concludes in something
that you see here,
that you see here,
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這個過程產生了一些你將會看到的結論
事實上這些結論很難讓人相信
00:50
that you actually wouldn't expect
as being the result of rationality.
as being the result of rationality.
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是理性推斷的結果.
第二個概念, 哦,
00:54
The second --
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00:57
the second is that this process
does not have a signature.
does not have a signature.
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第二個概念是一個
沒有署名的過程.
01:02
There is no authorship.
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這個過程沒有創造者. 設計師癡迷於創造者.
01:04
Architects are obsessed with authorship.
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這個過程主要是團隊的合作和修改編輯
01:06
This is something that has
editing and it has teams,
editing and it has teams,
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實際上, 在這個過程中,我們看不到
01:08
but in fact, we no longer
see within this process,
see within this process,
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設計師照傳統產生
01:10
the traditional master architect
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01:12
creating a sketch
that his minions carry out.
that his minions carry out.
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忽略細節的設計草圖
第三個概念,
01:16
And the third is that it challenges --
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01:18
and this is, in the length of this,
very hard to support why,
very hard to support why,
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短時間內很難解釋為甚麼,
01:21
connect all these things --
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把這些概念都聯繫起來
它挑戰了極端現代主義概念上的靈活性
01:23
but it challenges the high modernist
notion of flexibility.
notion of flexibility.
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極端現代主義者主張建立一種
01:26
High modernists said we will create
sort of singular spaces that are generic,
sort of singular spaces that are generic,
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普遍的線性空間
在這些空間內, 任何事都可以發生
01:30
almost anything can happen within them.
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我把這個稱為散彈式(漫無目標)的靈活性.
01:31
I call it sort of "shotgun flexibility" --
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(就好像) 轉頭, 射擊, 你肯定能射中些什麼.
01:33
turn your head this way; shoot;
and you're bound to kill something.
and you're bound to kill something.
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所以, 這就是極端現代主義的思想:
01:37
So, this is the promise of high modernism:
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在一個單一的空間, 實際上任何行為都可以發生.
01:39
within a single space, actually,
any kind of activity can happen.
any kind of activity can happen.
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但是我們同時也看到
01:42
But as we're seeing,
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01:44
operational costs are starting
to dwarf capital costs
to dwarf capital costs
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經營費用會超過資本成本
01:47
in terms of design parameters.
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從設計參數上來說.
所以, 這種思想,
01:49
And so, with this sort of idea,
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01:51
what happens is, whatever actually
is in the building on opening day,
is in the building on opening day,
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導致了, 無論是落成時完成的建築設計
或者說, 最當前的需要,
01:54
or whatever seems to be
the most immediate need,
the most immediate need,
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都會阻礙
01:57
starts to dwarf the possibility
and sort of subsume it,
and sort of subsume it,
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任何將來可能發生的變化
02:00
of anything else could ever happen.
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我們推薦一種不同的靈活性,
02:02
And so we're proposing
a different kind of flexibility,
a different kind of flexibility,
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稱之為
02:05
something that we call
"compartmentalized flexibility."
"compartmentalized flexibility."
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"分類靈活性".
基本思想就是, 在統一的整體中,
02:09
And the idea is that you,
within that continuum,
within that continuum,
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02:11
identify a series of points,
and you design specifically to them.
and you design specifically to them.
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確定一系列的點, (然後)根據這些點來設計.
這些點也許會有點偏離中心,
02:14
They can be pushed
off-center a little bit,
off-center a little bit,
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但事實上最終你會得到
02:16
but in the end you actually
still get as much
still get as much
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你原先期望的效果.
02:18
of that original spectrum
as you originally had hoped.
as you originally had hoped.
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02:21
With high modernist flexibility,
that doesn't really work.
that doesn't really work.
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極端現代主義的靈活性就沒有這樣的結果.
接著我要介紹 -- 西雅圖中心圖書館的設計.
02:25
Now I'm going to talk about --
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02:26
I'm going to build up
the Seattle Central Library
the Seattle Central Library
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用你看到的大概五六個圖,
02:29
in this way before your eyes
in about five or six diagrams,
in about five or six diagrams,
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我是說你看到的就是(真正的)設計過程.
02:31
and I truly mean this is the design
process that you'll see.
process that you'll see.
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和圖書館工作人員與圖書館委員會一起,
02:34
With the library staff
and the library board,
and the library board,
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我們選定兩個核心定位.
02:37
we settled on two core positions.
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02:38
This is the first one, and this
is showing, over the last 900 years,
is showing, over the last 900 years,
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這是第一個, 它顯示了, 在過去的900年中,
書本和其他技術的發展.
02:42
the evolution of the book,
and other technologies.
and other technologies.
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這個圖就是我們對於書本的定位
02:45
This diagram was our sort
of position piece about the book,
of position piece about the book,
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02:48
and our position was,
books are technology --
books are technology --
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我們的定位是, 書本就是技術-
這是人們總是忘記的事 -
02:51
that's something people forget --
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但書本就是一種形式的技術, 它必須
02:52
but it's a form of technology
that will have to share its dominance
that will have to share its dominance
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和其他真正強大的技術共同分享它的領導性.
02:56
with any other form of truly potent
technology or media.
technology or media.
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第二個前提 - 這個前提一開始
02:59
The second premise --
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03:01
and this was something
that was very difficult for us
that was very difficult for us
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我們費了好大勁說服圖書管理員們 -
03:03
to convince the librarians of at first --
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就是圖書館, 自從
03:05
is that libraries, since the inception
of Carnegie Library tradition in America,
of Carnegie Library tradition in America,
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美國卡耐基圖書館傳統的開始
就具有第二個責任, 這個責任就是它的社交地位.
03:09
had a second responsibility,
and that was for social roles.
and that was for social roles.
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我會回頭解釋這點, 但是事實上,
03:12
Ok, now, this I'll come back
to later, but something --
to later, but something --
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圖書管理員們, 一開始說, "不, 這不是我們的責任,
03:14
actually, the librarians at first said,
"No, this isn't our mandate.
"No, this isn't our mandate.
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我們的責任是傳媒, 特別是書本."
03:18
Our mandate is media,
and particularly the book."
and particularly the book."
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所以你現在看到的實際上是這個建築的設計.
03:22
So what you're seeing now
is actually the design of the building.
is actually the design of the building.
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上面這個圖
03:25
The upper diagram is what we had seen
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是我們在根據極端現代主義靈活性設計的
03:27
in a whole host of contemporary libraries
that used high modernist flexibility.
that used high modernist flexibility.
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所有現代圖書館中看到的.
看上去好像, 任何事都可能在任何地方發生.
03:32
Sort of, any activity
could happen anywhere.
could happen anywhere.
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03:35
We don't know the future of the library;
we don't know the future of the book;
we don't know the future of the book;
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我們不了解圖書館的未來, 不了解書籍的未來,
所以我們採用這種方法.
03:39
and so, we'll use this approach.
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我們看到的是, 所有的建築都非常統一普通,
03:40
And what we saw were buildings
that were very generic, and worse --
that were very generic, and worse --
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更糟的是, 不只是所有的建築都很普通 -
03:44
not only were they very generic --
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不僅僅是閱覽室看上去像復印室
03:45
so, not only does the reading room
look like the copy room
look like the copy room
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看上去像雜誌區 -
03:48
look like the magazine area --
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它還顯示了,
03:50
but it meant that whatever issue
was troubling the library at that moment
was troubling the library at that moment
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圖書館在想要包含所有的活動的時候
03:53
was starting to engulf every other
activity that was happening in it.
activity that was happening in it.
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所遇到的問題.
在這種情況下, 包含進設計的,
03:57
And in this case,
what was getting engulfed
what was getting engulfed
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就是這些由書本延伸出去的社交地位.
03:59
were these social responsibilities
by the expansion of the book.
by the expansion of the book.
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所以我們推薦了下端這個圖.
04:02
And so we proposed
what's at the lower diagram.
what's at the lower diagram.
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非常傻的方法:
04:04
Very dumb approach:
simply compartmentalize.
simply compartmentalize.
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簡單分類. 把所有我們能預見的發展放在一起 -
04:07
Put those things whose evolution
we could predict --
we could predict --
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我不是說我們能預見將來一定會發生的事,
04:10
and I don't mean that we could say
what would actually happen in the future,
what would actually happen in the future,
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但是我們能確定大致的範疇
04:14
but we have some certainty of the spectrum
of what would happen in the future --
of what would happen in the future --
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對於將來會發生的事 -
把那些(預見)放在特別設計的方框內,
04:17
put those in boxes designed
specifically for it,
specifically for it,
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然後把不能預測的事情放在頂上.
04:20
and put the things that we can't
predict on the rooftops.
predict on the rooftops.
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這是核心的思想.
04:22
So that was the core idea.
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現在, 我們必須說服圖書館, 社交地位和傳媒地位
04:24
Now, we had to convince the library
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是同樣重要的
04:25
that social roles were
equally important to media,
equally important to media,
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為了使圖書館接受這個思想.
04:29
in order to get them to accept this.
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你們現在看到左邊的就是他們的程序.
04:31
What you're seeing here is actually
their program on the left.
their program on the left.
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和我們拿到它的時候一樣清楚.
04:34
That's as it was given to us
in all of its clarity and glory.
in all of its clarity and glory.
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我們第一步是重新消化這個程序
04:38
Our first operation was to re-digest it
back to them, show it to them and say,
back to them, show it to them and say,
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然後回頭展示給他們說,
"知道嗎? 我們一點沒動過這個程序,
04:42
"You know what? We haven't touched it,
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04:44
but only one-third of your own program
is dedicated to media and books.
is dedicated to media and books.
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但是只有三分之一的程序是致力於傳媒和書籍.
三分之二有關於 -- 就是下面這個白色部分
04:48
Two-thirds of it is already dedicated --
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04:50
that's the white band below,
the thing you said isn't important --
the thing you said isn't important --
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你認為不重要的事情:
就是和社交功能有關."
04:53
is already dedicated to social functions."
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因此, 一旦我們向他們這樣展示,
04:55
So once we had presented
that back to them,
that back to them,
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他們同意這樣的核心概念行的通.
04:57
they agreed that this sort
of core concept could work.
of core concept could work.
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我們獲得同意後回到了最初的原則 --
05:00
We got the right to go back
to first principles --
to first principles --
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這就是第三個圖. 我們重新組合了一切.
05:02
that's the third diagram.
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05:03
We recombined everything.
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然後開始重新做決定.
05:04
And then we started making new decisions.
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你看到右邊這個就是圖書館的設計,
05:06
What you're seeing on the right
is the design of the library,
is the design of the library,
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特別是它的面積.
05:09
specifically in terms of square footage.
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在圖的左邊,這裡,
05:11
On the left of that diagram, here,
you'll see a series of five platforms --
you'll see a series of five platforms --
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你會看到
一系列的五個平台 --
05:16
sort of combs, collective programs.
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梳理整合後的程序.
05:18
And on the right are the more
indeterminate spaces;
indeterminate spaces;
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右邊的是比較中間過度性的空間,
比如說閱覽室, 這種空間的發展
05:21
things like reading rooms,
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05:22
whose evolution in 20, 30, 40 years
we can't predict.
we can't predict.
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在20, 30, 40年之後我們不能預測.
這就是這個建築的最初設計.
05:25
So that literally was the design
of the building.
of the building.
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他們認同了這個設計, 令他們懊惱的是,
05:27
They signed it, and to their chagrin,
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05:29
we came back a week later,
and we presented them this.
and we presented them this.
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一個星期之後我們回頭, 向他們展示了這個.
05:32
And as you can see, it is literally
the diagram on the right.
the diagram on the right.
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正如你所看到的, 就是右邊的這個圖.
我們就是改了一下大小
05:35
(Laughter)
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05:36
We just sized -- no, really,
I mean that, literally.
I mean that, literally.
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我說真的.
圖左邊的這些
05:39
The things on the left-hand side
of the diagram,
of the diagram,
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那些是方框.
05:41
those are the boxes.
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05:42
We sized them into five compartments.
They're super-efficient.
They're super-efficient.
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我們重新定大小成了五個類別.
它們超級有效. 我們可供使用的成本很低.
05:45
We had a very low budget to work with.
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我們移動這些方框來組建
05:47
We pushed them around on the site
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非常清楚的相互關係.
05:49
to make very literal
contextual relationships.
contextual relationships.
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閱覽室應該可以看見水面.
05:51
The reading room
should be able to see the water.
should be able to see the water.
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主入口前面應該有一個公共廣場
05:53
The main entrance should have
a public plaza in front of it
a public plaza in front of it
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為了滿足劃區的原則,等等.
05:56
to abide by the zoning code, and so forth.
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你看到的這五個平台 --
05:59
So, you see the five platforms,
those are the boxes.
those are the boxes.
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也就是這五個方框 -- 每一個方框內都有一件不同的用途.
06:01
within each one, a very discrete
thing is happening.
thing is happening.
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這之間的區域是城市的聯結處,
06:04
The area in between
is sort of an urban continuum,
is sort of an urban continuum,
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我們不能預測它們未來的發展.
06:06
these things that we can't predict
their evolution to the same degree.
their evolution to the same degree.
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為了讓你感受一下這個設計的強大性,
06:10
To give you some sense
of the power of this idea,
of the power of this idea,
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06:12
the biggest block
is what we call the book spiral.
is what we call the book spiral.
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我們來看看這個最大的方塊, 我們稱作圖書螺旋.
06:15
It's literally built
in a very inexpensive way --
in a very inexpensive way --
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它事實上建起來很便宜
就是一個圖書的停車庫.
06:18
it is a parking garage for books.
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06:20
It just so happens to be on the 6th
through 10th floors of the building,
through 10th floors of the building,
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它正好就在這個建築的六到十層,
但這不一定意味著花銷佷高.
06:24
but that is not necessarily
an expensive approach.
an expensive approach.
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06:27
And it allows us to organize
the entire Dewey Decimal System
the entire Dewey Decimal System
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同時這個設計使得我們能夠用一種連續的方式來組織整個杜威十進制系統:
06:30
on one continuous run; no matter how it
grows or contracts within the building,
grows or contracts within the building,
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無論它怎樣在這個建築中增長或減小,
很明顯它總是很清楚
06:34
it will always have its clarity
to end the sort of trail of tears
to end the sort of trail of tears
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能避免
06:38
that we've all experienced
in public libraries.
in public libraries.
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我們在公共圖書館經歷的(找不到書)沮喪.
06:41
(Laughter)
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(笑聲)
06:42
And so this was the final operation,
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所以最後的一步, 就是把這些方框
06:44
which was to take these blocks
as they were all pushed off kilter,
as they were all pushed off kilter,
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放到一起
用一個外表固定.
06:47
and to hold onto them with a skin.
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06:49
That skin serves double duty,
again, for economics.
again, for economics.
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這個外表有兩個功能,
06:52
One, it is the lateral stability
for the entire building;
for the entire building;
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第一, 就是整個建築的橫向穩定性:
06:55
it's a structural element.
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這是一個結構上的要素. 但是它不光是為了結構而設計,
06:57
But its dimensions were designed
not only for structure,
not only for structure,
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同時也要固定住每一塊玻璃.
06:59
but also for holding on
every piece of glass.
every piece of glass.
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玻璃然後就融為一體
07:02
The glass was then --
I'll use the word impregnated --
I'll use the word impregnated --
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07:04
but it had a layer of metal
that was called "stretched metal."
that was called "stretched metal."
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但它還有一層抗壓金屬.
這個金屬起到了百葉窗的作用,
07:08
That metal acts as a microlouver,
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從建築的外部, 陽光不能完全透過,
07:10
so from the exterior of the building,
the sun sees it as totally opaque,
the sun sees it as totally opaque,
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但從建築內部看又是完全透明.
07:13
but from the interior,
it's entirely transparent.
it's entirely transparent.
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接著我要帶你參觀整個建築.
07:16
So now I'm going to take you
on a tour of the building.
on a tour of the building.
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07:19
Let me see if I can find it.
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看看我能不能找到這個. 對所有人, --
07:21
For anyone who gets
motion sickness, I apologize.
motion sickness, I apologize.
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如果你容易暈車, 我很抱歉.
這就是這個建築.
07:25
So, this is the building.
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我認為值得注意的是, 當我們最初展示這個建築時,
07:28
And I think what's important is,
when we first unveiled the building,
when we first unveiled the building,
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公眾認為它完全是出於
07:32
the public saw it as being
totally about our whim and ego.
totally about our whim and ego.
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我們一時的心血來潮和自大.
07:36
And it was defended,
believe it or not, by the librarians.
believe it or not, by the librarians.
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不管你信不信, 圖書管理員們為我們辯護. 他們說,
07:39
They said, "Look,
we don't know what it is,
we don't know what it is,
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我們不知道它到底是什麼, 但是我們知道這是所有我們需要的
07:41
but we know it's everything
that we need it to be,
that we need it to be,
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根據我們
07:44
based on the observations
that we've done about the program."
that we've done about the program."
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在整個過程中的觀察. "
這個是其中一個入口.
07:49
This is going into one of the entries.
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所以對於一個公共圖書館來說這是一座不尋常的建築.
07:51
So, it's an unusual building
for a public library, obviously.
for a public library, obviously.
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很顯然.
07:58
So now we're going
into what we call the living room.
into what we call the living room.
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接著我們進入到閱覽室 -- 抱歉, 這是大廳.
這是我們和這個圖書館一起開發的程序
08:02
This is actually a program
that we invented with the library.
that we invented with the library.
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眾所周知, 公共圖書館
08:05
It was recognizing that public libraries
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是最後一點免費的公共場所.
08:07
are the last vestige of public free space.
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有足夠的商場下雨的時候你可以去
08:10
There are plenty of shopping malls
that allow you to get out of the rain
that allow you to get out of the rain
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在西雅圖市中心,
08:13
in downtown Seattle,
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但是沒有很多
08:14
but there are not so many free places
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免費的場所讓你躲雨.
08:17
that allow you to get out of the rain.
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這是一個沒有確定目的自由場地, 人們基本上可以做任何事,
08:19
So this was an unprogrammed area where
people could pretty much do anything,
people could pretty much do anything,
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包括吃東西, 叫喊, 下棋, 等等.
08:23
including eat, yell,
play chess and so forth.
play chess and so forth.
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接著我們移到
08:25
Now we're moving up into what we call
the mixing chamber.
the mixing chamber.
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我們稱作混合區.
這是這個建築的主要場地.
08:29
That was the main
technology area in the building.
technology area in the building.
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讓我知道如果我的速度太快了.
08:32
You'll have to tell me
if I'm going too fast for you.
if I'm going too fast for you.
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再往上.
08:39
And now up.
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這個地方我們放進這個建築
08:45
This is actually the place
that we put into the building
that we put into the building
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好讓我向我妻子求婚. 就是這.
08:48
so I could propose
to my wife, right there.
to my wife, right there.
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(笑聲)
08:50
(Laughter)
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08:52
She said yes.
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她同意了.
08:53
(Laughter)
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08:57
I'm running out of time,
so I'm actually going to stop.
so I'm actually going to stop.
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我的時間不夠了, 就此打住.
以後再給你看.
08:59
I can show this to you later.
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09:01
But let's see if I can very quickly
get into the book spiral,
get into the book spiral,
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但我們看看能否快速地進入圖書螺旋,
因為我認為, 如我提到, 最 --
09:05
because I think it's,
as I said, the most --
as I said, the most --
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這是主閱覽室 -- 建築中最獨特的部分.
09:07
this is the main reading room --
the most unique part of the building.
the most unique part of the building.
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有沒有頭暈?
09:11
You dizzy yet?
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這二
09:13
Ok, so here, this is the book spiral.
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1825
很難看清,
09:21
So, it's very indiscernible,
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但它實際上是一個連續的樓梯.
09:23
but it's actually
a continuous stair-stepping.
a continuous stair-stepping.
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09:26
It allows you to, on one city block,
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1992
它讓你, 在一個街區的距離,
09:28
go up one full floor,
so that it's on a continuum.
so that it's on a continuum.
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上一層樓, 所以這是一個連續上升的階梯.
好, 現在我要回來, 介紹第二個項目.
09:36
Ok, now I'm going to go back,
and I'm going to hit a second project.
and I'm going to hit a second project.
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09:39
I'm going to go very,
very quickly through this.
very quickly through this.
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我將很快的介紹這個.
這個是達拉斯劇院. 這是一個
09:42
Now this is the Dallas Theater.
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09:43
It was an unusual client for us,
because they came to us and they said,
because they came to us and they said,
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因為他們找上我們, 說,
我們需要你建一個新的建築. 我們已經在
09:47
"We need you to do a new building.
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09:48
We've been working
in a temporary space for 30 years,
in a temporary space for 30 years,
201
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一個臨時的地方工作了30年.
但由於是一個臨時的場所,
09:52
but because of that temporary space,
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我們變成了一個籍籍無名的劇院.
09:54
we've become an infamous theater company.
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劇院真正是集中在紐約, 芝加哥和西雅圖,
09:56
Theater is really focused in New York,
Chicago and Seattle,
Chicago and Seattle,
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一個例外就是達拉斯劇院."
09:59
with the exception
of the Dallas Theater Company."
of the Dallas Theater Company."
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他們在臨時場所工作, 實際上
10:03
And the very fact that they worked
in a provisional space
in a provisional space
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意味著, 他們可以為了貝克特炸毀一座牆;
10:05
meant that for Beckett,
they could blow out a wall;
they could blow out a wall;
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他們可以演"櫻桃園", 並且在地板上炸一個洞, 等等.
10:08
they could do "Cherry Orchard" and blow
a hole through the floor, and so forth.
a hole through the floor, and so forth.
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對我們來說建一座新樓是一件很嚇人的任務
10:12
So it was a very daunting task
for us to do a brand-new building
for us to do a brand-new building
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要保持完整無缺的建築,
10:15
that could be a pristine building,
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又要保持這種實驗性的特色.
10:17
but keep this kind of experimental nature.
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另外, 他們是我們所稱的
10:19
And the second is,
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10:20
they were what we call
a multi-form theater,
a multi-form theater,
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多形式劇院: 他們
10:23
they do different kinds
of performances in repertory.
of performances in repertory.
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有不同形式的表演.
早上會在
10:25
So they in the morning
will do something in arena,
will do something in arena,
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舞台上演,
10:28
then they'll do something
in proscenium and so forth.
in proscenium and so forth.
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然後又在台前, 諸如此類.
所以他們需要能夠很快的
10:31
And so they needed to be able
to quickly transform
to quickly transform
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在不同劇院結構之間變化,
10:33
between different theater organizations,
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1926
因為經營成本的原因,
10:35
and for operational budget reasons,
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這從不發生在
10:37
this actually no longer
happens in pretty much
happens in pretty much
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美國其他任何多形式劇院,
10:39
any multi-form theater
in the United States,
in the United States,
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10:41
so we needed to figure out
a way to overcome that.
a way to overcome that.
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所以我們要想一個辦法克服這個.
我們的想法是合理安排劇院
10:44
So our thought was to literally
put the theater on its head:
put the theater on its head:
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把原先定為前面和後面的東西拿出來
10:47
to take those things
that were previously defined
that were previously defined
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10:49
as front-of-house and back-of-house
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放成上下結構 - 樓上和樓下
10:51
and stack them above house
and below house,
and below house,
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2008
創造出一個我們稱為劇院機器的東西.
10:53
and to create what we called
a theater machine.
a theater machine.
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我們把錢花在了建築的運作上.
10:55
We invest the money
in the operation of the building.
in the operation of the building.
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就好像這個建築可以放在任何地方: 不管你放在哪, 下面的面積
10:57
It's almost as though the building
could be placed anywhere,
could be placed anywhere,
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11:00
wherever you place it,
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用作劇院表演.
11:01
the area under it is charged
for theatrical performances.
for theatrical performances.
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這使得我們能過回到最基本的原則,
11:04
And it allowed us to go back
to first principles,
to first principles,
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重新定義舞台牆,
11:07
and redefine fly tower, acoustic
enclosure, light enclosure and so forth.
enclosure, light enclosure and so forth.
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3582
聲光效果,等等.
11:10
And at the push of a button,
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按一個按鈕, 藝術總監就可以
11:12
it allows the artistic director
to move between proscenium, thrust,
to move between proscenium, thrust,
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在台前,
舞台, 台中, 地板之間
11:15
and in fact, arena
and traverse and flat floor,
and traverse and flat floor,
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11:19
in a very quick transfiguration.
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很快的移動.
實際上, 我們, 用了運作成本 --
11:22
So in fact, using
operational budget, we can --
operational budget, we can --
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3422
不對, 資本成本 -- 我們能獲得
11:25
sorry, capital cost --
we can actually achieve
we can actually achieve
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2192
11:27
what was no longer achievable
in operational cost.
in operational cost.
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運作成本不能獲得的效果.
這意味著現在藝術指導有
11:30
And that means that the artistic director
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1953
11:32
now has a palette that he or she
can choose from,
can choose from,
242
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一個調色板, 她或者他能夠
從一系列的形式和隊伍之間選擇,
11:35
between a series of forms
and a series of processions,
and a series of processions,
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3498
因為劇院中
11:38
because that enclosure around the theater
that is normally trapped
that is normally trapped
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通常的夾在台前和台後的空間
11:41
with front-of-house and back-of-house
spaces has been liberated.
spaces has been liberated.
245
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3042
被解放出來了.
11:44
So an artistic director has the ability
to have a performance
to have a performance
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所以藝術指導就能夠展示 --
先來一出瓦格納的遊行
11:48
that enters in a Wagnerian procession,
247
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推出第一幕,
11:50
shows the first act in thrust,
248
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2335
再過度到希臘式的場景,
11:52
the intermission in a Greek procession,
249
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11:55
second act in arena, and so forth.
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1818
第二幕到競技場, 諸如此類.
我要向你展示一下 -- 這個實際上是什麼意思.
11:58
So I'm going to show you
what this actually means.
what this actually means.
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這個是戲院的近觀.
12:00
This is the theater up close.
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這個戲院的任何一部份都能被分別打開.
12:02
Any portion around the theater
actually can be opened discretely.
actually can be opened discretely.
253
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3086
燈光道具和聲響道具能分別吊起來
12:07
The light enclosure can be lifted
separate to the acoustic enclosure,
separate to the acoustic enclosure,
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3898
所以你能演貝克特,
12:11
so you can do Beckett
with Dallas as the backdrop.
with Dallas as the backdrop.
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2484
而背景是達拉斯.
每一部分都能打開, 所以現在可以有摩托車
12:14
Portions can be opened,
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1165
12:16
so you can now actually have motorcycles
drive directly into the performance,
drive directly into the performance,
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直接開進表演中, 或者你甚至可以來一個露天表演,
12:19
or you can even just have
an open-air performance,
an open-air performance,
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或終場休息.
12:22
or for intermissions.
259
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1166
陽台都移到這些設置中間,
12:23
The balconies all move to go
between those configurations,
between those configurations,
260
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2733
但都被隱藏起來.
12:26
but they also disappear.
261
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1285
前台也可以隱藏起來,
12:28
The proscenium line can also disappear.
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2120
你能引進巨大的物件, 所以實際上他們的 --
12:30
You can bring enormous objects in,
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1841
12:32
so in fact, the Dallas Theater Company --
264
727994
1991
達拉斯劇院 -- 他們的第一場表演
將是關於查尔斯林白的一場秀,
12:34
their first show will be a play
about Charles Lindbergh,
about Charles Lindbergh,
265
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表演中會用到真正的飛機.
12:37
and they'll want to bring in
a real aircraft.
a real aircraft.
266
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2292
12:39
And then it also provides them,
in the off-season,
in the off-season,
267
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2611
同時,這種設計使得他們, 在淡季時,
能夠
12:42
the ability to actually rent out
their space for entirely different things.
their space for entirely different things.
268
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5206
把場地出租給不同的活動.
12:48
This is it from a distance.
269
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2655
這是在晚上看起來的樣子 -- 抱歉, 有點距離.
12:53
Open up entire portions
for different kinds of events.
for different kinds of events.
270
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2988
把所有部份都打開來適應不同的活動.
12:56
And at night.
271
751933
1151
在晚上.
把燈光道具移開; 聲響不動.
12:59
Again, remove the light enclosure;
keep the acoustic enclosure.
keep the acoustic enclosure.
272
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3878
這是一個大型卡車展.
13:04
This is a monster truck show.
273
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1878
接著我要介紹最後一個項目.
13:06
I'm going to show now the last project.
274
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1891
這也是一個不同尋常的顧客.
13:08
This also is an unusual client.
275
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1483
13:09
They inverted the whole idea
of development.
of development.
276
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2473
他們倒置了整個開發的思想.
他們找到我們,說 -- 不像普通開發者 --
13:12
They came to us and they said --
unlike normal developers --
unlike normal developers --
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2827
他們說, "我們想建一個
13:15
they said, "We want to start out
278
770348
1537
13:16
by providing a contemporary
art museum in Louisville.
art museum in Louisville.
279
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現代藝術展覽館
在路易斯威爾. 這是我們主要的目標."
13:19
That's our main goal."
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13:20
And so instead of being a developer
that sees an opportunity to make money,
that sees an opportunity to make money,
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不是為了有個賺錢的機會,
他們想要能夠促進
13:24
they saw an ability to be
a catalyst in their downtown.
a catalyst in their downtown.
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市中心的活動.
13:27
And the fact that they wanted to support
the contemporary art museum
the contemporary art museum
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實際上他們想要
這個現代藝術館建成他們的一種樣本
13:30
actually built their pro forma,
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所以他們反其道而行.
13:32
so they worked in reverse.
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這個樣板引導我們
13:34
And that pro forma led us
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13:35
to a mixed-use building
that was very large,
that was very large,
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到一個非常巨大的多功能建築
13:38
in order to support
their aspirations of the art,
their aspirations of the art,
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它的目標是支持他們對藝術的熱愛,
但同時也增加技術
13:41
but it also opened up opportunities
for the art itself
for the art itself
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與其他商業空間的合作與交互
13:43
to collaborate, interact
with commercial spaces
with commercial spaces
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從而吸引更多的藝術家來這裡工作.
13:45
that actually artists more
and more want to work within.
and more want to work within.
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這還要求我們考慮如何設計
13:49
And it also charged us
with thinking about how to have
with thinking about how to have
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一個建築, 即是一個單獨的建築
13:52
something that was both a single building
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同時也好像是一組建築中的一座.
13:54
and a credible sort of sub-building.
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13:56
So this is Louisville's skyline,
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接著我要 -- 這是路易斯维尔地平线 --
我要給你們一一介紹
13:59
and I'm going to take
you through the various constraints
you through the various constraints
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完成這個項目的種種限制因素.
14:02
that led to the project.
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首先, 物理上的限制. 我們必須
14:03
First: the physical constraints.
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在三個不同的地點操作,
14:04
We actually had to operate
on three discrete sites,
on three discrete sites,
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每個地點, 都比這個建築要小很多.
14:07
all of them well smaller
than the size of the building.
than the size of the building.
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我們必須在新的穆罕穆得阿里中心邊上施工
14:10
We had to operate next to the new
Muhammad Ali Center, and respect it.
Muhammad Ali Center, and respect it.
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並且不能影響它.
我們必須在這個百年洪泛區施工.
14:13
We had to operate
within the 100-year floodplain.
within the 100-year floodplain.
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現在, 這個地區每年發洪水三到四次,
14:16
Now, this area floods
three to four times a year,
three to four times a year,
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在我們的工地後面有一個泄洪堤
14:18
and there's a levee behind our site,
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和新奧爾良那個壞了的很類似.
14:20
similar to the ones
that broke in New Orleans.
that broke in New Orleans.
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我們必須在I-64走廊後施工,
14:23
Had to operate behind the I-64 corridor,
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14:27
a street that cuts through the middle
of these separate sites.
of these separate sites.
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這是一條從這些不同的地點中穿過的街道.
綜合所有這些因素, -- 我們就好像
14:30
So we're starting to build a sort of
nightmare of constraints in a bathtub.
nightmare of constraints in a bathtub.
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在浴盆中修建一個噩夢的組合體.
在浴缸下面,
14:35
Underneath the bathtub
are the city's main power lines.
are the city's main power lines.
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是城市的主要供電系統.
他們還想加一個行人過道
14:39
And there is a pedestrian corridor
that they wanted to add,
that they wanted to add,
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來把一系列的文化建築連繫起來,
14:42
that would link a series
of cultural buildings,
of cultural buildings,
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還有加一個觀光通道 -- 因為這是一個歷史性的城區 --
14:45
and a view corridor --
because this is the historic district --
because this is the historic district --
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他們也不像阻礙新的建築.
14:48
that they didn't want to obstruct
with a new building.
with a new building.
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(笑聲)
現在我們要加上1.1百萬平方英尺.
14:50
(Laughter)
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14:51
And now we're going to add
1.1 million square feet.
1.1 million square feet.
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如果照傳統做法, 那1.1 百萬平方英尺 --
14:54
And if we did the traditional thing,
that 1.1 million square feet --
that 1.1 million square feet --
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這些是不同的項目 -- 傳統做法就是確認
14:58
these are the different programs --
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14:59
the traditional thing would be to identify
the public elements, place them on sites,
the public elements, place them on sites,
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公共元素, 把他們融入施工.
現在我們處在一個很糟糕的處境:
15:03
and now we'd have a really
terrible situation:
terrible situation:
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一個公共的建築在一個漲水的盆地中間.
15:06
a public thing in the middle
of a bathtub that floods.
of a bathtub that floods.
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15:09
And then we would size
all the other elements --
all the other elements --
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接著我們來看看所有其他的因素 --
不同的商業因素:
15:12
the different commercial elements:
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賓館, 豪華住宅, 辦公場地, 等等 ---
15:14
hotel, luxury housing,
offices and so forth --
offices and so forth --
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全都要放進來. 我們將創造
15:16
and dump it on top.
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15:17
And we would create
something that was unviable.
something that was unviable.
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一個根本不可能行的通的東西.
15:20
In fact -- and you know this -- this
is called the Time Warner Building.
is called the Time Warner Building.
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實際上 -- 你知道的 -- 這就是被稱作時代華納大樓的東西.
(笑聲)
15:24
(Laughter)
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我們的方法很簡單.
15:25
So our strategy was very simple.
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15:27
Just lift the entire block,
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就是把整個街區升起來,
重組一些元素
15:30
flip some of the elements over,
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15:32
reposition them
so they have appropriate views
so they have appropriate views
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好讓它們有適當的風景,同時也和市中心有適當的聯繫,
15:35
and relationships to downtown,
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然後再連接道路.
15:37
and make circulation connections
and reroute the road.
and reroute the road.
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這就是基本概念.
15:40
So that's the basic concept,
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現在我來展示一下這個概念生成了什麼樣的作品.
15:42
and now I'm going to show you
what it leads to.
what it leads to.
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15:45
Ok, it seems a very formal,
willful gesture,
willful gesture,
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它看上去是非常正式, 任性而為,
但卻是完全符合所有的限制因素.
15:48
but something derived entirely
out of the constraints.
out of the constraints.
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在我們揭幕時, 大家有點緊張
15:50
And again, when we unveiled it,
there was a sort of nervousness
there was a sort of nervousness
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因為這是建築師發表一個聲明,
15:53
that this was about an architect
making a statement,
making a statement,
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而不是企圖解決
15:56
not an architect who was attempting
to solve a series of problems.
to solve a series of problems.
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一系列問題.
現在, 在那個中心區, 如我所說的,
15:59
Now, within that center zone, as I said,
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我們能把一系列東西混合起來.
16:02
we have the ability to mix
a series of things.
a series of things.
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所以這裡你能看到的是這些 --
16:04
So here, this is sort of an x-ray --
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有點像x射線 -- 這些高樓
16:07
the towers are totally developer-driven.
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942393
1935
完全是按開發商的意願建的. 他們告訴我們尺寸大小等等
16:09
They told us the dimensions,
the sizes and so forth,
the sizes and so forth,
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我們就將注意力集中在所有的公共部分 --
16:11
and we focused on taking
all the public components --
all the public components --
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大廳, 酒吧,
16:14
the lobbies, the bars --
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所有不同的商業元素共同具有的東西 --
16:15
everything that different commercial
elements would have,
elements would have,
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16:18
and combined it in the center,
in the sort of subway map,
in the sort of subway map,
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把它們結合在中央, 有點像地鐵地圖,
16:21
in the transfer zone that would also
include the contemporary art museum.
include the contemporary art museum.
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在過渡區包括進這個現代藝術展覽館.
這就形成了這個佈局,
16:25
So it creates a situation like this,
where you have artists who can operate
where you have artists who can operate
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可以讓藝術家們從他們的工作室
16:29
within an art space that also has
an amazing view on the 22nd floor,
an amazing view on the 22nd floor,
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看到22層樓的景觀,
同時展覽館館長也能方便地
16:33
but it also has proximity that the curator
can either open or close.
can either open or close.
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開放或關閉展覽館.
人們看得見騎自行車鍛鍊的人們,
16:37
It allows people
on exercise bicycles to be seen,
on exercise bicycles to be seen,
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而騎車的人也可以瀏覽藝術作品, 等等.
16:40
or to see the art, and so forth.
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這也意味著, 如果藝術家想要選擇游泳池,
16:41
It also means that if an artist wants
to invade something like a swimming pool,
to invade something like a swimming pool,
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他們能在游泳池開個畫展,
16:45
they can begin to do their exhibition
in a swimming pool,
in a swimming pool,
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而不需要總是局限於
16:48
so they're not forced to always
work within the confines
work within the confines
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展覽館的空間.
16:51
of a contemporary gallery space.
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那麼這個怎麼建呢.
16:52
So, how to build this.
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非常簡單: 這是一個椅子.
16:53
It's very simple: it's a chair.
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16:55
So, we begin by building the cores.
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先建核心部分.
在修建核心部分的同時, 我們在同一層面上修建現代展覽館.
16:59
As we're building the cores, we build
the contemporary art museum at grade.
the contemporary art museum at grade.
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這使得我們在施工和成本上都有難以置信的高效率.
17:02
That allows us to have
incredible efficiency and cost efficiency.
incredible efficiency and cost efficiency.
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這不是一個花費很高的建築.
17:05
This is not a high-budget building.
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在核心部分建成一半時,
17:07
The moment the cores get to mid level,
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我們完成了藝術館, 然後我們放入所有的機械設備
17:09
we finish the art museum; we put
all the mechanical equipment in it;
all the mechanical equipment in it;
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接著把它升起來.
17:12
and then we jack it up into the air.
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這種方法常用來生產大型的航天飛機庫,
17:14
This is how they build
really large aircraft hangars,
really large aircraft hangars,
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比如說, 他們為A380修的那些.
17:17
for instance, the ones
that they did for the A380.
that they did for the A380.
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完成了核心部分, 完成了重要的部分
17:19
Finish the cores, finish the meat
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你看到的就是這個.
17:21
and you get something
that looks like this.
that looks like this.
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我只有30秒時間, 所以我想開始
17:23
Now I only have about 30 seconds,
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一個動畫, 以此作為結論.
17:24
so I want to start an animation,
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17:26
and we'll conclude with that.
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17:28
Thank you.
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(鼓掌)
17:29
(Applause)
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17:33
Chris asked me to add --
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克里斯讓我額外說明 --
17:35
the theater is under construction,
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這個劇院正在建設之中,
17:37
and this project will start
construction in about a year,
construction in about a year,
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這個項目將在一年之後開始修建,
將在2010年預期完成.
17:40
and finish in 2010.
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17:41
[identify public elements]
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17:42
[insert public elements at grade]
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17:44
[optimize tower dimensions]
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17:47
[place towers on site]
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1333
17:48
[lift program]
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17:51
[flip!]
387
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17:53
[optimize program adjacencies]
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17:54
[connect to context]
389
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17:56
[redirect 7th street]
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ABOUT THE SPEAKER
Joshua Prince-Ramus - ArchitectJoshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006.
Why you should listen
With one of the decade's most celebrated buildings under his belt, Joshua Prince-Ramus would seem well-positioned to become the world's next "starchitect." Except that he doesn't want the job. With his quiet intensity and intellectual bearing, Prince-Ramus is the antithesis of the egomaniacal master architect. He flatly rejects not just the title, but the entire notion of a "starchitect" designing with a genius stroke of the pen.
Prince-Ramus is best known for his work on the Seattle Central Library. The striking, diamond-windowed structure reimagines, to spectacular effect, the library's role in a modern urban context. "Seattle's new Central Library is a blazing chandelier to swing your dreams upon," Herbert Muschamp wrote in The New York Times. "In more than 30 years of writing about architecture, this is the most exciting new building it has been my honor to review."
Having founded the US practice of the radical Dutch architecture firm OMA in 2000, Prince-Ramus served as its Principal until he renamed the firm REX in May 2006. He continues to take what he describes as a performance-based approach to architecture, pushing logic and rational ideas to their limits to create buildings that are unexpected, but wholly appropriate to their environment and intended use. REX recently completed the AT&T Performing Arts Center’s Dee and Charles Wyly Theatre in Dallas, Texas and the Vakko Fashion Center and Power Media Center in Istanbul, Turkey. Current work includes Museum Plaza, a 62-story mixed-use skyscraper housing a contemporary art center in Louisville, Kentucky;the new Central Library and Music Conservatory for the city of Kortrijk, Belgium;and a 2,643,000 ft2 luxury residential development in Songdo Landmark City, South Korea.
More profile about the speakerPrince-Ramus is best known for his work on the Seattle Central Library. The striking, diamond-windowed structure reimagines, to spectacular effect, the library's role in a modern urban context. "Seattle's new Central Library is a blazing chandelier to swing your dreams upon," Herbert Muschamp wrote in The New York Times. "In more than 30 years of writing about architecture, this is the most exciting new building it has been my honor to review."
Having founded the US practice of the radical Dutch architecture firm OMA in 2000, Prince-Ramus served as its Principal until he renamed the firm REX in May 2006. He continues to take what he describes as a performance-based approach to architecture, pushing logic and rational ideas to their limits to create buildings that are unexpected, but wholly appropriate to their environment and intended use. REX recently completed the AT&T Performing Arts Center’s Dee and Charles Wyly Theatre in Dallas, Texas and the Vakko Fashion Center and Power Media Center in Istanbul, Turkey. Current work includes Museum Plaza, a 62-story mixed-use skyscraper housing a contemporary art center in Louisville, Kentucky;the new Central Library and Music Conservatory for the city of Kortrijk, Belgium;and a 2,643,000 ft2 luxury residential development in Songdo Landmark City, South Korea.
Joshua Prince-Ramus | Speaker | TED.com