TEDxSMU
Joshua Prince-Ramus: Building a theater that remakes itself
約書亞•普林斯•拉莫斯：建造自我重組的劇場
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約書亞•普林斯•拉莫斯 相信如果建築師能改變他們的設計模式，結果可能會令人驚奇。在達拉斯的TEDxSMU會場，他帶我們進入了當地的懷利劇場精彩絕倫的再創造過程，一個按鈕就可以讓這個巨大的“劇場機器”進行自我重組。
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.
00:15
I'm going to speak to you today about architectural agency.
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今天我來和大家聊聊建築事務所。
00:19
What I mean by that is that it's time for architecture
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這裏的“建築”是指建築再現的過程，
00:21
to do things again, not just represent things.
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而不是簡簡單單的視覺表現。
00:25
This is a construction helmet that I received two years ago
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這是兩年前我在我和事務所參加的有史以來
00:29
at the groundbreaking of the largest project
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最具開拓性的項目中
00:31
I, and my firm, have ever been involved in.
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得到的一隻建築頭盔。
00:34
I was thrilled to get it. I was thrilled to be the only person
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當時得到它我興奮極了。能成為唯一一個頭戴銀光閃閃的頭盔
00:36
standing on the stage with a shiny silver helmet.
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站上舞臺的人，實在讓我激動不已。
00:39
I thought it represented the importance of the architect.
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我覺得它就代表了那座建築的重要性。
00:42
I stayed thrilled until I got home,
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直到回到家裏，我還激動得不行
00:44
threw the helmet onto my bed,
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我把頭盔扔到床上，
00:46
fell down onto my bed and realized inside
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在床上躺下，這才發現頭盔裏還刻了字。
00:49
there was an inscription.
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（警告：這個特製的鍍銀頭盔只能作裝飾用途，無實際保護功能）
00:52
(Laughter)
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（笑）
00:55
Now, I think that this is a great metaphor
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現在，我覺得這是一個深刻的隱喻
00:57
for the state of architecture and architects today.
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正傳達了當今建築師與建築的情況。
00:59
We are for decorative purposes only.
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我們都只是裝飾品而已。
01:02
(Laughter)
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（笑）
01:03
Now, who do we have to blame?
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那麼，這都怪誰呢？
01:05
We can only blame ourselves. Over the last 50 years
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只能怪我們自己。過去的這五十年來，
01:08
the design and construction industry has gotten much more complex
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設計和營造業變得如此複雜
01:11
and has gotten much more litigious.
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如此爭強好勝。
01:13
And we architects are cowards.
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而我們建築師卻成了膽小鬼。
01:15
So, as we have faced liability,
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當我們面對責任，
01:17
we have stepped back and back,
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就步步後退
01:20
and unfortunately, where there is liability, guess what there is:
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但不幸的是，哪里有責任，
01:22
power.
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哪里就有權力。
01:25
So, eventually we have found ourselves
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結果就是，我們最終發現自己
01:27
in a totally marginalized position, way over here.
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已經完全退到了最邊緣的地方。
01:30
Now, what did we do? We're cowards,
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現在，我們又該怎麼辦呢？我們確實是膽小鬼，
01:32
but we're smart cowards.
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但又是其中最聰明的。
01:35
And so we redefined this marginalized position as the place of architecture.
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所以我們得將這塊邊緣地帶重新設定成建築的存在空間。
01:38
And we announced, "Hey, architecture, it's over here,
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我們大聲招呼，「嗨，建築，看這兒！
01:41
in this autonomous language
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只有這種獨立宣言才能
01:43
we're going to seed control of processes."
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讓我們掌握整個過程。」
01:46
And we were going to do something that was horrible for the profession.
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然後我們要對這個職業進行駭人的改造
01:51
We actually created an artificial schism
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我們實際上人為地讓創造和執行
01:53
between creation and execution,
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分立為二，
01:57
as if you could actually create without knowing how to execute
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在創意的時候完全不用考慮執行的問題
01:59
and as if you could actually execute
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在執行的時候也不需要
02:01
without knowing how to create.
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知道該如何創新。
02:03
Now, something else happened.
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現在情況發生了變化。
02:05
And that's when we began to sell the world
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以前我們告訴世界
02:07
that architecture was created by individuals
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建築是由描繪出的天才的草圖的建築師
02:10
creating genius sketches.
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創造出來的。
02:12
And that the incredible amount of effort to deliver those sketches
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許多年來，為了實現這些草圖
02:16
for years and years and years is not only something
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所付出難以想像的努力
02:18
to be derided,
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不僅僅被嘲笑作白費力氣
02:20
but we would merely write it off as
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而且我們來說，這只是
02:22
merely execution.
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執行問題而已。
02:25
Now I'd argue that that is as absurd as stating
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但是這幾乎和把三十分鐘的交媾稱作創造，
02:28
that 30 minutes of copulation is the creative act,
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將十月懷胎過程
02:32
and nine months of gestation,
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以及二十四小時的生產過程
02:34
and, God forbid, 24 hours of child labor
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僅僅作為執行過程
02:39
is merely execution.
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一樣荒謬。
02:41
So, what do we architects need to do? We need to stitch back
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所以我們建築師到底要做些什麼？我們要將
02:43
creation and execution.
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創造和執行一步步地重新縫合。
02:46
And we need to start authoring processes again
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我們要掌控整個過程，
02:49
instead of authoring objects.
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而不是零碎的部件。
02:51
Now, if we do this, I believe we can go back 50 years
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如果我們能做到這些，我相信就能回到五十年前
02:54
and start reinjecting agency,
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將事務所和社會工程
02:56
social engineering, back into architecture.
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重新注入建築過程。
03:00
Now, there are all kinds of things that we architects need to learn how to do,
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現在，建築師們有太多東西需要學了
03:02
like managing contracts, learning how to write contracts,
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比如說管理契約，寫契約
03:06
understanding procurement processes,
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甚至要搞清採購流程
03:09
understanding the time value of money and cost estimation.
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知道時間就是金錢，還要懂得成本估算。
03:12
But I'm going to reduce this to the beginning of the process,
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但我要把這些“重任”都卸去，回到整個過程的原點，
03:15
into three very pedantic statements.
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三條不得不遵循的規則。
03:18
The first is: Take core positions with your client.
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首先，要在與客戶的接觸中占核心地位。
03:21
I know it's shocking, right, that architecture would actually say that.
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我知道，這聽來不是很妥當，但這正是“建築”需要的。
03:24
The second position is: Actually take positions.
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第二條，堅定立場，並且
03:27
Take joint positions with your client.
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要和客戶達成一致
03:29
This is the moment in which you as the architect
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這個時候作為建築師，
03:31
and your client can begin to inject
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就可以和客戶一同注入各自的
03:33
vision and agency.
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創想和作用。
03:35
But it has to be done together.
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這必須由你們共同參與完成。
03:37
And then only after this is done
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只有在這一步完成之後，
03:39
are you allowed to do this, begin to put forward
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你才能開始拿出你的
03:41
architectural manifestations
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建築設計
03:43
that manifest those positions.
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來展現你的立場。
03:45
And both owner and architect alike
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建築師和客戶雙方
03:48
are empowered to critique those manifestations
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都可以在你們達成的共識的基礎上
03:50
based on the positions that you've taken.
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對設計進行評價。
03:52
Now, I believe that one really amazing thing will happen if you do this.
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現在，我敢說你如果按我說的做，一定會達到意想不到的效果
03:57
I'd like to call it the lost art of productively losing control.
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我傾向於把它稱作一門幾近失傳的用鬆散管理來提高效率的藝術
04:01
You do not know what the end result is.
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你不知道結果會怎樣
04:04
But I promise you, with enough brain power
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但我保證，只要彙集足夠的智慧，
04:06
and enough passion and enough commitment,
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足夠的熱情和決心
04:09
you will arrive at conclusions
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就能得到超越傳統
04:11
that will transcend convention,
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的最終方案
04:13
and will simply be something
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那絕對是
04:16
that you could not have initially
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在專案開始時
04:18
or individually conceived of.
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每個人都無法想像的成功。
04:21
Alright, now I'm going to reduce all of this to a series
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好了，我現在就用一些簡單的圖畫
04:23
of simple dumb sketches.
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來說明以上的過程。
04:25
This is the modus operandi that we have today.
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這是我們現在慣用的伎倆。
04:28
We roll 120-foot Spartan,
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我們推出一個一百二十英尺高的斯巴達人
04:32
i.e. our vision, up to our clients' gates of Troy.
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現在，我們的目標就是打開顧客的特洛伊城門
04:37
And we don't understand why they won't let us in. Right?
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我們還不曉得為什麼他們不給我們開門，對吧？
04:42
Well, how about instead of doing that,
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那為什麼不這樣，
04:44
we roll up to the gates something they want.
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我們給他們送上他們想要的東西
04:47
Now this is a little bit of a dangerous metaphor,
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這就是有點危險性的偽裝了
04:50
because of course we all know that inside
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因為我們都知道特洛伊木馬裏面
04:52
of the Trojan Horse were a bunch of people with spears.
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有一干拿了長矛的戰士
04:54
So, we can change the metaphor. Let's call the Trojan Horse
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那麼，我們就改變原來容易識破的偽裝。
04:56
the vessel by which
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讓我們把特洛伊木馬稱做
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you get through the gate,
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讓你攻克大門的容器
05:00
get through the constraints of a project.
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攻克一個項目的種種限制。
05:03
At which point, you and your client
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這時候，你和你的客戶
05:05
have the ability to start considering what
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就可以開始考慮在這個容器中
05:07
you're going to put inside that vessel,
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要放些什麼
05:09
the agency, the vision.
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事務所的作用，還有你們的創想
05:11
And if you do that, you do that responsibly,
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如果你那麼做，盡職盡責地進行
05:14
I believe that instead of delivering Spartans,
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我相信你完全可以將斯巴達人換成創想
05:16
you can deliver maidens.
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傳遞給客戶。
05:18
And if I could summarize that all up into one single sketch it would be this.
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要把剛才說的都總結一下，變成一張圖，就會使這樣。
05:21
If we are so good at our craft
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如果我們都那麼心靈手巧
05:23
shouldn't we be able to conceive
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為什麼就不能讓我們的建築構思
05:26
of an architectural manifestation
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天衣無縫地
05:28
that slides seamlessly through
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契合上專案和客戶
05:30
the project's and the client's constraints?
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的種種要求呢？
05:32
Now, with that in mind, I'm going to show a project
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有了這些鋪墊，我準備向你們展示一個
05:34
that's very dear to many people in this room--
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對很多在做觀眾都很親切熟悉的項目
05:36
well, maybe not dear, but certainly close to many people in this room.
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可能不那麼親切，但至少它就在你們身邊。
05:39
And that's a project that is just about to open next week,
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這個項目下周就要正式對外開放了
05:42
the new home for the Dallas Theater Center,
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它是達拉斯表演藝術中心
05:45
the Dee and Charles Wyly Theatre.
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迪和查理斯•威利劇院
05:47
Now, I'm going to present it on the same terms:
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現在，我就要把它置於同樣的條件，
05:49
issue, position and architectural manifestation.
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核心問題，立場和建築表現中來。
05:52
Now, the first issue that we faced
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我們遇到的第一個問題
05:54
was that the Dallas Theater Center
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就是達拉斯表演藝術中心
05:57
had a notoriety that was beyond what you would expect
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雖然在紐約，芝加哥和西雅圖
06:00
of some place outside of the triumvirate
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組成的三角區域之外，
06:02
of New York, Chicago and Seattle.
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卻一直“惡名昭著”。
06:05
And this had to do with the ambitions of the leadership.
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這與政治野心和領導勢力有關。
06:07
But it also had to do with something rather unusual,
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但同時，另一個不同尋常的原因
06:10
and that was this horrible little building that they'd been performing in.
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就是這個以前的表演場所，一幢極其醜陋的小房子
06:14
Why was this horrible little building
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為什麼這棟不起眼的小房子
06:17
so important to their renown and their innovation?
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對他們的名聲和革新那麼重要？
06:20
Because they could do whatever they wanted to to this building.
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因為在這裏，他們可以放肆大膽地表演。
06:23
When you're on Broadway, you cannot tear the proscenium down.
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如果是在百老匯，你就不能把幕前舞臺整個拆了。
06:28
This building, when an artistic director
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但在這裏，如果哪個藝術指導
06:30
wanted to do a "Cherry Orchard" and wanted people
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想要做一場《櫻桃園》，並希望人們
06:32
and wanted people to come out of a well on the stage,
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能直接從舞臺上出現，
06:34
they brought a backhoe in, and they simply dug the hole.
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他們就能找來挖土機，在舞臺上挖個洞。
06:37
Well, that's exciting.
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聽起來很刺激吧
06:39
And you can start to get the best artistic directors,
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這樣你就可以請全國最好的藝術指導，
06:41
scenic designers and actors from around the country
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佈景設計，和演員
06:43
to come to perform here
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來這裏表演
06:45
because you can do things you can't do elsewhere.
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因為在這兒他們可以任意發揮，不受限制。
06:47
So, the first position we took was,
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我們的第一個立場就是
06:49
"Hey, we as architects had better not show up
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“哎，我們建築師可不是來
06:52
and do a pristine building
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做什麼仿古建築的。
06:54
that doesn't engender the same freedoms that this
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那不能保證現在的自由，
06:56
old dilapidated shed provided the company."
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只是能夠提供遮蔽的做舊的棚子而已。
06:59
The second issue is a nuance of the first.
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第二個重要議題和第一個稍有不同
07:02
And that's that the company and the building was multiform.
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就是表演人員和場地是多用途的
07:05
That meant that they were able to perform,
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就是說只要他們還有力氣
07:08
as long as they had labor
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就可以在幕前，樓板
07:10
they were able to go between proscenium, thrust, flat floor,
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舞臺，橫斷
07:13
arena, traverse, you name it.
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各個地方表演，隨你挑。
07:15
All they needed was labor.
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他們需要的就是人力。
07:17
Well, something happened. In fact something happened to all institutions
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嗯...事情在變化。事實上世界各地的各個機構
07:19
around the world.
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都在發生改變。
07:21
It started to become hard to raise operational costs,
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現在越來越難籌集運營資金，
07:24
operational budgets.
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運營預算。
07:26
So, they stopped having inexpensive labor.
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所以，他們連廉價勞動力也不要了。
07:28
And eventually they had to freeze their organization
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最終，他們乾脆把整個機構凍結成了
07:31
into something called a bastardized thruscenium.
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他們口中所謂的“劣質場地”。
07:34
So, the second position we took is that the freedoms that we provided,
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由此，我們的第二個立場就是我們要提供一種自由，
07:37
the ability to move between stage configurations,
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可以讓舞臺結構任意變化
07:40
had better be able to be done
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一定要做到這點
07:42
without relying on operational costs. Alright? Affordably.
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使得演出不用擔心運營成本。對不？控制在可承受範圍內。
07:46
The architectural manifestation
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建築展示
07:48
was frankly just dumb.
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是事實的呈現，無需語言。
07:50
It was to take all the things that are known as front of house and back of house
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其中需要的就是把我們知道的房子的前部和後部
07:53
and redefine them as above house and below house.
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換成上部和下部。
07:56
At first blush you think, "Hey it's crazy,
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說到這兒你肯定會想，“哎呀，真是瘋了
07:58
what could you possibly gain?"
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這能得出什麼玩意兒啊？”
08:00
We created what we like to call superfly.
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我們把我們的創造叫做“超級蒼蠅”
08:03
(Laughter)
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（笑）
08:04
Now, superfly, the concept is
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現在，這個概念是這樣
08:06
you take all the freedoms you normally associate with the flytower,
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你可以想像舞臺升降塔的各種自由
08:08
and you smear them across flytower and auditorium.
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然後讓這種種便利散佈到觀眾席中。
08:11
Suddenly the artistic director
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突然間藝術指導
08:13
can move between different stage
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可以在不同的舞臺和觀眾區
08:15
and audience configurations.
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自由移動
08:18
And because that flytower has the ability to pick up
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因為舞臺升降塔可以實現各種
08:20
all the pristine elements, suddenly the rest of the environment
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基本需要，忽然間剩下的其他部分
08:23
can be provisional. And you can drill, cut, nail, screw
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都成了臨時的。你可以鑽洞，切割，固定，擰轉，
08:26
paint and replace,
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油漆和替換，
08:28
with a minimum of cost.
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用最小的花費就能實現。
08:30
But there was a third advantage that we got by doing this move
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這麼做還有一個好處
08:32
that was unexpected.
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還是出乎我們意料的。
08:34
And that was that it freed up the perimeter of the auditorium
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這種做法以最獨特的方式
08:37
in a most unusual way.
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將觀眾區的周長釋放開了。
08:40
And that provided the artistic director suddenly
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這種釋放忽然間給了藝術指導
08:42
the ability to define suspension of disbelief.
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定義“解除懷疑”的力量。
08:45
So, the building affords artistic directors the freedom
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於是，這棟建築成全了藝術指導們，
08:47
to conceive of almost any kind of activity
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讓他們可以在這個懸浮的物體下方
08:50
underneath this floating object.
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設計各種可以想像的活動。
08:52
But also to challenge the notion of suspension of disbelief
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同時挑戰“接觸懷疑”的理念
08:55
such that in the last act of Macbeth,
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比如說在《馬克白》的最後一幕，
08:58
if he or she wants you to associate
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如果哪個藝術指導想讓你把這一幕的故事
09:00
the parable that you're seeing with Dallas, with your real life,
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與達拉斯，與你的真實生活聯繫起來，
09:04
he or she can do so.
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他（她）就能做到。
09:06
Now, in order to do this we and the clients
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為了實現這個目標，我們和我們的客戶
09:08
had to do something fairly remarkable.
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必須要做一件相當不同尋常的事兒。
09:10
In fact it really was the clients who had to do it.
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事實上是客戶需要做這事兒。
09:13
They had to make a decision, based on the positions we took
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他們要在我們採取的立場上做一個決斷，
09:16
to redefine the budget being from two thirds capital-A architecture
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把原來三分之一基礎建設，三分之二建築設計
09:19
and one-third infrastructure,
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的預算分工
09:21
to actually the inverse,
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完全顛倒
09:23
two-thirds infrastructure and one-third capital-A architecture.
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三分之二基礎建設和三分之一建築設計。
09:26
That's a lot for a client to commit to
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對於客戶來說，這是不小的決定
09:28
before you actually see the fruition of the concept.
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尤其是在你能看到概念轉換成“成果”之前。
09:31
But based on the positions,
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但在我們的那些立場的基礎上，
09:33
they took the educated leap of faith to do so.
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他們邁出了極有借鑒意義的一步。
09:36
And effectively we created what we like to call
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作為回應，我們也做出了我們的
09:38
a theater machine.
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“劇院機器”。
09:40
Now, that theater machine has ability
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現在，這台機器的各個結構
09:42
to move between a whole series of configurations
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都可以進行重新組合
09:45
at the push of a button and a few stagehands
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只要按一個鈕，加上少量的工作人員，
09:48
in a short amount of time.
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很短的時間內就可以完成。
09:50
But it also has the potential
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不僅如此，
09:52
to not only provide multiform but multi-processional sequences.
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它在提供各種形式的變換之餘還能改變觀眾的入場順序。
09:56
Meaning: The artistic director
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就是說，藝術指導
09:58
doesn't necessarily need to go through our lobby.
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不一定非要經過大廳。
10:01
One of the things that we learned when we visited various theaters
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在我們還在參觀各個劇院的時候，學到的一點
10:03
is they hate us architects,
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就是他們對建築師恨之入骨，
10:05
because they say the first thing they have to do,
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因為他們說在任何一場演出的前五分鐘，
10:07
the first five minutes of any show,
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他們要做的頭等重要的事
10:09
is they have to get our architecture
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就是把整個建築趕出
10:11
out of the mind of their patron.
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資助人的腦海。
10:13
Well now there are potentials of this building
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而現在，這棟房子可以
10:15
to allow the artistic director
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讓藝術指導
10:17
to actually move into the building
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在劇院裏自由活動
10:19
without using our architecture.
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而不受到建築本身的限制。
10:21
So, in fact, there is the building, there is what we call the draw.
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這就是我們的劇院，這裏是一個坡道，
10:24
You're going down into our lobby,
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從這裏進入大廳
10:26
go through the lobby with our own little dangly bits, whether you like them or not,
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穿過大廳，這裏有我們懸掛的小物件，不論你喜歡與否
10:30
up through the stair that leads you into the auditorium.
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然後上樓，進入觀眾區。
10:32
But there is also the potential
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但它還可以
10:34
to allow people to move directly from the outside,
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將人們直接從外面帶入內部。
10:36
in this case suggesting kind of Wagnerian entrance,
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就是說這是一種華格納式的入口
10:40
into the interior of the auditorium.
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可以直接進入觀眾區。
10:42
And here is the fruition of that in actuality.
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這就是我們的成果。
10:44
These are the two large pivoting doors
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這是兩扇大轉門
10:46
that allow people to move directly from the outside, in
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可以讓人們直接從外面進到
10:49
or from the inside, out,
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裏面，自由進出
10:51
performers or audience alike.
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表演者、觀眾都可以。
10:54
Now, imagine what that could be. I have to say honestly
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現在，想像一下那是多麼有趣。我必須誠實的說
10:56
this is not something yet the building can do because it takes too long.
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現在這棟建築還不能做到這步，因為整個過程太長了。
10:59
But imagine the freedoms
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但是想像一下那種自由
11:01
if you could take this further, that in fact you could consider
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如果你能更進一步，可以想像一下
11:04
a Wagnerian entry,
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華格納式的入口
11:06
a first act in thrust,
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第一幕在開始，
11:08
an intermission in Greek, a second act in arena,
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幕間休息在希臘，然後第二幕在競技場，
11:10
and you leave through our lobby with dangly bits.
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然後你離開的時候再次穿過大廳。
11:14
Now that, I would say, is architecture performing.
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我想說，這簡直就是建築的表演。
11:16
It is taking the hand of the architect
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它在用建築師的方式
11:18
to actually remove the hand of the architect
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將建築本身的局限打破，
11:20
in favor of the hand of the artistic director.
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來實現藝術指導的需要。
11:24
I'll go through the three basic configurations.
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下面我來帶你們看一下三種不同結構構造。
11:26
This is the flat floor configuration.
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這是一整塊的平面構造。
11:28
You notice that there is no proscenium,
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你可以看到沒有舞臺，
11:30
the balconies have been raised up, there are no seats,
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包廂被移到上方了，也沒有觀眾座位
11:33
the floor in the auditorium is flat.
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觀眾區的地面是平的。
11:35
The first configuration is easy to understand.
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第一個構造很容易看懂。
11:38
The balconies come down, you see that the orchestra
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現在包廂下來了，適合交響樂演奏
11:41
begins to have a rake that's frontal towards the end stage,
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觀眾區有了傾斜，正對著舞臺
11:44
and the seats come in.
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觀眾座椅也加進來了。
11:46
The third configuration is a little harder to understand.
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第三個結構有點難懂
11:48
Here you see that the balconies actually have to move out of the way
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你可以看到包廂幾乎被完全移走了
11:52
in order to bring a thrust into the space.
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空出來的地方成為舞臺的眼神
11:54
And some of the seats need to actually change their direction,
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有些座位的方向也需要改變
11:57
and change their rake, to allow that to happen.
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相應的，坡度也要發生變化。
12:00
I'll do it again so you can see it.
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我再放一遍，讓你們看得清楚點
12:02
There you see it's the side balconies for the proscenium.
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你可以看到邊上的包廂給舞臺讓出了位置
12:06
And there it is in the thrust configuration.
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舞臺的突出部分形成了。
12:08
In order to do that,
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要想做到這種效果
12:10
again, we needed a client who was willing to take educational risks.
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我們同樣需要敢於冒險的客戶
12:13
And they told us one important thing:
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他們告訴我們非常重要的一點：
12:15
"You shall not beta-test."
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“你們可別成為試驗品。”
12:17
Meaning, nothing that we do
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也就是說，我們最好
12:19
can we be the first ones to do it.
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不要成為第一個吃螃蟹的人。
12:21
But they were willing for us to apply technologies
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但是他們很願意我們將其他領域的技術
12:23
from other areas that already had failsafe mechanisms to this building.
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已經經過安全試驗的裝置運用到這個專案中去。
12:27
And the solution in terms of the balconies
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解決移動包廂的問題，
12:30
was to use something that we all know as a scoreboard lift.
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我們用了一種“記分板升降機”
12:33
Now, if you were to take a scoreboard
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現在，如果你把一塊記分板
12:36
and drop it on dirt and whiskey,
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丟在土堆上，
12:38
that would be bad.
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結果會慘不忍睹。
12:40
If you were not able to take the scoreboard out of the arena
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如果你沒能把記分板拿出體育場，
12:43
and be able to do the Ice Capades the next night,
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第二天又有“白雪溜冰團”的表演，
12:45
that would also be bad.
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結果也會很糟糕。
12:47
And so this technology already had all the failsafe mechanisms
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而這項技術已經經過了安全保險驗證，
12:51
and allowed the theater and our client
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可以保證劇院和我們的客戶
12:53
to actually do this with confidence
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在移動包廂的時候信心十足
12:56
that they would be able to change over their configurations at will.
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根據自己的意願改變表演區的結構。
13:00
The second technology that we applied
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我們用到的第二項技術
13:02
was actually using things that you know from
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其實是從大家都知道的
13:05
the stage side of an opera house.
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劇院的舞臺兩側的側舞臺。
13:07
In this case what we're doing is we're taking
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我們將交響樂舞臺
13:09
the orchestra floor, lifting it up, spinning it,
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抬起來，旋轉
13:13
changing the rake, taking it back to flat floor,
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改變坡度，放在平地上，
13:16
changing the rake again. In essence, you can begin to define
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再一次改變坡度。簡單地說，就是
13:19
rakes and viewing angles
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你可以任意調整觀眾席的
13:21
of people in the orchestra seating, at will.
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坡度和視角。
13:24
Here you see the chairs being spun around to go from proscenium or end stage
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這是座椅的方向從面對舞臺變成
13:28
to thrust configuration.
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側對舞臺，第二種凸出舞臺的構造。
13:31
The proscenium, also. As far as we know this is the first building in the world
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據我們所知，這是世界上第一個可以
13:35
in which the proscenium can entirely fly out of the space.
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自由變換的舞臺。
13:38
Here you see the various acoustic baffles as well as
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這裏既有各種音樂會需要的降噪板，也有 懸空的構造
13:40
the flying mechanisms and catwalks over the auditorium.
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懸空的構造和延伸至觀眾席的T台。
13:45
And ultimately, up in the flytower,
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還有最重要的，舞臺塔上的
13:47
the scene sets that allow the transformations to occur.
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佈景可以任意變化。
13:51
As I said, all that was in service of creating a flexible
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正如我所說，這一切都是為了創造一個靈活多變
13:55
yet affordable configuration.
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造價又可控的結構。
13:58
But we got this other benefit, and that was
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我們還有另一個收穫，
14:00
the ability of the perimeter to suddenly engage
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即在釋放了演出廳的空間後它可以將
14:02
Dallas on the outside.
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外面的達拉斯城參與進來。
14:04
Here you see the building in its current state
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你現在看到的是建築當前的狀態，
14:06
with blinds closed. This is a trompe l'oeil.
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窗簾都拉上了。這是一張模擬圖
14:09
Actually this is not a curtain. These are vinyl blinds
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其實這並不是窗簾，而是與玻璃窗合一的
14:12
that are integrated into the windows themselves,
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塑膠百葉窗
14:14
again with failsafe mechanisms
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這也是絕對安全的技術。
14:17
that can be lifted such that you can completely demystify,
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如果你想看得清楚點，可以把它收起來
14:20
if you chose, the operations of the theater
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劇場內部進行的一切，
14:22
going on behind, rehearsals and so forth.
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排練之類的都可以看到。
14:24
But you also have the ability
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同時還能讓裏面的觀眾
14:27
to allow the audience to see Dallas,
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看到達拉斯的城市，
14:30
to perform with Dallas as the backdrop of your performance.
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將達拉斯當做表演的舞臺。
14:33
Now, if I'll take you through --
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現在，我想讓你們看一看
14:35
this is an early concept sketch --
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很早的一張概念性的草圖
14:37
take you through kind of a mixture of all these things together.
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是這些元素的混合
14:40
Effectively you would have something like this.
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是這樣子的
14:42
You would be allowed to bring objects or performers into the performing chamber:
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你可以把各種東西帶入演出廳。
14:46
"Aida," their elephants, you can bring the elephants in.
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《阿依達》中的大象你真的可以把它帶進去。
14:48
You would be able to expose the auditorium to Dallas
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你可以將觀眾區展現給達拉斯，
14:53
or vice versa, Dallas to the auditorium.
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反之亦然。
14:56
You'd be able to open portions in order to
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你還可以打開各個部分
14:58
change the procession,
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來改變觀眾入場的方向、順序
15:00
allow people to come in and out for an intermission,
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觀眾可以在休息時自由進出劇院
15:02
or to enter for the beginning or the end of a performance.
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或者是從頭到尾都待在劇院裏
15:05
As I said, all the balconies can move,
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我剛說過，所有包廂都是可以移動的
15:07
but they can also be disappeared completely.
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甚至可以讓它們徹底消失。
15:09
The proscenium can fly.
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舞臺可以懸空
15:11
You can bring large objects into the chamber itself.
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可以讓各種大件物品自己進入展廳
15:14
But most convincingly when we had to confront the idea
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但是最讓人稱道的就是我們成功挑戰了將建築設計的花費
15:17
of changing costs from architecture to infrastructure,
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轉移到基礎建設上
15:20
is something that is represented by this.
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這就是這所建築的代表性。
15:22
And again, this is not all the flexibilities of the building that is actually built,
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這裏所說到的還並不能涵蓋這座建築的所有靈活功能
15:25
but at least suggests the ideas.
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但至少能展現我們的基本意圖。
15:28
This building has the ability, in short order,
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這棟建築可以迅速地
15:30
to go back to a flat floor organization
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變成完全平面的空樓層
15:32
such that they can rent it out.
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需要的話可以租出去。
15:34
Now, if there is anyone here from American Airlines,
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如果在座有在美國航空工作的，
15:36
please consider doing your Christmas party here.
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可以考慮一下在這裏舉行你們的聖誕派對。
15:39
(Laughter)
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（笑）
15:40
That allows the company to raise operational budgets
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那可以給公司籌集運營預算
15:43
without having to compete with other venues
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完全不需要
15:45
with much larger auditoriums.
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再和其他場地比較了
15:47
That's an enormous benefit.
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在這兒辦活動的好處太多了。
15:49
So, the theater company has the ability
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在這裏，劇團可以進行
15:51
to do totally hermetic,
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完全封閉的演出，
15:53
light-controlled, sound-controlled, great acoustics,
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有可控的燈光、音效、一流的音響效果
15:55
great intimacy Shakespeare,
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可以演出一流的莎士比亞戲劇。
15:58
but can also do Beckett
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這裏還可以演貝克特，
16:00
with the skyline of Dallas sitting behind it.
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背景就用達拉斯的天際。
16:03
Here it is in a flat floor configuration.
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這是第一種平面結構。
16:05
The theater has been going through its kind of paces.
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劇院可以大展身手。
16:07
Here it is in an end stage configuration.
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這是第二種結構，
16:10
It's actually beautiful. There was a rock band.
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看上去非常漂亮，可以進行搖滾樂演出。
16:12
We stood outside trying to see if the acoustics worked,
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我們在外面測試了它的音響系統
16:14
and you could see the guys doing this but you couldn't hear them.
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你可以看到裏面的人的活動，但完全聽不到他們。
16:16
It was very unusual.
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這非常不同尋常。
16:18
Here it is in a thrust configuration.
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這是第三種延伸出來的結構。
16:20
And last but not least,
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它很重要
16:22
you see this already has the ability to create events
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不僅可以在這裏進行
16:24
in order to generate operational budgets
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籌集資金的活動
16:26
to overcome the building in fact performing
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這棟建築還可以幫助
16:29
to allow the company to overcome their biggest problem.
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公司解決它們最大的困難。
16:31
I'm going to show you a brief time lapse.
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我還要給你們展示一下整個建造的快進過程。
16:35
As I said, this can be done with only two people,
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我說過，兩個人就能完成
16:37
and with a minimum amount of time.
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用最少的時間完成。
16:39
This is the first time that actually the changeover was done
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這是第一個變化完成的時候
16:41
and so there is literally thousands of people because
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那裏大概聚了幾千人
16:43
everyone was excited and wanted to be a part of it.
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大家都非常興奮，想要參與到其中去。
16:45
So, in a way try to disregard all the thousands of ants running around.
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所以為了把那密密麻麻的幾千隻螞蟻去掉
16:49
And think of it being done with just a few people.
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影片進行了處理，只留下幾個人。
17:22
Again, just a couple people are required.
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是，幾個人就夠了
17:25
(Laughter)
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（笑）
17:26
I promise.
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我保證。
17:39
Et voila.
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就是這樣。
17:41
(Applause)
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（鼓掌）
17:48
So, just in conclusion, a few shots.
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所以，總的來說，不用費多大事兒。
17:50
This is the AT&T Performing Arts Center's
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這是AT&T(美國電信電話公司)表演藝術中心的
17:53
Dee and Charles Wyly Theater.
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迪和查理斯•懷利劇院
17:55
There it is at night.
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今天晚上就到這兒了
17:57
And last but not least the entire AT&T Performing Arts Center.
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最後，但同樣重要的是在整個AT&T表演藝術中心
18:01
You can see the Winspear Opera House on the right
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你可以看到右邊是溫斯皮爾歌劇院，
18:03
and the Dee and Charles Wyly Theater on the left.
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左邊是迪和查理斯•威利劇院
18:06
And to remind you that here is an example in which
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要提示你們的是這幢建築
18:09
architecture actually did something.
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確實有它存在的意義。
18:11
But we got to that conclusion
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但我們是在不知道
18:13
without understanding where we were going,
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到底在往哪里發展的情況下得到了這個結果。
18:15
what we knew were a series of issues that the company
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我們只知道一系列公司和客戶想要
18:18
and the client was confronted with.
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解決的問題。
18:20
And we took positions with them, and it was through those positions
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我們在各個問題中找到自己的立場，然後通過它們
18:22
that we began to take architectural manifestations
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漸漸看到了建築的形狀
18:25
and we arrived at a conclusion that none of us,
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我們得到的最終結論就是
18:27
really none of us could ever
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我們中間沒有任何一個人
18:29
have conceived of initially or individually.
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可以單獨或者在眾人之前完成這個構想。
18:32
Thank you.
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謝謝。
18:34
(Applause)
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（掌聲）
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