Walter Hood: How urban spaces can preserve history and build community
والتر هود: كيف يمكن للأماكن الحضرية الحفاظ على التاريخ وبناء المجتمع
Walter Hood imagines urban spaces as a new kind of public sculpture -- full of beauty, strangeness and idiosyncrasy. Full bio
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this notion "e pluribus unum" --
and cultures of people,
this idea of "e pluribus unum"
فكرة "إي بلوريبس يونوم"
those memories of diverse perspectives,
تلك الذكريات من وجهات نظر مختلفة،
trying to narrow things down
لتضييق الأمور
five simple concepts
with you five projects
how the memory around us,
كيف للذاكرة من حولنا،
at one another in a different way.
بطريقة مختلفة.
an American motto anymore.
when we exist in each other's world --
عندما نتواجد في عالم بعضنا ...
seen a community garden.
and food. Right?
more than a decade ago.
منذ أكثر من عقد من الزمن.
all of their community gardens,
the New York Restoration Project.
وهو مشروع ترميم نيويورك.
and make these beautiful gardens,
وصُنع هذه الحدائق الجميلة،
just be about food.
Restoration Project Office,
on the door downstairs.
على باب الطابق السفلي.
and before you knew it,
formed this collaboration,
in Jamaica, Queens.
grew up in Jamaica.
bringing these worlds together --
في جلب هذه العوالم معًا ...
secret gardens in New York.
حدائق سرية في نيويورك العام الماضي.
about six months ago
منذ حوالي ستة أشهر
found solace in going to the garden.
في الذهاب إلى الحديقة.
It had more to do with 50, I'm sure,
إنه يتعلق أكثر ب 50، أنا متأكد من ذلك،
to think about gardens
in a different way.
it would be to explain,
my father looked at me,
نظر إليّ والدي،
to be both black and white
parts of the 20th century,
من القرن العشرين،
of other people,
عدسة الأشخاص الآخرين،
this double consciousness.
than a hundred years later,
أكثر من مئة سنة،
strong and resilient,
the world through the eyes of others --
من خلال عيون الآخرين ...
to the rest of those
تلك القوة لبقية هؤلاء
can find itself in the world around us.
نفسها في العالم من حولنا.
we're beginning to share these stories.
by Thomas Jefferson,
to notice now was built by African hands.
قد تم بناؤه بواسطة أيدي أفريقية.
was expanding to the south,
that was the house of Kitty Foster,
a commemorative piece.
both black and white ...
أن كلاهما أسود وأببيض ...
based on shadows and light.
على الظلال والضوء.
to develop a shadow-catcher
in a different way.
to be unresolved.
allows us to have a conversation.
in this conference,
when I was a young pup,
in downtown Oakland, California
في وسط مدينة أوكلاند، كاليفورنيا
can be in the same space
بإمكانهم أن يكونوا في نفس مكان
"That's never going to work.
with the homeless people."
barbecue pits, smokers,
we went to the then-mayor
وذهبنا إلى مسؤول المحافظة
going to cost you 1.1 million dollars."
سوى 1.1 مليون دولار."
and we raised the money.
built the bathroom.
homeless problem in the Bay Area.
for the people under freeways and tents,
تحت الطرق السريعة والخيام،
is Lafayette Square Park today.
لافاييت سكوير اليوم.
Golden Gate Park after the earthquake.
حديقة "غولدن غيت" بعد الزلزال.
and we don't see them.
and they'll be visible.
people out there with empathy,
that park became the vehicle for him.
أصبحت تلك الحديقة بمثابة المركبة لهم.
beautiful architecture, beautiful parks --
هندسة معمارية جميلة، حدائق جميلة ...
and then new people come in
places for community gatherings, etc.
وأماكن للتجمعات المجتمعية إلى آخره.
taught many black actors.
العديد من الممثلين السود.
1980s federal practices,
الفيدرالية في الثمانينيات،
fell into disrepair.
في حالة سيئة.
we were able to raise money
تمكنا من جمع الأموال
a community meeting.
people got up and said,
Why are we locked in?
لماذا مُقفل علينا؟
putting in chicken coops, hay bales,
حظائر الدجاج وحِزَم القش،
that traditional thing behind them.
ذلك الشيء التقليدي وراءهم.
the community back.
to get five million dollars.
تمكنا من الحصول على خمسة ملايين.
to these brown and black people,
للأشخاص السمر والسود،
a project that we're currently working on,
نعمل عليه حاليًا،
to remember in a really different way.
على التذكر بطريقة مختلفة.
in the landscape around us,
what's below the ground.
Gadsden’s Wharf.
of the African diaspora landed here.
اليهود المشتتين يعيشون هنا.
African American Museum.
beneath the ground,
the ground will erupt,
this tension that sits below.
is made of tabby shales
من الصخور الإسمنتية المنجرفة
on the other side,
the remains of the warehouse,
with the sickle-cell trait,
for long, long days.
على مدار الساعة طوال أيام الأسبوع،
those other beautiful things
الأخرى الجميلة
brought with them:
that live in trees and rocks and water,
في الأشجار والصخور والمياه،
for medicinal purposes.
in Charleston, South Carolina,
في تشارلستون، جنوب كارولينا،
of blackness at all.
that helped abolitionists see
ساعدت على إلغاء العبودية، انظروا
condition of the crossing,
in a museum in Charleston.
التي تقع في متحف في تشارلستون.
up on top of the surface,
full length, six feet,
to walk across that divide.
with that memory of place,
مع ذكرى المكان،
نيرة وواضحة للغاية،
again to reconcile the scale.
مرةً أخرى على إصلاح المقياس.
through this landscape every day,
ABOUT THE SPEAKER
Walter Hood - Creative directorWalter Hood imagines urban spaces as a new kind of public sculpture -- full of beauty, strangeness and idiosyncrasy.
Why you should listen
Walter Hood is the creative director and founder of Hood Design Studio in Oakland, California. He is also a professor at the University of California, Berkeley and lectures on professional and theoretical projects nationally and internationally. Hood Design Studio is a tripartite practice, working across art and fabrication, design and landscape, and research and urbanism. The resulting urban spaces and their objects act as public sculpture, creating new apertures through which to see the surrounding emergent beauty, strangeness and idiosyncrasies.
The Studio’s award-winning work has been featured in publications including Dwell, The Wall Street Journal, the New York Times, Fast Company, Architectural Digest, Places Journal and Landscape Architecture Magazine. Hood is a recipient of the 2017 Academy of Arts and Letters Architecture Award.
Walter Hood | Speaker | TED.com