TED2006
Joshua Prince-Ramus: Behind the design of Seattle's library
Joshua Prince-Ramus habla sobre la biblioteca de Seattle
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El arquitecto Joshua Prince-Ramus lleva a la audiencia a dar un paseo virtual deslumbrante y vertiginoso por tres proyectos recientes: la Biblioteca Central de Seattle, el Museo Plaza de Louisville y el Teatro Charles Wyly de Dallas.
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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Voy a presentar tres proyectos muy rápidamente.
No tengo mucho tiempo para hacerlo
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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y quiero reforzar tres ideas con esa presentación acelerada.
La primera es lo que me gusta llamar un proceso hiperracional.
00:34
The first is what I like to call
a hyper-rational process.
a hyper-rational process.
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Es un proceso que
00:37
It's a process that takes rationality
almost to an absurd level,
almost to an absurd level,
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lleva la racionalidad a un nivel casi absurdo
y trasciende la carga adicional
00:41
and it transcends all the baggage
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que normalmente viene con
00:43
that normally comes
with what people would call,
with what people would call,
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lo que la gente llamaría una conclusión racional de algo.
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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Y termina en algo que, vemos aquí,
algo que uno realmente no esperaría sea
00:50
that you actually wouldn't expect
as being the result of rationality.
as being the result of rationality.
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el resultado de la racionalidad.
La segunda idea -- [poco claro] eh --
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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la segunda es que el proceso
no lleva firma.
01:02
There is no authorship.
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No hay autoría. Los arquitectos se obsesionan con la autoría.
01:04
Architects are obsessed with authorship.
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Esto es algo que tiene revisiones y un equipo.
01:06
This is something that has
editing and it has teams,
editing and it has teams,
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De hecho, ya no vemos dentro de este proceso
01:08
but in fact, we no longer
see within this process,
see within this process,
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al maestro de arquitectos tradicional que crea
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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un boceto para que luego sus lacayos lo lleven a cabo.
Y la tercera es que pone en tela de juicio – es
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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muy difícil sostener el por qué
01:21
connect all these things --
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todas estas cosas se conectan--
pero cuestiona la noción modernista de flexibilidad.
01:23
but it challenges the high modernist
notion of flexibility.
notion of flexibility.
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Los modernistas dicen: crearemos
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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espacios singulares que sean genéricos.
Dentro de ellos casi todo puede suceder.
01:30
almost anything can happen within them.
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A esto lo llamo flexibilidad tipo escopeta.
01:31
I call it sort of "shotgun flexibility" --
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Giren la cabeza así, disparen, y seguro que aciertan.
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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Así, esta es la promesa del alto modernismo:
01:37
So, this is the promise of high modernism:
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dentro de un espacio simple puede suceder cualquier clase de actividad.
01:39
within a single space, actually,
any kind of activity can happen.
any kind of activity can happen.
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Pero como vemos
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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los costos operativos están empezando a disminuir los costos de instalación
01:47
in terms of design parameters.
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en términos de los parámetros de diseño.
Y entonces, con este tipo de ideas,
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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sucede que, sin importar lo que esté en el edificio el día de la inauguración,
o lo que parezca ser la necesidad más inmediata,
01:54
or whatever seems to be
the most immediate need,
the most immediate need,
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comienza a disminuir la posibilidad y como que se deja de lado,
01:57
starts to dwarf the possibility
and sort of subsume it,
and sort of subsume it,
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la posibilidad de que pueda suceder alguna otra cosa.
02:00
of anything else could ever happen.
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Por eso estamos proponiendo una clase diferente de flexibilidad,
02:02
And so we're proposing
a different kind of flexibility,
a different kind of flexibility,
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algo que llamamos
02:05
something that we call
"compartmentalized flexibility."
"compartmentalized flexibility."
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"flexibilidad compartimentada".
Y la idea es que uno, dentro de ese continuo,
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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identifique una serie de puntos y diseñe específicamente para ellos.
Estos puntos pueden alejarse un poco del centro
02:14
They can be pushed
off-center a little bit,
off-center a little bit,
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pero al final uno todavía conserva mucho
02:16
but in the end you actually
still get as much
still get as much
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de ese espectro que originalmente había esperado.
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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En verdad, esto no funciona con la alta flexibilidad modernista.
Ahora voy a hablar de – voy a construir la Biblioteca Central de Seattle
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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de esta manera frente a ustedes en cinco o seis diagramas
02:29
in this way before your eyes
in about five or six diagrams,
in about five or six diagrams,
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y quiero decirles que éste es el proceso que van a ver.
02:31
and I truly mean this is the design
process that you'll see.
process that you'll see.
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Tanto con el personal de la biblioteca como con su junta directiva,
02:34
With the library staff
and the library board,
and the library board,
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acordamos dos puntos clave.
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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Este es el primero: muestra la evolución del libro y
otras tecnologías durante los últimos 900 años.
02:42
the evolution of the book,
and other technologies.
and other technologies.
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Este diagrama fue nuestro posicionamiento respecto del libro;
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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nuestra postura fue que los libros son tecnología
esto es algo que la gente olvida --
02:51
that's something people forget --
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pero es una forma de tecnología que tendrá que compartir su predominancia
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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con otros medios o tecnologías muy dominantes.
02:56
with any other form of truly potent
technology or media.
technology or media.
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La segunda premisa -- y nos costó mucho
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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convencer a los bibliotecarios de esto al principio
03:03
to convince the librarians of at first --
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es que las bibliotecas, desde el comienzo
03:05
is that libraries, since the inception
of Carnegie Library tradition in America,
of Carnegie Library tradition in America,
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de la tradición de la Biblioteca Carnegie en EE.UU.
tuvieron una segunda responsabilidad, un rol social.
03:09
had a second responsibility,
and that was for social roles.
and that was for social roles.
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Bien, voy a volver sobre esto después, pero algo
03:12
Ok, now, this I'll come back
to later, but something --
to later, but something --
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que decían los bibliotecarios al principio: "No, esa no es nuestra misión".
03:14
actually, the librarians at first said,
"No, this isn't our mandate.
"No, this isn't our mandate.
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“Nuestra misión son los medios y, en particular, los libros".
03:18
Our mandate is media,
and particularly the book."
and particularly the book."
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De modo que lo que están viendo ahora es, en realidad, el diseño del edificio.
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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El diagrama de la parte superior
03:25
The upper diagram is what we had seen
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es lo que hemos visto en una multitud de bibliotecas contemporáneas
03:27
in a whole host of contemporary libraries
that used high modernist flexibility.
that used high modernist flexibility.
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que utilizan alta flexibilidad modernista.
Una suerte de: cualquier actividad puede ocurrir en cualquier lugar.
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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Desconocemos el futuro de la biblioteca, desconocemos el futuro del libro,
por eso usamos este enfoque.
03:39
and so, we'll use this approach.
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Y lo que vimos fue una serie de edificios muy genéricos.
03:40
And what we saw were buildings
that were very generic, and worse --
that were very generic, and worse --
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Y, aún peor, no sólo vimos edificios muy genéricos
03:44
not only were they very generic --
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así, el salón de lectura no sólo se parece a la sala de fotocopiado
03:45
so, not only does the reading room
look like the copy room
look like the copy room
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y ésta a la hemeroteca --
03:48
look like the magazine area --
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sino que esto significaba que cualquier tema que
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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aquejaba a la biblioteca en ese momento era
03:53
was starting to engulf every other
activity that was happening in it.
activity that was happening in it.
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sumido en otra actividad que estuviese ocurriendo.
Y en este caso, eran obviadas
03:57
And in this case,
what was getting engulfed
what was getting engulfed
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estas responsabilidades sociales como consecuencia de la expansión del libro.
03:59
were these social responsibilities
by the expansion of the book.
by the expansion of the book.
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Y entonces propusimos lo que aparece en el diagrama de la parte inferior.
04:02
And so we proposed
what's at the lower diagram.
what's at the lower diagram.
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Un enfoque muy tonto:
04:04
Very dumb approach:
simply compartmentalize.
simply compartmentalize.
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simplemente compartimentar. Colocar aquellas cosas cuya evolución podíamos predecir --
04:07
Put those things whose evolution
we could predict --
we could predict --
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y con esto no quiero decir que podríamos predecir el futuro
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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pero sí que tenemos alguna certeza del espectro
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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de cosas que podrían suceder en el futuro
colocarlas en cajas diseñadas específicamente para eso
04:17
put those in boxes designed
specifically for it,
specifically for it,
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y poner las cosas que no podemos predecir en el techo.
04:20
and put the things that we can't
predict on the rooftops.
predict on the rooftops.
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Así que este fue el meollo de la cuestión.
04:22
So that was the core idea.
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Ahora, teníamos que convencer a la biblioteca de que el rol social
04:24
Now, we had to convince the library
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era algo tan importante como los medios
04:25
that social roles were
equally important to media,
equally important to media,
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para lograr que ellos acepten esto.
04:29
in order to get them to accept this.
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Lo que vemos aquí es en realidad su programa, a la izquierda.
04:31
What you're seeing here is actually
their program on the left.
their program on the left.
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Esto es lo que nos dieron en toda su claridad y esplendor.
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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Lo primero que hicimos fue darles nuestra opinión luego de digerirlo,
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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mostrárselo y decirles:
"¿Saben qué? No lo hemos tocado
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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pero sólo un tercio del programa está dedicado a los medios y a los libros.
Dos tercios ya está dedicado -- esa es la banda blanca de abajo --
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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a lo que dijeron que no es importante:
ya está dedicado a funciones sociales".
04:53
is already dedicated to social functions."
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Así, una vez que se lo presentamos nuevamente,
04:55
So once we had presented
that back to them,
that back to them,
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estuvieron de acuerdo en que esta especie de concepto “core” podría funcionar.
04:57
they agreed that this sort
of core concept could work.
of core concept could work.
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Teníamos el derecho de volver a los primeros principios
05:00
We got the right to go back
to first principles --
to first principles --
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ese es el tercer diagrama. Recombinamos todo.
05:02
that's the third diagram.
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05:03
We recombined everything.
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Y entonces comenzamos a tomar nuevas decisiones.
05:04
And then we started making new decisions.
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Lo que vemos a la derecha es el diseño de la biblioteca,
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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específicamente, en términos de metraje.
05:09
specifically in terms of square footage.
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A la izquierda de ese diagrama, aquí,
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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verán
una serie de cinco plataformas --
05:16
sort of combs, collective programs.
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especie de peines; programas colectivos.
05:18
And on the right are the more
indeterminate spaces;
indeterminate spaces;
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Y a la derecha están los espacios más indeterminados,
como las salas de lectura, cuya evolución
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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en 20, 30, 40 años no podemos predecir.
Entonces, ese fue literalmente el diseño del edificio.
05:25
So that literally was the design
of the building.
of the building.
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Ellos lo firmaron, y para su disgusto,
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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volvimos una semana después y les presentamos esto.
05:32
And as you can see, it is literally
the diagram on the right.
the diagram on the right.
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¿Correcto? Y como pueden ver, es literalmente el diagrama de la derecha.
¿De acuerdo? Simplemente los dimensionamos
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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no, de verdad, literalmente.
Las cosas de la – las de la izquierda del diagrama,
05:39
The things on the left-hand side
of the diagram,
of the diagram,
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esas son las cajas.
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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Los dimensionamos en cinco compartimentos.
Son súper eficientes. Contábamos con un presupuesto muy limitado.
05:45
We had a very low budget to work with.
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Los impusimos en el sitio para establecer
05:47
We pushed them around on the site
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relaciones contextuales muy literales.
05:49
to make very literal
contextual relationships.
contextual relationships.
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La sala de lectura debería ver el agua.
05:51
The reading room
should be able to see the water.
should be able to see the water.
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La entrada principal debería tener una plaza pública en frente
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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para acatar el código de urbanización, y cosas por el estilo.
05:56
to abide by the zoning code, and so forth.
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Entonces, vean las cinco plataformas --
05:59
So, you see the five platforms,
those are the boxes.
those are the boxes.
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esas son las cajas – en cada una sólo ocurre una cosa muy discreta.
06:01
within each one, a very discrete
thing is happening.
thing is happening.
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El área de entremedio es una especie de continuo urbano,
06:04
The area in between
is sort of an urban continuum,
is sort of an urban continuum,
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esas cosas cuya evolución no podemos predecir en el mismo grado.
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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Para darles una noción del poder de esta idea:
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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el bloque más grande es lo que llamamos la espiral de libros.
06:15
It's literally built
in a very inexpensive way --
in a very inexpensive way --
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Se construyó, literalmente, de una manera muy económica
es un garage para libros.
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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Da la casualidad que está entre los pisos seis y diez del edificio
pero eso no es necesariamente un enfoque costoso.
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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Nos permitió organizar todo el sistema decimal de Dewey en una secuencia continua:
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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sin importar como crezca o se contraiga dentro del edificio
siempre tendrá su claridad
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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para finalizar esa especie de sendero de lágrimas
06:38
that we've all experienced
in public libraries.
in public libraries.
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que todos hemos experimentado en las bibliotecas públicas.
06:41
(Laughter)
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(Risas)
06:42
And so this was the final operation,
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Esta fue la operación final que consistió en tomar estos bloques
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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que estaban desordenados
y retenerlos con un revestimiento.
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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Este revestimiento cumple una doble función, por consideraciones económicas.
06:52
One, it is the lateral stability
for the entire building;
for the entire building;
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Una es la estabilidad lateral del edificio en su conjunto:
06:55
it's a structural element.
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es un elemento estructural. Pero sus dimensiones fueron diseñadas no sólo para la estructura
06:57
But its dimensions were designed
not only for structure,
not only for structure,
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sino también para sostener los vidrios.
06:59
but also for holding on
every piece of glass.
every piece of glass.
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El vidrio fue entonces --simplemente usaré la palabra impregnado --
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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tenía una capa de metal que llamamos metal estresado.
Este metal actúa como una micro persiana
07:08
That metal acts as a microlouver,
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de modo que desde el exterior del edificio el sol lo ve como totalmente opaco
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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pero desde el interior es totalmente transparente.
07:13
but from the interior,
it's entirely transparent.
it's entirely transparent.
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Bueno, ahora los voy a llevar a dar una vuelta por el edificio.
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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Déjenme ver si puedo encontrarlo. Para los que sean
07:21
For anyone who gets
motion sickness, I apologize.
motion sickness, I apologize.
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sensibles al movimiento, pido disculpas.
Entonces, este es el edificio.
07:25
So, this is the building.
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Creo que lo importante fue que cuando mostramos el edificio
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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por primera vez el público pensó que – lo vio como si se tratara de
07:32
the public saw it as being
totally about our whim and ego.
totally about our whim and ego.
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un capricho, de nuestro ego.
07:36
And it was defended,
believe it or not, by the librarians.
believe it or not, by the librarians.
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Y fue defendido, créase o no, por los bibliotecarios. Ellos dijeron:
07:39
They said, "Look,
we don't know what it is,
we don't know what it is,
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"Miren, no sabemos qué es, pero lo que sabemos es que todo lo que necesitamos está
07:41
but we know it's everything
that we need it to be,
that we need it to be,
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basado en las observaciones
07:44
based on the observations
that we've done about the program."
that we've done about the program."
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que hicimos sobre el programa".
Esto va en una de las entradas.
07:49
This is going into one of the entries.
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Es un edificio inusual para una biblioteca pública.
07:51
So, it's an unusual building
for a public library, obviously.
for a public library, obviously.
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obviamente.
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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Ahora estamos entrando a lo que llamamos la sala de lectura -- disculpen, la sala de estar.
Este es, en verdad, un programa que inventamos con la biblioteca.
08:02
This is actually a program
that we invented with the library.
that we invented with the library.
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Fue reconocer que las bibliotecas públicas
08:05
It was recognizing that public libraries
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constituyen el último vestigio de espacio público gratuito.
08:07
are the last vestige of public free space.
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Existen muchos centros comerciales que nos permiten refugiarnos de la lluvia
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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en el centro de Seattle
08:13
in downtown Seattle,
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pero no hay tantos
08:14
but there are not so many free places
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lugares gratuitos que nos permitan refugiarnos de la lluvia.
08:17
that allow you to get out of the rain.
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Ésta era un área no programada donde la gente podía hacer cualquier cosa,
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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entre ellas: comer, vociferar, jugar al ajedrez, etc.
08:23
including eat, yell,
play chess and so forth.
play chess and so forth.
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Ahora subimos a
08:25
Now we're moving up into what we call
the mixing chamber.
the mixing chamber.
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la que denominamos la cámara de mezcla.
Ese era, digamos, el área principal de tecnología del edificio.
08:29
That was the main
technology area in the building.
technology area in the building.
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Díganme si voy muy rápido.
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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Ahora hacia arriba.
08:39
And now up.
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Este es el lugar que pusimos en el edificio
08:45
This is actually the place
that we put into the building
that we put into the building
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para que yo propusiera matrimonio a mi mujer. Justo ahí.
08:48
so I could propose
to my wife, right there.
to my wife, right there.
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(Risas)
08:50
(Laughter)
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08:52
She said yes.
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Ella dijo que sí.
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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Me estoy quedando sin tiempo así que voy a terminar.
Puedo mostrarles esto más tarde.
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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Pero veamos si puedo entrar rápidamente a la espiral de libros
porque, pienso, como dije, que es la parte más --
09:05
because I think it's,
as I said, the most --
as I said, the most --
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esta es la sala principal de lectura – la parte más singular del edificio.
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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¿Ya están mareados?
09:11
You dizzy yet?
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OK, entonces aquí, esta es la espiral de libros.
09:13
Ok, so here, this is the book spiral.
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Bien, es bastante irreconocible
09:21
So, it's very indiscernible,
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pero en realidad es una escalera continua.
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
Permite, en una manzana,
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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subir un piso completo de modo que es una continuidad.
Bien, ahora voy a ir hacia atrás y así llegaré a un segundo proyecto.
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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Voy a ir muy, muy rápido.
Este es el Teatro Dallas. Fue un cliente inusual para nosotros
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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porque vinieron y nos dijeron:
"Necesitamos que hagan un nuevo edificio. Hemos estado trabajando en
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,
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un espacio provisorio durante 30 años
razón por la cual
09:52
but because of that temporary space,
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nos hemos convertido en una compañía teatral de reputación.
09:54
we've become an infamous theater company.
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La actividad teatral está concentrada en Nueva York, Chicago y Seattle
09:56
Theater is really focused in New York,
Chicago and Seattle,
Chicago and Seattle,
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con la excepción de la Compañía Teatral de Dallas".
09:59
with the exception
of the Dallas Theater Company."
of the Dallas Theater Company."
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Y el hecho de trabajar en un espacio provisorio
10:03
And the very fact that they worked
in a provisional space
in a provisional space
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significaba en realidad que para Beckett podían quitar una pared;
10:05
meant that for Beckett,
they could blow out a wall;
they could blow out a wall;
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podían representar "El jardín de los cerezos” y cavar un pozo en el piso y cosas por el estilo.
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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De manera que construir un edificio de estas características fue una tarea muy intimidante;
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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un edificio capaz de albergar -- un edificio prístino
10:15
that could be a pristine building,
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pero capaz de albergar ese tipo de naturaleza experimental.
10:17
but keep this kind of experimental nature.
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Lo segundo es que ellos eran lo que llamamos
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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un teatro multiforme: ellos tienen
10:23
they do different kinds
of performances in repertory.
of performances in repertory.
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distintas clases de representaciones en el repertorio.
Así, por la mañana hacen
10:25
So they in the morning
will do something in arena,
will do something in arena,
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algo en un teatro circular,
10:28
then they'll do something
in proscenium and so forth.
in proscenium and so forth.
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luego algo en el proscenio, y así siguen.
Por eso necesitaban adaptarse rápidamente
10:31
And so they needed to be able
to quickly transform
to quickly transform
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a diferentes disposiciones teatrales;
10:33
between different theater organizations,
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y por cuestiones presupuestarias operativas
10:35
and for operational budget reasons,
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esto, en verdad, ya casi no ocurre en
10:37
this actually no longer
happens in pretty much
happens in pretty much
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ningún teatro multiforme de los Estados Unidos
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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de modo que teníamos que encontrar la manera de resolverlo.
Así, nuestra idea fue literalmente poner el teatro de cabeza:
10:44
So our thought was to literally
put the theater on its head:
put the theater on its head:
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tomar aquellas cosas definidas previamente como frente al escenario y detrás del escenario
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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y apilarlas -- arriba y abajo --
10:51
and stack them above house
and below house,
and below house,
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2008
y crear lo que comenzamos a llamar la máquina teatral.
10:53
and to create what we called
a theater machine.
a theater machine.
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Invertimos el dinero en el funcionamiento del edificio.
10:55
We invest the money
in the operation of the building.
in the operation of the building.
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Es como si el edificio pudiera ubicarse en cualquier lado: dondequiera que uno lo ponga, el área de abajo
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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está lista para representaciones teatrales.
11:01
the area under it is charged
for theatrical performances.
for theatrical performances.
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Y esto nos permite volver a los primeros principios
11:04
And it allowed us to go back
to first principles,
to first principles,
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2322
y redefinir la torre escénica, la persiana acústica,
11:07
and redefine fly tower, acoustic
enclosure, light enclosure and so forth.
enclosure, light enclosure and so forth.
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el sistema de iluminación, etc.
11:10
And at the push of a button,
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Y con sólo pulsar un botón el director artístico
11:12
it allows the artistic director
to move between proscenium, thrust,
to move between proscenium, thrust,
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puede cambiar escenarios: proscenio, teatro abierto y, de hecho,
arena y de piso llano
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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en transfiguraciones muy rápidas.
De manera que, usando presupuesto operativo podemos --
11:22
So in fact, using
operational budget, we can --
operational budget, we can --
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disculpen, gasto de instalación -- podemos lograr
11:25
sorry, capital cost --
we can actually achieve
we can actually achieve
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11:27
what was no longer achievable
in operational cost.
in operational cost.
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en realidad lo que ya no era posible mediante costo operativo.
Y esto significa que el director artístico ahora cuenta
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,
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con una paleta que le permite escoger
entre una serie de formas y procesiones
11:35
between a series of forms
and a series of processions,
and a series of processions,
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dado que lo que rodea al teatro
11:38
because that enclosure around the theater
that is normally trapped
that is normally trapped
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generalmente atrapado en espacios frontales y traseros,
11:41
with front-of-house and back-of-house
spaces has been liberated.
spaces has been liberated.
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3042
ese espacio ha sido liberado.
11:44
So an artistic director has the ability
to have a performance
to have a performance
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Por lo tanto un director artístico puede mostrar --
ejecutar una representación en la que ingresa una procesión wagneriana,
11:48
that enters in a Wagnerian procession,
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muestra el primer acto en un escenario abierto,
11:50
shows the first act in thrust,
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2335
el entreacto en una procesión griega,
11:52
the intermission in a Greek procession,
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3185
11:55
second act in arena, and so forth.
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el segundo acto en arena, y así.
Bueno, les voy a mostrar qué – qué significa esto realmente.
11:58
So I'm going to show you
what this actually means.
what this actually means.
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2351
Este es el teatro de cerca.
12:00
This is the theater up close.
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1768
Cada parte del teatro puede ser abierta individualmente.
12:02
Any portion around the theater
actually can be opened discretely.
actually can be opened discretely.
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697421
3086
El sistema de luces se puede levantar en forma separada
12:07
The light enclosure can be lifted
separate to the acoustic enclosure,
separate to the acoustic enclosure,
254
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3898
de la persiana acústica, y así se puede representar Beckett
12:11
so you can do Beckett
with Dallas as the backdrop.
with Dallas as the backdrop.
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2484
con Dallas como telón de fondo.
Se pueden abrir porciones y así permitir el ingreso de motocicletas
12:14
Portions can be opened,
256
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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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a la representación o, incluso, ejecutar una representación al aire libre
12:19
or you can even just have
an open-air performance,
an open-air performance,
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2402
o para los entreactos.
12:22
or for intermissions.
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1166
Todo el anfiteatro se mueve entre esas configuraciones
12:23
The balconies all move to go
between those configurations,
between those configurations,
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pero también puede desaparecer.
12:26
but they also disappear.
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La línea de proscenio también puede desaparecer.
12:28
The proscenium line can also disappear.
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2120
Se pueden ingresar objetos enormes, de hecho
12:30
You can bring enormous objects in,
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1841
12:32
so in fact, the Dallas Theater Company --
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727994
1991
el primer espectáculo de la Compañía Teatral de Dallas
será una obra sobre Charles Lindbergh
12:34
their first show will be a play
about Charles Lindbergh,
about Charles Lindbergh,
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2651
y quieren traer un avión de verdad.
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,
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2611
Y luego, en la temporada baja,
pueden alquilar el espacio
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
para actividades completamente diferentes.
12:48
This is it from a distance.
269
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2655
Esto es de noche – lo siento, desde una distancia.
12:53
Open up entire portions
for different kinds of events.
for different kinds of events.
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2988
Abren porciones enteras para diferentes clases de eventos.
12:56
And at night.
271
751933
1151
Y de noche.
Nuevamente, suprimen las luces; mantienen la persiana acústica.
12:59
Again, remove the light enclosure;
keep the acoustic enclosure.
keep the acoustic enclosure.
272
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3878
Este es un espectáculo de camiones monstruo.
13:04
This is a monster truck show.
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1878
Ahora les voy a mostrar el último proyecto.
13:06
I'm going to show now the last project.
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1891
Este también es un cliente poco habitual.
13:08
This also is an unusual client.
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1483
13:09
They inverted the whole idea
of development.
of development.
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765000
2473
Ellos invirtieron completamente la idea de desarrollo inmobiliario.
Vinieron y dijeron -- a diferencia de los desarrolladores tradicionales --
13:12
They came to us and they said --
unlike normal developers --
unlike normal developers --
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2827
dijeron: "Necesitamos comenzar por proveer
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
771909
2749
un museo de arte contemporáneo
en Louisville. Ese es nuestro objetivo principal".
13:19
That's our main goal."
280
774682
1204
13:20
And so instead of being a developer
that sees an opportunity to make money,
that sees an opportunity to make money,
281
775910
3595
Entonces, en vez de ser desarrolladores inmobiliarios que ven una oportunidad
de hacer dinero, ellos se consideraron catalizadores
13:24
they saw an ability to be
a catalyst in their downtown.
a catalyst in their downtown.
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3021
en el centro de su ciudad.
13:27
And the fact that they wanted to support
the contemporary art museum
the contemporary art museum
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782574
3580
Y el hecho de que quisieran apoyar
el museo de arte contemporáneo constituía su pro forma,
13:30
actually built their pro forma,
284
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1557
de modo que trabajaron al revés.
13:32
so they worked in reverse.
285
787759
1317
Y esa pro forma nos llevó
13:34
And that pro forma led us
286
789431
1545
13:35
to a mixed-use building
that was very large,
that was very large,
287
791000
2976
a un edificio de usos múltiples que era muy grande
13:38
in order to support
their aspirations of the art,
their aspirations of the art,
288
794000
2304
para respaldar sus aspiraciones artísticas
pero también abrió oportunidades para que el propio arte
13:41
but it also opened up opportunities
for the art itself
for the art itself
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796328
2547
colabore, interactúe con los espacios comerciales
13:43
to collaborate, interact
with commercial spaces
with commercial spaces
290
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2220
en los que, cada vez más, los artistas querían trabajar.
13:45
that actually artists more
and more want to work within.
and more want to work within.
291
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2760
Y también nos hacía pensar en la manera de conseguir
13:49
And it also charged us
with thinking about how to have
with thinking about how to have
292
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3025
al mismo tiempo un edificio simple
13:52
something that was both a single building
293
807405
1964
y una especie creíble de subestructura.
13:54
and a credible sort of sub-building.
294
809393
2583
13:56
So this is Louisville's skyline,
295
812000
2543
Bien, ahora voy a-- este es el perfil de la ciudad de Louisville --
y les voy a mostrar
13:59
and I'm going to take
you through the various constraints
you through the various constraints
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2680
varias restricciones que nos llevan al proyecto.
14:02
that led to the project.
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1193
Primero, las restricciones físicas. En realidad teníamos que operar
14:03
First: the physical constraints.
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1539
en tres sitios independientes,
14:04
We actually had to operate
on three discrete sites,
on three discrete sites,
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820051
2401
todos mucho, mucho más pequeños que el tamaño del edificio.
14:07
all of them well smaller
than the size of the building.
than the size of the building.
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2881
Teníamos que operar al lado del nuevo centro Mohamed Alí,
14:10
We had to operate next to the new
Muhammad Ali Center, and respect it.
Muhammad Ali Center, and respect it.
301
825381
3683
y respetarlo.
Teníamos que operar en el área inundable de 100 años.
14:13
We had to operate
within the 100-year floodplain.
within the 100-year floodplain.
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Ahora, esta área se inunda tres o cuatro veces al año,
14:16
Now, this area floods
three to four times a year,
three to four times a year,
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y hay un dique detrás de nuestro sitio
14:18
and there's a levee behind our site,
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similar al que se rompió en Nueva Orleáns.
14:20
similar to the ones
that broke in New Orleans.
that broke in New Orleans.
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Teníamos que operar detrás del corredor I-64,
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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una calle que atraviesa estos sitios separados.
Entonces éstas -- comenzamos a construir una especie de
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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pesadilla de restricciones en una bañera.
Debajo de la bañera están
14:35
Underneath the bathtub
are the city's main power lines.
are the city's main power lines.
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las líneas troncales de electricidad de la ciudad.
Y hay un corredor peatonal que ellos querían que agregásemos
14:39
And there is a pedestrian corridor
that they wanted to add,
that they wanted to add,
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que conectaría una serie de edificios culturales
14:42
that would link a series
of cultural buildings,
of cultural buildings,
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y un corredor panorámico -- porque este es el distrito histórico --
14:45
and a view corridor --
because this is the historic district --
because this is the historic district --
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que no querían obstruir con el nuevo edificio.
14:48
that they didn't want to obstruct
with a new building.
with a new building.
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(Risas)
Y vamos a agregar cerca de 102 mil metros cuadrados.
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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Y si siguiéramos el método tradicional, esos 102 mil metros cuadrados --
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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estos son programas diferentes -- el método consistiría en identificar
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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los elementos públicos, ubicarlos en sitios,
y tendríamos una situación terrible:
15:03
and now we'd have a really
terrible situation:
terrible situation:
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algo público en medio de una bañera que se inunda.
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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Y luego deberíamos dimensionar los otros elementos --
los distintos elementos comerciales:
15:12
the different commercial elements:
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hoteles, residencias de lujo, oficinas, etc.
15:14
hotel, luxury housing,
offices and so forth --
offices and so forth --
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2143
y arrojarlos arriba. Y crearíamos algo
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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que no sería viable.
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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De hecho -- lo saben – esto se llama el edificio Time Warner.
(Risas)
15:24
(Laughter)
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Entonces nuestra estrategia fue muy simple.
15:25
So our strategy was very simple.
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15:27
Just lift the entire block,
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Simplemente elevar todo el bloque,
rotar alguno de los elementos, reposicionarlos,
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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para que tengan vistas apropiadas y relaciones con el centro de la ciudad,
15:35
and relationships to downtown,
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hacer conexiones de circulación y desviar la calle.
15:37
and make circulation connections
and reroute the road.
and reroute the road.
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Ese es el concepto básico
15:40
So that's the basic concept,
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y ahora les voy a mostrar adónde nos lleva.
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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OK, parece un gesto muy formal, deliberado,
pero algo completamente derivado de las restricciones.
15:48
but something derived entirely
out of the constraints.
out of the constraints.
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2548
Y cuando lo mostramos por primera vez, hubo nerviosismo
15:50
And again, when we unveiled it,
there was a sort of nervousness
there was a sort of nervousness
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en el sentido que se trataba de arquitectos haciendo una declaración,
15:53
that this was about an architect
making a statement,
making a statement,
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y no de arquitectos que tratan de resolver
15:56
not an architect who was attempting
to solve a series of problems.
to solve a series of problems.
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una serie de problemas.
Ahora, dentro de esa zona céntrica, como dije,
15:59
Now, within that center zone, as I said,
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tenemos la posibilidad de mezclar una serie de cosas.
16:02
we have the ability to mix
a series of things.
a series of things.
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Aquí pueden ver que estos
16:04
So here, this is sort of an x-ray --
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rayos X las torres
16:07
the towers are totally developer-driven.
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942393
1935
están totalmente orientadas al desarrollador inmobiliario. Ellos nos dieron las dimensiones, los tamaños, etc.
16:09
They told us the dimensions,
the sizes and so forth,
the sizes and so forth,
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944352
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y nosotros nos focalizamos en los componentes públicos --
16:11
and we focused on taking
all the public components --
all the public components --
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los vestíbulos, los bares,
16:14
the lobbies, the bars --
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todo lo que los distintos elementos comerciales tendrían
16:15
everything that different commercial
elements would have,
elements would have,
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950663
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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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954000
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y los combinamos en el centro, en una especie de mapa del subterráneo,
16:21
in the transfer zone that would also
include the contemporary art museum.
include the contemporary art museum.
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en la zona de transferencia que también incluiría el museo de arte contemporáneo.
Entonces surge una situación como esta,
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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donde hay artistas que pueden operar dentro
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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de un espacio de arte que tiene una vista increíble en el piso 22
pero que también tiene proximidad que el curador
16:33
but it also has proximity that the curator
can either open or close.
can either open or close.
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puede abrir o cerrar.
Permite que la gente que hace ejercicios en bicicleta
16:37
It allows people
on exercise bicycles to be seen,
on exercise bicycles to be seen,
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sea vista o vea el arte, etc.
16:40
or to see the art, and so forth.
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También significa que si el artista quiere apropiarse de algo, como una piscina,
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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puede exhibir en la piscina,
16:45
they can begin to do their exhibition
in a swimming pool,
in a swimming pool,
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de modo que no están forzados a trabajar siempre dentro de los confines
16:48
so they're not forced to always
work within the confines
work within the confines
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del espacio de la galería de arte contemporáneo.
16:51
of a contemporary gallery space.
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Bien, ¿cómo construir esto?
16:52
So, how to build this.
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Muy simple: es una silla.
16:53
It's very simple: it's a chair.
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1944
16:55
So, we begin by building the cores.
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3432
Entonces, comenzamos construyendo el núcleo.
A medida que construimos el núcleo construimos el museo de arte contemporáneo a nivel.
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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Eso nos permitió lograr una increíble eficiencia y eficacia de costos.
17:02
That allows us to have
incredible efficiency and cost efficiency.
incredible efficiency and cost efficiency.
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Este no es un edificio de alto presupuesto.
17:05
This is not a high-budget building.
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En el momento en que el núcleo llega al nivel medio
17:07
The moment the cores get to mid level,
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terminamos el museo de arte, le colocamos todo el equipamiento mecánico,
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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3195
y luego lo levantamos con un gato hidráulico.
17:12
and then we jack it up into the air.
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1007931
1745
Esta es la manera en que se construyen los inmensos hangares,
17:14
This is how they build
really large aircraft hangars,
really large aircraft hangars,
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1009700
2489
por ejemplo, los que se construyeron para el A380.
17:17
for instance, the ones
that they did for the A380.
that they did for the A380.
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Cuando se termina el núcleo,
17:19
Finish the cores, finish the meat
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obtenemos algo como esto.
17:21
and you get something
that looks like this.
that looks like this.
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Ahora sólo tengo cerca de 30 segundos así que quiero comenzar
17:23
Now I only have about 30 seconds,
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una animación y voy a concluir con eso.
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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(Aplausos)
17:29
(Applause)
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17:33
Chris asked me to add --
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1029000
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Chris me pidió que agregue
17:35
the theater is under construction,
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que el teatro está en construcción y
17:37
and this project will start
construction in about a year,
construction in about a year,
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que este proyecto comenzará a construirse aproximadamente dentro de un año
y finalizará en 2010.
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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17:48
[lift program]
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17:51
[flip!]
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17:53
[optimize program adjacencies]
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17:54
[connect to context]
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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