TED2006
Joshua Prince-Ramus: Behind the design of Seattle's library
Joshua Prince-Ramus e a biblioteca de Seattle
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O arquiteto Joshua Prince-Ramus leva o público em deslumbrantes e estonteantes visitas virtuais a três projetos recentes: a Biblioteca Central de Seattle, o Museu Plaza em Louisville e o Teatro Charles Wyly em 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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Vou apresentar três projetos bem rapidamente.
Não tenho muito tempo.
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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E quero reforçar três ideias com esta apresentação rápida.
A primeira é o que eu gosto de chamar de um processo hiper-racional.
00:34
The first is what I like to call
a hyper-rational process.
a hyper-rational process.
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É um processo que
00:37
It's a process that takes rationality
almost to an absurd level,
almost to an absurd level,
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leva a racionalidade quase a um nível absurdo,
e transcende toda a bagagem
00:41
and it transcends all the baggage
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que normalmente carrega
00:43
that normally comes
with what people would call,
with what people would call,
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o que as pessoas chamariam de uma conclusão racional para 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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E conclui-se em algo que você vê aqui,
que você realmente não imaginaria como sendo
00:50
that you actually wouldn't expect
as being the result of rationality.
as being the result of rationality.
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o resultado de racionalidade.
O segundo -- oh--
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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o segundo é que este processo
não possui uma assinatura.
01:02
There is no authorship.
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Não há autoria. Arquitetos são obcecados por autoria.
01:04
Architects are obsessed with authorship.
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Isso é algo que possui edição e possui equipes.
01:06
This is something that has
editing and it has teams,
editing and it has teams,
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Na verdade, nós não vemos mais, ao longo desse processo,
01:08
but in fact, we no longer
see within this process,
see within this process,
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o tradicional arquiteto mestre criando
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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um esboço que seus lacaios carregam.
E o terceiro é que é um desafio -- e isto é,
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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no curto tempo que tenho, muito difícil de explicar por quê,
01:21
connect all these things --
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conectar todas essas coisas --
mas desafia a alta noção modernista de flexibilidade.
01:23
but it challenges the high modernist
notion of flexibility.
notion of flexibility.
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Os maiores modernistas disseram, nós vamos criar, de alguma forma,
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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espaços singulares que são genéricos.
Quase tudo pode acontecer dentro deles.
01:30
almost anything can happen within them.
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Eu chamo isso de flexibilidade de guerrilha.
01:31
I call it sort of "shotgun flexibility" --
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Vire a cabeça para um lado, atire, e você está fadado a matar alguma coisa.
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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Então, essa é a promessa do alto modernismo:
01:37
So, this is the promise of high modernism:
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dentro de um espaço único, qualquer tipo de atividade pode acontecer.
01:39
within a single space, actually,
any kind of activity can happen.
any kind of activity can happen.
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Mas como estamos vendo,
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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custos operacionais estão começando a reduzir os custos capitais
01:47
in terms of design parameters.
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em termos de paramêtros de design.
Então, com esse tipo de ideia,
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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o que acontece é que, qualquer coisa que esteja no prédio no dia da inauguração,
ou aquilo que parecer ser a necessidade mais imediata,
01:54
or whatever seems to be
the most immediate need,
the most immediate need,
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começa a reduzir a possibilidade e meio que subordiná-la,
01:57
starts to dwarf the possibility
and sort of subsume it,
and sort of subsume it,
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de qualquer outra coisa jamais acontecer.
02:00
of anything else could ever happen.
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Então nós estamos propondo um tipo diferente de flexibilidade,
02:02
And so we're proposing
a different kind of flexibility,
a different kind of flexibility,
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algo que nós chamamos
02:05
something that we call
"compartmentalized flexibility."
"compartmentalized flexibility."
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"flexibilidade compartimentalizada."
E a ideia é que você, dentro desse continuum,
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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identifica uma série de pontos, e você desenha especificamente para eles.
Eles podem ser desviados um pouco do foco,
02:14
They can be pushed
off-center a little bit,
off-center a little bit,
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mas no final você ainda tem muito
02:16
but in the end you actually
still get as much
still get as much
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do spectro original inicialmente desejado.
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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Com a flexibilidade alto modernista, isso não funciona.
Agora eu vou falar sobre - eu irei construir a 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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desta forma diante de seus olhos em cerca de cinco ou 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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e esse realmente é o processo de design que vocês verão.
02:31
and I truly mean this is the design
process that you'll see.
process that you'll see.
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Juntamente como a equipe da biblioteca e a direção da biblioteca,
02:34
With the library staff
and the library board,
and the library board,
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nós concordamos com duas posições centrais.
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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Essa é a primeira, e está mostrando, ao longo dos últimos 900 anos,
a evolução do livro e outras tecnologias.
02:42
the evolution of the book,
and other technologies.
and other technologies.
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Este diagrama foi o nosso pedaço-guia sobre o livro,
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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e o nosso posicionamente era, livros são tecnologia -
algo que as pessoas esquecem --
02:51
that's something people forget --
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mas é uma forma de tecnologia que terá de compartilhar seu domínio
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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com qualquer outra forma de tecnologia ou mídia verdadeiramente potente.
02:56
with any other form of truly potent
technology or media.
technology or media.
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A segunda premissa - e essa foi algo bastante difícil
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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para nós de convencer os bibliotecários de pronto -
03:03
to convince the librarians of at first --
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é que as bibliotecas desde o princípio
03:05
is that libraries, since the inception
of Carnegie Library tradition in America,
of Carnegie Library tradition in America,
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da tradição das bibliotecas de Carnegie nos EUA
possuem uma segunda responsabilidade, e esses eram os papéis sociais.
03:09
had a second responsibility,
and that was for social roles.
and that was for social roles.
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Ok, agora, voltarei a isso depois, mas algo, na verdade,
03:12
Ok, now, this I'll come back
to later, but something --
to later, but something --
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que os bibliotecários inicialmente disseram, "Não, esse não é o nosso encargo."
03:14
actually, the librarians at first said,
"No, this isn't our mandate.
"No, this isn't our mandate.
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Nosso encargo é mídia, e particularmente o livro."
03:18
Our mandate is media,
and particularly the book."
and particularly the book."
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Então o que vocês estão vendo agora é o design do prédio.
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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O diagrama de cima
03:25
The upper diagram is what we had seen
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é o que nós tínhamos visto em um conjunto de bibliotecas contemporâneas
03:27
in a whole host of contemporary libraries
that used high modernist flexibility.
that used high modernist flexibility.
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que utilizaram alta flexibilidade modernista.
Qualquer atividade poderia acontecer em qualquer 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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Nós não sabemos o futuro da biblioteca, nós não sabemos o futuro do livro,
então optamos por utilizar esta abordagem.
03:39
and so, we'll use this approach.
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E o que vimos era que os edifícios eram muito 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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E, pior, não só vimos prédios que eram muito genéricos --...
03:44
not only were they very generic --
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não só o salão de leitura se parece com a sala de xerox
03:45
so, not only does the reading room
look like the copy room
look like the copy room
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que também se parece com a área das revistas --
03:48
look like the magazine area --
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mas significava que qualquer que fosse a questão
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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incomodando a biblioteca naquele momento estava começando a
03:53
was starting to engulf every other
activity that was happening in it.
activity that was happening in it.
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engolir qualquer outra atividade que estava acontecendo no espaço.
E neste caso, o que estava sendo engolido
03:57
And in this case,
what was getting engulfed
what was getting engulfed
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eram estas responsabilidades sociais resultantes da expansão do livro.
03:59
were these social responsibilities
by the expansion of the book.
by the expansion of the book.
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E então nós propusemos o que está na parte inferior do diagrama.
04:02
And so we proposed
what's at the lower diagram.
what's at the lower diagram.
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Abordagem bem estúpida:
04:04
Very dumb approach:
simply compartmentalize.
simply compartmentalize.
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simplesmente compartimentar. Coloque as coisas cuja evolução se poderia prever
04:07
Put those things whose evolution
we could predict --
we could predict --
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e não quero dizer que poderíamos dizer o que iria realmente acontecer no 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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mas nós temos alguma certeza sobre o 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 tudo o que poderá acontecer no futuro --
colocar em caixas concebidas especificamente para eles,
04:17
put those in boxes designed
specifically for it,
specifically for it,
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e colocar as coisas que não podemos prever no sótão.
04:20
and put the things that we can't
predict on the rooftops.
predict on the rooftops.
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Então essa era a idéia central.
04:22
So that was the core idea.
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Agora, nós tínhamos que convencer a biblioteca que os papéis sociais
04:24
Now, we had to convince the library
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eram tão importantes para a mídia
04:25
that social roles were
equally important to media,
equally important to media,
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para que eles pudessem aceitar isso.
04:29
in order to get them to accept this.
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O que vocês vêem aqui é o seu programa, na esquerda.
04:31
What you're seeing here is actually
their program on the left.
their program on the left.
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Isso é que foi dado a nós em toda a sua clareza e glória.
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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Nossa primeira operação foi redigeri-lo
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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de volta para eles, mostrar para eles e dizer:
"Quer saber? Nós nem tocamos nisso aqui,
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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mas apenas um terço de seu próprio programa é dedicado à mídia e livros.
Dois terços de tudo já está dedicado - que é a faixa branca abaixo --
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 coisa que vocês disseram que não é importante:
já é dedicado às funções sociais ".
04:53
is already dedicated to social functions."
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Assim, uma vez que tínhamos apresentado de volta à eles,
04:55
So once we had presented
that back to them,
that back to them,
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eles concordaram que esse tipo de conceito central poderia funcionar.
04:57
they agreed that this sort
of core concept could work.
of core concept could work.
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Nós ganhamos o direito de voltar aos primeiros princípios --
05:00
We got the right to go back
to first principles --
to first principles --
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esse é o terceiro diagrama. Nós recombinados tudo.
05:02
that's the third diagram.
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05:03
We recombined everything.
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E então começamos a tomar novas decisões.
05:04
And then we started making new decisions.
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O que vocês estão vendo do lado direito é o projeto da 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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especificamente em termos de metragem quadrada.
05:09
specifically in terms of square footage.
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À esquerda do diagrama, aqui,
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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vocês vêem
uma série de cinco plataformas --
05:16
sort of combs, collective programs.
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parecidas com pentes; programas coletivos.
05:18
And on the right are the more
indeterminate spaces;
indeterminate spaces;
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E à direita são os espaços mais indeterminados,
coisas como as salas de leitura, cuja evolução
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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em 20, 30, 40 anos, não podemos prever.
Esse foi então, literalmente, o projeto do edifício.
05:25
So that literally was the design
of the building.
of the building.
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Eles assinaram, e para sua decepção,
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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voltamos uma semana mais tarde e apresentamos-lhes isso.
05:32
And as you can see, it is literally
the diagram on the right.
the diagram on the right.
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OK? E, como vocês podem ver, é literalmente o diagrama à direita.
OK? Nós apenas redimensionamos --
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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não, quero dizer exatamente isso, literalmente.
As coisas no - no lado esquerdo do diagrama,
05:39
The things on the left-hand side
of the diagram,
of the diagram,
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essas são as caixas.
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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Nós dimensionamos em cinco compartimentos.
Eles são super-eficientes. Tínhamos um orçamento muito baixo para trabalhar.
05:45
We had a very low budget to work with.
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Nós empurramo-os ao redor no local para criar
05:47
We pushed them around on the site
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relações contextuais bastante literais.
05:49
to make very literal
contextual relationships.
contextual relationships.
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A sala de leitura deveria ser capaz de ver a água.
05:51
The reading room
should be able to see the water.
should be able to see the water.
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A entrada principal deveria ter uma praça pública em frente a ela
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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respeitando o código de zoneamento, e assim por diante.
05:56
to abide by the zoning code, and so forth.
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Então, você vê as cinco plataformas --
05:59
So, you see the five platforms,
those are the boxes.
those are the boxes.
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essas são as caixas - dentro de cada uma, alguma coisa está acontecendo.
06:01
within each one, a very discrete
thing is happening.
thing is happening.
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O espaço entre elas é uma espécie de continuum urbano,
06:04
The area in between
is sort of an urban continuum,
is sort of an urban continuum,
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essas coisas que não podemos prever a evolução com a mesma intensidade.
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 lhe dar uma noção do poder desta ideia,
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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o maior bloco é o que chamamos de livro espiral.
06:15
It's literally built
in a very inexpensive way --
in a very inexpensive way --
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É literalmente construído em uma maneira muito barata --
é uma garagem para os livros.
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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Só que para ela ocupa do sexto ao décimo andar do prédio,
mas isso não é necessariamente uma abordagem cara.
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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E isso nos permite organizar toda a Classificação Decimal Dewey em uma sequência contínua:
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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não importa o quanto ela cresca ou diminua no interior do edifício,
sempre terá a sua clareza
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 acabar com a clássica estrada das lágrimas
06:38
that we've all experienced
in public libraries.
in public libraries.
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que todos nós já vivenciamos nas bibliotecas públicas.
06:41
(Laughter)
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(Risadas)
06:42
And so this was the final operation,
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E assim, esta foi a operação final, que era para pegar esses blocos
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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conforme todos eles foram "saindo de moda",
e prendê-los com uma pele.
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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Essa pele serve duplamente, novamente por razões econômicas.
06:52
One, it is the lateral stability
for the entire building;
for the entire building;
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Uma, é a estabilidade lateral para todo o edifício:
06:55
it's a structural element.
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é um elemento estrutural. Mas as suas dimensões foram concebidas não só para estrutura,
06:57
But its dimensions were designed
not only for structure,
not only for structure,
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mas também para segurar cada pedaço de vidro.
06:59
but also for holding on
every piece of glass.
every piece of glass.
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O vidro foi então - vou usar a palavra impregnada --
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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mas tinha uma camada de metal que foi chamado de metal tensionado.
Este metal age como uma micro grelha,
07:08
That metal acts as a microlouver,
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então da parte de fora do prédio o sol o vê 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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mas o interior é totalmente transparente.
07:13
but from the interior,
it's entirely transparent.
it's entirely transparent.
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Então, agora eu vou levar vocês em uma excursão pelo prédio.
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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Vamos ver se consigo encontrá-lo. Para quem é --
07:21
For anyone who gets
motion sickness, I apologize.
motion sickness, I apologize.
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quem sente enjôo, peço desculpas.
Então este é o prédio.
07:25
So, this is the building.
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E eu acho que o importante é, quando lançamos o edifício,
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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a opinião pública - viu-o como sendo totalmente sobre
07:32
the public saw it as being
totally about our whim and ego.
totally about our whim and ego.
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nossos caprichos e 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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E foi defendido, acredite ou não, pelos bibliotecários. Eles disseram:
07:39
They said, "Look,
we don't know what it is,
we don't know what it is,
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"Olha, nós não sabemos o que é, mas nós sabemos que é tudo que precisamos que fosse
07:41
but we know it's everything
that we need it to be,
that we need it to be,
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com base nas observações
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 fizemos sobre o programa."
Essa é uma das entradas.
07:49
This is going into one of the entries.
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Portanto, é uma construção incomum para uma 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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Então agora vamos para o que chamamos de sala de leitura - desculpe, sala de estar.
Este é um programa que nós inventamos com a biblioteca.
08:02
This is actually a program
that we invented with the library.
that we invented with the library.
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Foi reconhecendo que as bibliotecas públicas
08:05
It was recognizing that public libraries
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são o último vestígio de espaço público grátis.
08:07
are the last vestige of public free space.
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Há vários shopping centers que lhe permitem se proteger da chuva
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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no centro de Seattle,
08:13
in downtown Seattle,
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mas não existem muitos
08:14
but there are not so many free places
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espaços públicos que lhe permitem se proteger da chuva.
08:17
that allow you to get out of the rain.
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Então esta era uma área não-programada onde as pessoas poderiam fazer praticamente qualquer coisa,
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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incluindo comer, gritar, jogar xadrez e assim por diante.
08:23
including eat, yell,
play chess and so forth.
play chess and so forth.
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Agora estamo subindo
08:25
Now we're moving up into what we call
the mixing chamber.
the mixing chamber.
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para o que chamamos de câmara das misturas.
Esse foi o principal tipo de área tecnológica no prédio.
08:29
That was the main
technology area in the building.
technology area in the building.
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Me digam se eu estou indo rápido demais para vocês.
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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Agora acima.
08:39
And now up.
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Este é o lugar que nós incluímos no prédio
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 eu pudesse pedir a minha esposa em casamento. Bem aqui.
08:48
so I could propose
to my wife, right there.
to my wife, right there.
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(Risadas)
08:50
(Laughter)
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08:52
She said yes.
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Ela disse sim.
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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Está terminando meu tempo, então vou parar.
Posso mostrar isso a vocês depois.
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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Mas vejamos se consigo rapidamente mostrar o livro espiral,
porque eu acho que, como disse antes, o mais --
09:05
because I think it's,
as I said, the most --
as I said, the most --
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este é o salão de leitura princial - a parte mais singular do prédio.
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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Vocês já estão enjoados?
09:11
You dizzy yet?
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Ok, então, aqui, esse é o livro espiral.
09:13
Ok, so here, this is the book spiral.
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Então, é muito imperceptível,
09:21
So, it's very indiscernible,
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1933
mas são na verdade degraus contínuos de uma escada.
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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541877
1992
Permite que você, em um quarteirão da cidade,
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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2695
suba um andar inteiro, então isso é um continuum.
Ok, agora vou voltar e mostrar um segundo projeto.
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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Vou passar bem, bem rapidamente por esse.
Esse é o Teatro de Dallas. Foi um cliente incomum para nós,
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 eles vieram até nós e disseram,
"Precisamos que vocês criem um prédio novo. Nós estamos trabalhando em um
09:47
"We need you to do a new building.
200
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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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espaço temporário há 30 anos,
mas por causa deste espaço temporário,
09:52
but because of that temporary space,
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nós nos tornamos uma companhia de teatro abominável.
09:54
we've become an infamous theater company.
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O Teatro está muito focado em Nova York, Chicago, Seattle,
09:56
Theater is really focused in New York,
Chicago and Seattle,
Chicago and Seattle,
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com exceção da Companhia de Teatro de Dallas."
09:59
with the exception
of the Dallas Theater Company."
of the Dallas Theater Company."
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E o simples fato de eles trabalharem em um espaço provisório
10:03
And the very fact that they worked
in a provisional space
in a provisional space
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significava para Beckett que eles poderiam explodir uma parede;
10:05
meant that for Beckett,
they could blow out a wall;
they could blow out a wall;
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eles poderiam fazer "Cherry Orchard" e explodir um buraco no chão, e tudo mais.
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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3742
Então foi uma tarefa bem complicada para nós criar um prédio inteiramente novo
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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3032
que pudesse manter a - que fosse um prédio novo,
10:15
that could be a pristine building,
210
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mas que mantesse esse tipo de experiência natural.
10:17
but keep this kind of experimental nature.
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2019
E o segundo é, eles eram o que nós chamamos de
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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teatro multi-forma: eles fazem
10:23
they do different kinds
of performances in repertory.
of performances in repertory.
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diferentes tipos de performance no repertório.
Então na parte da manhã eles fazem
10:25
So they in the morning
will do something in arena,
will do something in arena,
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alguma coisa em arena,
10:28
then they'll do something
in proscenium and so forth.
in proscenium and so forth.
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e depois fazem algo em proscênio e assim por diante.
Então eles precisavam ser capazes de se modificar com rapidez
10:31
And so they needed to be able
to quickly transform
to quickly transform
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entre as diferentes organizações teatrais,
10:33
between different theater organizations,
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1926
e por razões orçamentais operacionais,
10:35
and for operational budget reasons,
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isso não acontece mais em quase todos
10:37
this actually no longer
happens in pretty much
happens in pretty much
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os teatros multi-forma dos EUA,
10:39
any multi-form theater
in the United States,
in the United States,
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2240
10:41
so we needed to figure out
a way to overcome that.
a way to overcome that.
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então nós precisávamos de uma maneira de superar isso.
Então nossa idéia foi literalmente colocar o teatro de cabeça para baixo:
10:44
So our thought was to literally
put the theater on its head:
put the theater on its head:
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pegar as coisas que foram previamente definidas como frente-da-casa e fundos-de-casa
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
225
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e empilhá-los - casa acima e casa abaixo --
10:51
and stack them above house
and below house,
and below house,
226
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2008
e criar o que nós começamos a chamar de uma máquina de teatro.
10:53
and to create what we called
a theater machine.
a theater machine.
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2199
Nós investimos o dinheiro na operação do prédio.
10:55
We invest the money
in the operation of the building.
in the operation of the building.
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2483
É quase como se o edifício pudesse ser colocado em qualquer lugar: onde quer que você o coloque, a área debaixo dele
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,
230
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1152
servirá para as apresentações teatrais.
11:01
the area under it is charged
for theatrical performances.
for theatrical performances.
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E isso permitiu-nos voltar aos primeiros princípios,
11:04
And it allowed us to go back
to first principles,
to first principles,
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e redefinir a torre de roldanas, isolamento acústico,
11:07
and redefine fly tower, acoustic
enclosure, light enclosure and so forth.
enclosure, light enclosure and so forth.
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3582
isolamento de luz e etc.
11:10
And at the push of a button,
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E, ao toque de um botão, permitir ao diretor artístico
11:12
it allows the artistic director
to move between proscenium, thrust,
to move between proscenium, thrust,
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se deslocar entre o proscênio e, também
arena e transversal e piso reto
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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2395
em uma transfiguração bem rápida.
Então nós podemos, usando o orçamento operacional --
11:22
So in fact, using
operational budget, we can --
operational budget, we can --
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desculpe, o custo capital -- nós podemos alcançar
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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o que não era mais alcançável com custos operacionais.
E isso significa que o diretor artístico agora tem
11:30
And that means that the artistic director
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665898
1953
11:32
now has a palette that he or she
can choose from,
can choose from,
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2365
uma gama de onde ele ou ela pode escolher
entre uma série de formatos e uma série de procissões,
11:35
between a series of forms
and a series of processions,
and a series of processions,
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3498
porque esse isolamento em torno do teatro
11:38
because that enclosure around the theater
that is normally trapped
that is normally trapped
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3124
que normalmente é preso com espaços de frente-da-casa e fundos-de-casa
11:41
with front-of-house and back-of-house
spaces has been liberated.
spaces has been liberated.
245
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3042
foi liberado.
11:44
So an artistic director has the ability
to have a performance
to have a performance
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Assim, um diretor de arte tem a capacidade de mostrar --
ter um espetáculo que entra em uma procissão Wagneriana,
11:48
that enters in a Wagnerian procession,
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2115
apresenta o primeiro ato em palco aberto
11:50
shows the first act in thrust,
248
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2335
o intervalo em uma procissão grega,
11:52
the intermission in a Greek procession,
249
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3185
11:55
second act in arena, and so forth.
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1818
o segundo ato em arena, e assim por diante.
Então eu vou mostrar a vocês o que -- o que isso significa.
11:58
So I'm going to show you
what this actually means.
what this actually means.
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2351
Esse é o teatro em close.
12:00
This is the theater up close.
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Qualquer parte em torno do teatro pode ser aberta discretamente.
12:02
Any portion around the theater
actually can be opened discretely.
actually can be opened discretely.
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3086
A cápsula de luz pode ser elevada separadamente
12:07
The light enclosure can be lifted
separate to the acoustic enclosure,
separate to the acoustic enclosure,
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3898
até a cápsula acústica, então você pode ter Beckett
12:11
so you can do Beckett
with Dallas as the backdrop.
with Dallas as the backdrop.
255
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2484
e Dallas como pano de fundo.
As partes podem ser abertas, então agora você pode ter motocicletas
12:14
Portions can be opened,
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1165
12:16
so you can now actually have motorcycles
drive directly into the performance,
drive directly into the performance,
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711335
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levadas diretamente ao espetáculo, ou pode ter uma performance a céu aberto,
12:19
or you can even just have
an open-air performance,
an open-air performance,
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2402
ou para intervalos.
12:22
or for intermissions.
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1166
As varandas todas se movimentam para ir entre essas configurações,
12:23
The balconies all move to go
between those configurations,
between those configurations,
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2733
mas elas também desaparecem.
12:26
but they also disappear.
261
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1285
A linha do proscênio também pode desaparecer.
12:28
The proscenium line can also disappear.
262
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2120
Você pode trazer para dentro objetos enormes --
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
a Companhia de Teatro de Dallas -- o seu primeiro show
será uma peça sobre Charles Lindbergh,
12:34
their first show will be a play
about Charles Lindbergh,
about Charles Lindbergh,
265
730009
2651
e eles vão querer trazer um avião de verdade.
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
E isso também oferece a eles, fora da temporada,
a habilidade de
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
alugar seu espaço para coisas completamente diferentes.
12:48
This is it from a distance.
269
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2655
Isso é de noite -- desculpe, de longe.
12:53
Open up entire portions
for different kinds of events.
for different kinds of events.
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2988
Abrir porções inteiras para diferentes tipos de eventos.
12:56
And at night.
271
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1151
E de noite.
Novamente, remove-se o isolamento de luz; mantêm-se o isolamento acústico.
12:59
Again, remove the light enclosure;
keep the acoustic enclosure.
keep the acoustic enclosure.
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3878
Esse é um show de carros monstro.
13:04
This is a monster truck show.
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1878
Agora vou mostrar-lhes o último projeto.
13:06
I'm going to show now the last project.
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1891
Também um cliente atípico.
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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2473
Eles inverteram toda a idéia de desenvolvimento.
Eles vieram até nós e dissertam - diferente de desenvolvedores normais -
13:12
They came to us and they said --
unlike normal developers --
unlike normal developers --
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767497
2827
eles disseram, "Nós queremos começar oferecendo
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
um museu de arte contemporânea
em Louisville. Esse é o nosso 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
Então, em vez de ser um desenvolvedor que vê uma oportunidade
de fazer dinheiro, eles viram uma possibilidade de serem catalisadores
13:24
they saw an ability to be
a catalyst in their downtown.
a catalyst in their downtown.
282
779529
3021
no centro de sua cidade.
13:27
And the fact that they wanted to support
the contemporary art museum
the contemporary art museum
283
782574
3580
E o fato de quererem apoiar
o museu de arte contemporânea na verdade construiu a sua pro forma,
13:30
actually built their pro forma,
284
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1557
então eles trabalharam ao contrário.
13:32
so they worked in reverse.
285
787759
1317
E essa pro forma os levou
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 um prédio de uso combinado que era muito grande
13:38
in order to support
their aspirations of the art,
their aspirations of the art,
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794000
2304
para que pudesse apoiar suas aspirações artísticas,
mas também abriu oportunidades para a arte propriamente
13:41
but it also opened up opportunities
for the art itself
for the art itself
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796328
2547
de colaborar, interagir com espaços comerciais,
13:43
to collaborate, interact
with commercial spaces
with commercial spaces
290
798899
2220
nos quais os artistas cada vez mais querem trabalhar.
13:45
that actually artists more
and more want to work within.
and more want to work within.
291
801143
2760
E isso também nos levou a pensar sobre como ter
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
algo que era tanto um prédio único
13:52
something that was both a single building
293
807405
1964
e uma tipo de sub-prédio com reputação.
13:54
and a credible sort of sub-building.
294
809393
2583
13:56
So this is Louisville's skyline,
295
812000
2543
Então agora eu vou - esse é o horizonte de Louisville --
e vou mostrar-lhes
13:59
and I'm going to take
you through the various constraints
you through the various constraints
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814567
2680
várias restrições que tivemos com o projeto.
14:02
that led to the project.
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Primeiro, as restrições físicas. Nós tivemos que operar
14:03
First: the physical constraints.
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em três lugares,
14:04
We actually had to operate
on three discrete sites,
on three discrete sites,
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todos eles bem, bem menores do que o tamanho do prédio.
14:07
all of them well smaller
than the size of the building.
than the size of the building.
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Tivemos que trabalhar perto do novo centro Muhammad Ali,
14:10
We had to operate next to the new
Muhammad Ali Center, and respect it.
Muhammad Ali Center, and respect it.
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e respeitá-lo.
Tivemos que trabalhar em cima da estrutura pluvial de 100 anos de idade.
14:13
We had to operate
within the 100-year floodplain.
within the 100-year floodplain.
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E essa área alaga cerca de 3 a 4 vezes por ano,
14:16
Now, this area floods
three to four times a year,
three to four times a year,
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e existe uma barreira bem atrás do nosso local
14:18
and there's a levee behind our site,
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similar às barreiras que quebraram em Nova Orleans.
14:20
similar to the ones
that broke in New Orleans.
that broke in New Orleans.
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Ter que trabalhar ao lado da via expressa 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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uma via que corta bem no meio desses dois locais separados.
Então estas - nós estamos começando a construir um
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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pesadelo de restrições por conta de uma banheira.
Embaixo da banheira estão
14:35
Underneath the bathtub
are the city's main power lines.
are the city's main power lines.
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as principais linhas de energia da cidade.
E há um corredor de pedestres que eles queriam acrescentar
14:39
And there is a pedestrian corridor
that they wanted to add,
that they wanted to add,
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que ligaria uma série de edifícios culturais,
14:42
that would link a series
of cultural buildings,
of cultural buildings,
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e um corredor com vista - já que este é o 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 eles não queriam obstruir com o novo edifício.
14:48
that they didn't want to obstruct
with a new building.
with a new building.
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(Risadas)
E agora vamos adicionar 100 mil metros quadrados.
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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E se fizéssemos tradicionalmente, esses 100 mil metros quadrados --
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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estes são os programas diferentes - o tradicional seria 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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os elementos públicos, colocá-los nos locais,
e agora nós teríamos uma situação realmente terrível:
15:03
and now we'd have a really
terrible situation:
terrible situation:
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uma coisa pública, no meio de uma bacia que 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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E então nós dimensionamos todos os outros elementos --
os diferentes elementos comerciais:
15:12
the different commercial elements:
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hotel, casas de luxo, escritórios e assim por diante --
15:14
hotel, luxury housing,
offices and so forth --
offices and so forth --
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e colocamos tudo em cima. E nós criaríamos 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 era inviável.
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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Na verdade - e vocês sabem disso - esse se chama prédio Time Warner.
(Risadas)
15:24
(Laughter)
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Então nossa estratégia foi bem simples.
15:25
So our strategy was very simple.
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15:27
Just lift the entire block,
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Apenas elevar o quarteirão inteiro,
virar alguns elementos, reposicioná-los,
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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de modo que tenha vistas apropriadas e ligações com o centro,
15:35
and relationships to downtown,
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e criar conexões de circulação e reordenar a avenida.
15:37
and make circulation connections
and reroute the road.
and reroute the road.
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Então este é o conceito básico,
15:40
So that's the basic concept,
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e agora eu vou mostrar ao que ele leva.
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 um gesto bem formal, intencional,
mas algo surgiu inteiramente a partir das restrições.
15:48
but something derived entirely
out of the constraints.
out of the constraints.
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E novamente, quando nós fizemos o lançamento, houve um certo nervosismo
15:50
And again, when we unveiled it,
there was a sort of nervousness
there was a sort of nervousness
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que isso era sobre um arquiteto tentanto provar alguma coisa,
15:53
that this was about an architect
making a statement,
making a statement,
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e não um arquiteto que estava tentando 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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uma série de problemas.
Agora, dentro da zona central, como eu disse,
15:59
Now, within that center zone, as I said,
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nós temos a possibilidade de misturar uma série de coisas.
16:02
we have the ability to mix
a series of things.
a series of things.
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Então aqui vocês podem ver que lá --
16:04
So here, this is sort of an x-ray --
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isso -- uma espécie de raio-x -- as torres
16:07
the towers are totally developer-driven.
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942393
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são totalmente direcionadas pelo cliente. Eles nos deram as dimensões, os tamanhos, etc
16:09
They told us the dimensions,
the sizes and so forth,
the sizes and so forth,
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e nós focamos em tomar todos os componentes públicos --
16:11
and we focused on taking
all the public components --
all the public components --
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os lobbies, bares,
16:14
the lobbies, the bars --
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949347
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tudo que os diferentes elementos comerciais teriam --
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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e combinamos tudo no centro, parecido com um mapa de metrô,
16:21
in the transfer zone that would also
include the contemporary art museum.
include the contemporary art museum.
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na zona de baldeação que também incluiria o museu de arte contemporânea.
Então ele cria uma situação desse tipo,
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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onde você tem artistas que podem trabalhar 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 um espaço de arte que também tem uma incrível vista no 22. andar,
mas também possui proximidade que o 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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pode tanto abrir como fechar.
Permite que as pessoas em bicicletas ergométricas
16:37
It allows people
on exercise bicycles to be seen,
on exercise bicycles to be seen,
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sejam vistas ou vejam a arte, e assim por diante.
16:40
or to see the art, and so forth.
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Também significa que se um artista quer invadir algo como uma 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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eles podem começar a fazer sua exibição em uma piscina,
16:45
they can begin to do their exhibition
in a swimming pool,
in a swimming pool,
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então eles não são forçados a sempre trabalhar no confinamento
16:48
so they're not forced to always
work within the confines
work within the confines
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do espaço das galerias contemporâneas.
16:51
of a contemporary gallery space.
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Então, como construir isso.
16:52
So, how to build this.
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É bem simples: é uma cadeira.
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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Então, nós começamos construindo as bases.
E conforme construimos as bases, construimos o museu de arte contemporânea em progressão.
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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Isso nos permite ter incrível eficiência e eficiência de custos.
17:02
That allows us to have
incredible efficiency and cost efficiency.
incredible efficiency and cost efficiency.
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Esse não é um prédio com orçamento alto.
17:05
This is not a high-budget building.
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No momento que as bases atingem o nível médio,
17:07
The moment the cores get to mid level,
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1002839
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nós terminamos o museu de arte, colocamos todos os equipamentos mecânicos dentro
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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e então levamos tudo para cima.
17:12
and then we jack it up into the air.
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1007931
1745
É assim que eles constroem grandes hangares de aviões,
17:14
This is how they build
really large aircraft hangars,
really large aircraft hangars,
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por exemplo, para os que abrigam o A380.
17:17
for instance, the ones
that they did for the A380.
that they did for the A380.
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Termine as cores, termine a carne
17:19
Finish the cores, finish the meat
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e você consegue algo que se parece com isto.
17:21
and you get something
that looks like this.
that looks like this.
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Tenho apenas 30 segundos, então quero mostrar
17:23
Now I only have about 30 seconds,
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uma animação, e vou terminar por aqui.
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 pediu para dizer --
17:35
the theater is under construction,
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o teatro está em construção, e
17:37
and this project will start
construction in about a year,
construction in about a year,
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esse projeto vai começar a ser construído dentro de um ano,
e será finalizado em 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