TEDxBroadway
David Korins: 3 ways to create a space that moves you, from a Broadway set designer
大卫 · 科林斯: 百老汇布景设计师传授的三个创造动人空间的设计方法
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创意总监大卫 · 科林斯说，你不必非得在百老汇工作才能设计出一套布景——你可以成为生活中任何空间的布景设计师。柯林斯与我们分享了他在《汉密尔顿》和《致埃文 · 汉森》等经典音乐剧中的见解，并提供了一个打造你梦想中世界的“三部曲”。
David Korins - Creative director, set designer
David Korins develops and designs innovative experiences. Full bio
David Korins develops and designs innovative experiences. Full bio
Double-click the English transcript below to play the video.
00:12
You're sitting there,
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你正坐在那里，
无比烦躁。
00:14
and it's incredibly frustrating.
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简直令人抓狂。
00:19
It's maddening.
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你已经坐在那几个小时了，
00:20
You've been sitting there for hours,
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用你的2B铅笔涂写那些小圆圈——
00:21
filling in those little tiny circles
with your No. 2 pencil --
with your No. 2 pencil --
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这是一场标准化考试。
00:24
this is a standardized test.
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00:26
You look up, half-erased chalkboard,
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你抬起头，看见擦了一半的黑板，
看见笔体完美的草书，
00:29
you can see that perfectly
written cursive alphabet,
written cursive alphabet,
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00:33
the pull-down maps,
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下拉的地图，
你能听到嘀嗒、嘀嗒、嘀嗒，
墙上的时钟发出的声音。
墙上的时钟发出的声音。
00:35
you can hear, tick, tick, tick, ticking
on the wall, that industrial clock.
on the wall, that industrial clock.
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但最重要的是，你能
感觉到那压抑的荧光灯，
感觉到那压抑的荧光灯，
00:40
But most importantly, you can feel
that oppressive fluorescent light,
that oppressive fluorescent light,
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你头上的死亡之光。
00:45
that death ray over your head.
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嗡嗡嗡。
00:47
Bzzzzzz.
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你无法继续忍受了，
但也不需要忍受了，
但也不需要忍受了，
00:49
And you can't take it anymore,
but you don't have to,
but you don't have to,
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因为考官姐姐说，“好了，
孩子们，交卷了。”
孩子们，交卷了。”
00:52
because Miss Darling says,
"OK, boys and girls, you're done."
"OK, boys and girls, you're done."
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于是你跳起来——一溜烟地消失。
00:55
So you jump up -- I mean, there is nothing
left of you but a vapor trail.
left of you but a vapor trail.
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你动作迅速，砰的一声
推进那把塑料椅子，
推进那把塑料椅子，
00:58
You move so quickly, you slam
that little molded plastic chair,
that little molded plastic chair,
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在走廊狂奔，
01:02
and you sprint down the hallway;
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身边飘过消毒水味儿，
臭鞋味儿，还有柜子，
臭鞋味儿，还有柜子，
01:04
you go past the Lysol smell
and the BO smell and the cubbies,
and the BO smell and the cubbies,
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你推开那扇门——
01:08
and you push the door --
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(深深吸入)
01:09
(Inhales deeply)
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终于，你到外面了。
01:11
and finally, you're outside.
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01:13
Oh, you can feel the wind on your face,
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哦，你可以感受到清风拂面，
和煦的阳光洒满每一个毛孔，
01:15
then the sun on your skin
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最重要的是，还有又大又蓝的天空。
01:18
and most importantly, the big blue sky.
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01:22
That is a revelation of space.
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这就是空间展示。
01:25
Making revelations of space is what I do;
I'm a designer and creative director,
I'm a designer and creative director,
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我的工作就是设计空间展示；
我是设计师和创意总监，
我是设计师和创意总监，
这是我谋生的本领。
01:30
and that's what I do for a living.
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我用各种方式为各色人群做设计，
01:32
I do it for all sorts of people
in all kinds of different ways,
in all kinds of different ways,
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它可能看起来很复杂，但其实不然。
01:35
and it might seem
complicated, but it's not.
complicated, but it's not.
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在接下来几分钟，
我会告诉你们三个方法，
我会告诉你们三个方法，
01:37
And over the next couple of minutes,
I'm going to give you three ways
I'm going to give you three ways
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应该可以把它们用在你们的世界里，
01:41
that I think you can
move through your world
move through your world
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这样你们也可以设计
空间展示，或者至少看懂它。
空间展示，或者至少看懂它。
01:43
so that you, too, can make revelations
of space, or at least reveal them.
of space, or at least reveal them.
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01:47
Step one: therapy.
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第一步：问诊。
01:50
I know, I know, I know: blah, blah, blah,
New Yorker, blah, blah, blah, therapy.
New Yorker, blah, blah, blah, therapy.
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我知道我知道：巴拉巴拉，
纽约客，巴拉巴拉，诊疗。
纽约客，巴拉巴拉，诊疗。
但真的，问诊——你得知道
你为什么做这些东西，对吧？
你为什么做这些东西，对吧？
01:54
But seriously, therapy -- you have to know
why you're doing these things, right?
why you're doing these things, right?
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当我接到设计《汉密尔顿》的工作时，
01:58
When I got the job
of designing "Hamilton,"
of designing "Hamilton,"
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我和作家林-马努艾尔 · 米兰达
02:00
I sat with Lin-Manuel Miranda, writer,
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及汤米 · 凯尔导演坐在一起，我说，
02:02
Tommy Kail, director, and I said,
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“为什么我们要讲述
这个246年前的老故事？
这个246年前的老故事？
02:04
"Why are we telling
this 246-year-old story?
this 246-year-old story?
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你想讲这个故事的哪些方面，
02:07
What is it about the story
that you want to say,
that you want to say,
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你希望人们在观看演出时
有什么样的感受？”
有什么样的感受？”
02:10
and what do you want people to feel like
when they experience the show?"
when they experience the show?"
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这很重要，当我们理解了，
就可以进入第二步：设计阶段。
就可以进入第二步：设计阶段。
02:13
It's important. When we get that,
we move into step two: the design phase.
we move into step two: the design phase.
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我会给你们一些这方面的小技巧，
02:17
And I'll give you
some little tricks about that,
some little tricks about that,
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但设计阶段之所以重要，是因为
我们可以做这些很酷的玩具。
我们可以做这些很酷的玩具。
02:19
but the design phase is important
because we get to make these cool toys.
because we get to make these cool toys.
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我去理解林的想法，
他也来理解我的想法，
他也来理解我的想法，
02:24
I reach into Lin's brain,
he reaches into mine,
he reaches into mine,
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这段独白变成对白。
02:27
this monologue becomes a dialogue.
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我做出这些很酷的玩具，
02:28
And I make these cool toys,
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然后说，“这个世界看起来像是
02:30
and I say, "Does this world
look like the world
look like the world
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能为你的戏剧提供舞台的世界吗？”
02:32
that you think could be a place
where we could house your show?"
where we could house your show?"
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如果他回答“是”——与答案相同——
02:35
If the answer is yes --
and when the answer is yes --
and when the answer is yes --
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我们就进入我认为最可怕的环节，
02:38
we move into what I think
is the most terrifying part,
is the most terrifying part,
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执行阶段。
02:41
which is the execution phase.
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执行阶段是我们去
建造这些东西的时候，
建造这些东西的时候，
02:43
The execution phase is when
we get to build this thing,
we get to build this thing,
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几个人之间的沟通变成了
几百个人在诠释
几百个人在诠释
02:45
and when this conversation goes
from a few people to a few hundred people
from a few people to a few hundred people
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这个创意。
02:50
now translating this idea.
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我们把这个美丽的小东西放进
02:51
We put it in this beautiful little thing,
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“亲爱的，我把孩子们缩小了”
里的那部放大缩小机器，
里的那部放大缩小机器，
02:53
put it in the "Honey, I Shrunk the Kids"
super-sizer machine
super-sizer machine
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把它放大到实际尺寸，
02:56
and blow it up full-scale,
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我们永远不知道我们是否做对了，
02:58
and we never know if we did it right
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直到自己站在舞台上，问
“这样可以吗，这样好吗？”
“这样可以吗，这样好吗？”
02:59
until we show up onstage and go,
"Is it OK? Is it OK?"
"Is it OK? Is it OK?"
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关键在于：
03:02
Here's the thing:
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你不必成为作家林，
03:04
you don't have to be Lin,
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要在现实生活中做到这些，
03:05
you don't have to have a book
that you want to turn into a show
that you want to turn into a show
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你并不需要一个想搬上舞台的剧本。
03:08
in order to do this in your real life.
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你已经在开始表演了，
剧名叫你的人生。
剧名叫你的人生。
03:10
You're already starring in a show,
by the way. It's called your life.
by the way. It's called your life.
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恭喜。
（笑声）
（笑声）
03:13
Congratulations. (Laughter)
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但严肃地说，莎士比亚说过：
“世界是个大舞台。”
“世界是个大舞台。”
03:15
But seriously, Shakespeare said it:
"All the world's a stage."
"All the world's a stage."
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那部分他说得很对。
03:18
He nailed that part.
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他搞错的是他说的另一部分：
03:19
What he screwed up royally
was that part where he said,
was that part where he said,
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“男男女女只是演员。”
03:23
"And we are merely players."
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这很荒谬，我们不仅是演员。
03:25
It's ridiculous. We're not merely players.
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我们是服装设计师和灯光设计师，
03:27
We are the costume designers
and the lighting designers
and the lighting designers
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还是我们自己世界的化妆师，
03:30
and the makeup artists in our own world,
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我想让你们想象自己是
你们世界的布景设计师。
你们世界的布景设计师。
03:32
and I want to get you to think about
being the set designer in your world.
being the set designer in your world.
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因为我认为在离开这里后，
假如你们做了这三个步骤，
假如你们做了这三个步骤，
03:35
Because I think you can leave here
if you do these three steps
if you do these three steps
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再加上一些我马上就要
告诉你的小技巧，
告诉你的小技巧，
03:40
and a couple of little tricks,
as I said, I'm going to tell you,
as I said, I'm going to tell you,
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你们就可以按自己的方式开始
03:43
and you can begin to change the world
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改变你的世界。
03:45
the way you want to.
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准备好了吗？
03:46
You want to do it?
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好，每人写个剧本。
03:47
OK. Everybody write a show.
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03:48
(Laughter)
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（笑声）
不用，开玩笑的。
03:50
No. Just kidding.
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好，第一步：问诊，对吗？
03:51
OK. Step one: therapy. Right?
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03:54
How are you feeling?
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你感觉怎样？
诊疗师往往会说：“你今天感觉怎样？”
03:56
That's what the therapist says:
"How are you feeling today?"
"How are you feeling today?"
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记住这点很重要，因为
当我们为你设计世界时，
当我们为你设计世界时，
03:59
It's important to remember that,
because when we design the world for you,
because when we design the world for you,
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问诊是很重要的。
04:03
the therapy is important.
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它会告诉你，情绪
会变得明亮和有色彩。
会变得明亮和有色彩。
04:05
It tells you that emotion
is going to become light and color.
is going to become light and color.
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关于这种光亮和色彩有个很好的例子，
04:10
A good example of that light and color
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是一部叫《致埃文 · 汉森》的音乐剧。
04:14
is a show I designed called
"Dear Evan Hansen."
"Dear Evan Hansen."
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（欢呼）
《致埃文 · 汉森》在——哦老天——
04:16
(Cheers)
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04:17
"Dear Evan Hansen" exists -- oh my God --
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《致埃文 · 汉森》存在于一个
几乎全是光和色彩的世界里。
几乎全是光和色彩的世界里。
04:19
"Dear Evan Hansen" exists in a world
of almost all light and color.
of almost all light and color.
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所以我选择了一种颜色：漆黑。
04:23
So I chose a color: inky-black darkness.
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（笑声）
04:25
(Laughter)
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漆黑是悲伤的情绪色彩。
04:26
Inky-black darkness is a color
the way that sadness is an emotion.
the way that sadness is an emotion.
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这个演出让观众动情，
但在动情之前还要受点小折磨。
但在动情之前还要受点小折磨。
04:31
And this show transforms people,
but not before it wrecks people.
but not before it wrecks people.
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我打赌你在想，“如果在漆黑的黑暗中
04:35
I bet you're wondering, "How expensive
could the set possibly be to transform you
could the set possibly be to transform you
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坐了2小时20分钟，
04:40
if you sit for two hours and 20 minutes
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得多贵的布景才能打动你？”
04:42
in inky-black darkness?"
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答案是：花小钱就能办大事儿！
04:43
The answer is: cheap!
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04:46
Inky-black darkness,
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漆黑的黑暗，
04:48
turn the lights on at the right time.
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在合适的时候打开灯光。
说真的，想象一下
从考官姐姐的教室跑出来。
从考官姐姐的教室跑出来。
04:50
Seriously, think about leaving
Miss Darling's class.
Miss Darling's class.
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漆黑在适当的时候让位，
04:53
Inky-black darkness gives way
at the right moment,
at the right moment,
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我们飞跃那片墙，找到美丽的蓝天。
04:56
we fly away that wall and reveal
a beautiful blue sky.
a beautiful blue sky.
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05:01
It blows people away
and it transports them,
and it transports them,
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它让观众豁然开朗，思绪飞扬，
让他们感受到希望。
05:03
and it makes them feel hopeful.
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我们知道这一点，因为颜色就是情绪，
05:05
And we know this because color is emotion,
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你用颜色作画时，你是在用情绪作画。
05:07
and when you paint with color,
you're painting with feelings.
you're painting with feelings.
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05:12
So think about that emotion, the one I had
you file away in your mental Rolodex.
you file away in your mental Rolodex.
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那么想想你的情绪，刚才我让你
放在一边的那个情绪。
放在一边的那个情绪。
它是什么颜色？
05:15
What color is it?
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它在你衣柜的什么地方，
在你家中的什么位置？
在你家中的什么位置？
05:17
Where in your wardrobe does it exist,
and where in your home does it exist?
and where in your home does it exist?
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当我们为你们设计这部剧时，
05:20
When we design the show for you,
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我们会用那个颜色来告诉你
在特定的时刻会有什么感受。
在特定的时刻会有什么感受。
05:22
we're going to use that color
to tell you how you feel in certain times.
to tell you how you feel in certain times.
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05:26
But also, you know this exists
because you put the hero in white,
because you put the hero in white,
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但同样，你也知道这些，
因为英雄都是白色，
因为英雄都是白色，
主角都是红色，反派都是黑色。
05:29
you put the lead character in red,
you put the villain in all black.
you put the villain in all black.
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这是惯常做法，你知道这点。
05:33
It's typecasting. You know that.
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所以考虑一下。
05:35
So think about it.
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但也出现了其他一些事情
05:36
But there's also something else
that happens in the world
that happens in the world
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来帮助我们安全地体验这个世界。
05:39
that helps us move through
the world in a safe way.
the world in a safe way.
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它们叫做建筑标准。
05:41
They're called architectural standards.
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它们让我们不会跌倒和踩雷。
05:43
They make us not fall down and go boom.
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门把手都在同一高度。
灯光开关都在同一高度。
灯光开关都在同一高度。
05:46
Doorknobs are all at the same height.
Light switches are all at the same height.
Light switches are all at the same height.
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抽水马桶总是——
感谢上帝——在同一高度，
感谢上帝——在同一高度，
05:49
Toilet bowls are always --
thank God -- at the same height,
thank God -- at the same height,
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因为大家都够的着。
05:52
because no one ever
misses the toilet bowl.
misses the toilet bowl.
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但说真的，
05:54
But seriously,
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如果我们调整那些建筑标准
去获得我们想要的，
去获得我们想要的，
05:56
what would happen if we started
to tweak those architectural standards
to tweak those architectural standards
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会发生什么？
06:00
to get what we wanted?
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06:01
It reminds me of the stairs
I made for Pee-Wee Herman.
I made for Pee-Wee Herman.
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这让我想起我为
皮威 · 赫尔曼做的楼梯。
皮威 · 赫尔曼做的楼梯。
皮威 · 赫尔曼是个孩子，
06:05
Pee-Wee Herman is a child,
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他的整个世界都打造成能让
我们把皮威看作孩子的风格。
我们把皮威看作孩子的风格。
06:06
and his entire world is created
so that we perceive Pee-Wee as a child.
so that we perceive Pee-Wee as a child.
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06:12
The architecture and the furniture
and everything come to life,
and everything come to life,
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建筑、家具和一切都栩栩如生，
但都没有这些楼梯重要。
06:16
but nothing more important
than those stairs.
than those stairs.
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这些楼梯有12英寸高，
06:18
Those stairs are 12 inches high,
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所以当皮威在楼梯上爬上爬下时，
06:21
so when Pee-Wee clomps
up and down those stairs,
up and down those stairs,
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他就像孩子般与楼梯互动。
06:23
he interacts with them like a kid.
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你不能假装出那种互动的效果，
06:26
You can't fake that kind of interaction,
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这和我们对歌剧演员的要求完全相反。
06:28
and that's the exact opposite
of what we ask people in opera to do.
of what we ask people in opera to do.
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06:33
In opera, we shrink those stairs
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在歌剧中，我们把楼梯的高度缩小，
这样主角可以毫不费力地上上下下，
06:35
so that our main characters
can glide up and down effortlessly
can glide up and down effortlessly
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而不会干扰他们的歌喉。
06:40
without ever breaking their voice.
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你永远不可能把一个歌剧演唱家
放在皮威的剧场里，
放在皮威的剧场里，
06:42
You could never put an opera singer
in Pee-Wee's Playhouse,
in Pee-Wee's Playhouse,
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（爬楼梯的皮威在唱歌）
那样歌剧演员就无法正常演出。
那样歌剧演员就无法正常演出。
06:45
(Sings in Pee-Wee's voice)
or they wouldn't be able to do their job.
or they wouldn't be able to do their job.
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（笑声）
但你不能把皮威放在歌剧布景里。
06:48
(Laughter)
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06:49
But you couldn't put Pee-Wee
in an opera set.
in an opera set.
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如果他不能在那些楼梯上爬上爬下，
06:51
He couldn't climb
up and down those stairs.
up and down those stairs.
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就不是皮威了。
他会像詹姆斯 · 邦德一样
优雅地上下楼梯。
优雅地上下楼梯。
06:53
There'd be no Pee-Wee.
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06:54
He'd be like James Bond slinking
elegantly up and down the stairs.
elegantly up and down the stairs.
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那根本行不通。
（笑声）
现在想想你的布景，你的家，
你每天都在怎样的地方。
你每天都在怎样的地方。
06:58
It wouldn't work.
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06:59
(Laughter)
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07:00
Now think of your set, your home,
what you exist in every single day.
what you exist in every single day.
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如果你和我一样，会觉得垃圾桶太小，
07:03
If you're anything like me,
the trash can is just too small
the trash can is just too small
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都装不下你每晚叫的
那些外卖包装，对吗？
那些外卖包装，对吗？
07:06
for the amount of takeout
that you buy every night, right?
that you buy every night, right?
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我发现自己需要像揉面团
一样使劲儿塞那个垃圾桶，
一样使劲儿塞那个垃圾桶，
07:09
And I find myself jamming
like I'm kneading dough at a pizza place,
like I'm kneading dough at a pizza place,
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我一直往里塞，是因为我不明白。
07:12
I'm jamming it in
because I don't understand.
because I don't understand.
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或者，也许是你门厅的电灯开关
07:15
Or, maybe the light switch in your foyer
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就藏在太多随意丢放的衣服后面，
07:18
is just stashed behind too many
precariously placed coats,
precariously placed coats,
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以致你都不想去够它。
07:21
and so you don't even go for it.
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因此，一天天过去，
07:23
Therefore, day after day,
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你只能在黑暗的深渊里进进出出。
07:25
you wind up walking in and out
of a chasm of darkness.
of a chasm of darkness.
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（笑声）
07:28
(Laughter)
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这是真的。
07:29
It's true.
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但如果这个空间揭示了某些
连你自己都不了解的自我，
连你自己都不了解的自我，
07:30
But what would happen if the space
revealed something about yourself
revealed something about yourself
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会怎样？
07:34
that you didn't even know?
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07:36
Kanye never told me specifically
that he wanted to be God.
that he wanted to be God.
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坎耶从未明确告诉过我他想成为上帝。
07:41
But --
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但——
（笑声）
07:42
(Laughter)
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当我们开始一起工作时，
我们开始来回发送图片，
我们开始来回发送图片，
07:43
when we started working together,
we were sending images back and forth,
we were sending images back and forth,
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他给我发了一张北极光的照片，
07:48
and he sent me a picture
of the aurora borealis
of the aurora borealis
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里面有闪电穿过。
07:50
with lightning strikes through it.
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还有些照片是从山顶上
07:52
And he sent me pictures
from a mountaintop looking down
from a mountaintop looking down
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俯瞰着烟雾弥漫的峡谷，
07:55
at a smoke-filled canyon,
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或雾气腾腾的水面——
07:57
or smoke underneath
the surface of water --
the surface of water --
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诸如史诗般的东西。
07:59
like, epic stuff.
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所以我为他设计的第一套布景
是一个巨大的灯箱，
是一个巨大的灯箱，
08:01
So the first set I designed for him
was a huge light box
was a huge light box
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上面写着他唱片公司的名字。
08:04
with the name of his record label.
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他会志得意满地站在前面，
08:06
He would stand triumphantly
in front of it,
in front of it,
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它会像闪电一样发出闪光。
08:08
and it would flash lights
like a lightning bolt.
like a lightning bolt.
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很震撼，但是，只能算是初级震撼。
08:10
And it was epic, but, like,
starter-kit epic.
starter-kit epic.
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我们继续前进，变成一大片天空，
天空中间有一条裂缝，
天空中间有一条裂缝，
08:12
We moved on to a large swath of sky
with a tear down the middle,
with a tear down the middle,
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通过裂缝，你可以看到宇宙的深处。
08:15
and through the tear, you could see
deep parts of the cosmos.
deep parts of the cosmos.
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我就快说完了。
08:19
Getting closer.
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我们进化到站在方尖碑上，
08:21
We evolved to standing
on top of an obelisk,
on top of an obelisk,
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站在山腰上，站在盒子上。
08:25
standing on top of a mountainside,
standing on top of boxes.
standing on top of boxes.
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他作为艺术家在空间中进化，
08:28
You know, he was evolving
as an artist through space,
as an artist through space,
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我的工作就是努力跟上。
08:30
and it was my job to try and keep up.
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当我们做柯契拉音乐节时，
08:32
When we did Coachella,
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08:34
there he was,
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他现身了，
站在一个80尺宽、
40尺高的古风工艺品前，
40尺高的古风工艺品前，
08:35
standing in front of an 80-foot-wide
by 40-foot-tall ancient artifact,
by 40-foot-tall ancient artifact,
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毫不夸张，是上帝
把他亲手交给人类的。
把他亲手交给人类的。
08:39
literally handed down from God to man.
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08:42
He was evolving,
and we were all witness to it.
and we were all witness to it.
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他在进化，我们都见证了这点。
在他的上一次演出中，
我没有参与设计，但见证了
我没有参与设计，但见证了
08:45
And in his last show,
which I didn't design but I witnessed,
which I didn't design but I witnessed,
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他实现了自我。
08:48
he had self-actualized.
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他站在一个浮动的有机玻璃甲板上，
08:49
He was literally standing
on a floating plexiglass deck
on a floating plexiglass deck
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下面是崇拜他的粉丝，
08:54
over his adoring fans,
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粉丝没得选，只能
仰头赞美上方的“耶酥”。
仰头赞美上方的“耶酥”。
08:56
who had no choice but to praise
to Yeezus up above.
to Yeezus up above.
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（笑声）
09:01
(Laughter)
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他把自己神化了。
09:02
He had deified himself.
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你在家里的客厅是变不成耶稣的。
09:04
You can't become Yeezus
in your living room.
in your living room.
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那个空间告诉了他关于自己的一切，
09:06
The space told him
who he was about himself,
who he was about himself,
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然后他向我们传达了这点。
09:09
and then he delivered that to us.
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09:11
When I was 20 years old,
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当我20岁时，
我开车经过一个停车场，看到一个水坑，
09:13
I was driving through a parking lot,
and I saw a puddle.
and I saw a puddle.
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心想，“我从左边绕一下吧。
不——我要直着开过去。”
不——我要直着开过去。”
09:17
I thought, "I'm going to veer to the left.
No -- I'm going through it."
No -- I'm going through it."
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我开进了水坑，于是——哗！——
所有的水都飞溅到了我的车底，
所有的水都飞溅到了我的车底，
09:20
And I hit the puddle, and -- ffftt! --
all the water underneath my car,
all the water underneath my car,
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突然，我的顿悟时刻来了，
09:23
and instantly, I have an aha moment.
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09:26
Light bulb goes off.
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脑中灵光一现。
09:28
Everything in the world
needs to be designed.
needs to be designed.
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世间的一切都需要设计。
09:31
I mean, I'm sure I was thinking,
"The drainage needs to be designed
"The drainage needs to be designed
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当然，我确定当时想的是，
“这个停车场的排水系统
“这个停车场的排水系统
需要设计。”
09:35
in this parking lot."
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但很快我就想到，
“世间的一切都需要设计。”
“世间的一切都需要设计。”
09:36
But then I was like, "Everything
in the world needs to be designed."
in the world needs to be designed."
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这是真的，因为如果顺其自然，
09:39
And it's true: left to its own devices,
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大自然不会为你开辟出
一条有趣的，或一定有用的
一条有趣的，或一定有用的
09:41
Mother Nature isn't going to carve
an interesting or necessarily helpful path
an interesting or necessarily helpful path
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09:45
for you.
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人生道路。
09:47
I've spent my career
reaching into people's minds
reaching into people's minds
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我在整个职业生涯中
都在了解人们的想法，
都在了解人们的想法，
去创建我们都能与之互动的世界。
09:51
and creating worlds out here
that we can all interact with.
that we can all interact with.
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09:56
And yeah, you might not get
to do this with fancy collaborators,
to do this with fancy collaborators,
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当然，你的合作伙伴可能没那么出名，
但我认为你今天可以学到
这三个简单的步骤——
这三个简单的步骤——
09:59
but I think if you leave here,
those three easy steps --
those three easy steps --
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问诊，我想要成为什么人，
我为什么要做这样的事；
我为什么要做这样的事；
10:03
therapy, who do I want to be,
why do I do the things that I do;
why do I do the things that I do;
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设计，制定一个计划并坚持到底，
10:07
design, create a plan and try
and follow through with it,
and follow through with it,
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我能做什么；
10:11
what can I do;
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执行——
10:13
execute it --
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10:15
I think if you add that
with a little color theory --
with a little color theory --
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我觉得如果你能在这其中
增加一点色彩理论——
增加一点色彩理论——
（笑声）
10:17
(Laughter)
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做些比较酷的设计选择，
打破一些建筑标准的约束，
打破一些建筑标准的约束，
10:18
some cool design choices and a general
disrespect for architectural standards,
disrespect for architectural standards,
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你就可以放开手脚
10:23
you can go out
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去创造你想要生活的世界，
10:24
and create the world
that you want to live in,
that you want to live in,
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而我，打算回家买个新的垃圾桶。
10:27
and I am going to go home
and buy a new trash can.
and buy a new trash can.
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10:30
Thank you.
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谢谢。
（鼓掌）
10:31
(Applause)
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ABOUT THE SPEAKER
David Korins - Creative director, set designerDavid Korins develops and designs innovative experiences.
Why you should listen
David Korins is the founder and principal designer of David Korins Design, a multidisciplinary creative firm developing and designing innovative experiences. Korins is currently represented on Broadway with the back-to-back Tony Award-winning hits Hamilton and Dear Evan Hansen. David has worked extensively as a production designer in TV, film and award shows. He also won an Emmy Award for Fox's Grease: Live!
David Korins | Speaker | TED.com