TEDxSMU
Joshua Prince-Ramus: Building a theater that remakes itself
乔舒亚·普林斯·拉莫斯：建造自我重组的剧场
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乔舒亚·普林斯·拉莫斯 相信如果建筑师能改变他们的设计模式，结果可能会令人惊奇。在达拉斯的TEDxSMU会场，他带我们进入了当地的怀利剧场精彩绝伦的再创造过程，一个按钮就可以让这个巨大的“剧场机器”进行自我重组。
Joshua Prince-Ramus - Architect
Joshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006. Full bio
Joshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006. Full bio
Double-click the English transcript below to play the video.
00:15
I'm going to speak to you today about architectural agency.
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今天我来和大家聊聊建筑事务所。
00:19
What I mean by that is that it's time for architecture
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这里的“建筑”是指建筑再现的过程，
00:21
to do things again, not just represent things.
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而不是简简单单的视觉表现。
00:25
This is a construction helmet that I received two years ago
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这是两年前我在我和事务所参加的有史以来
00:29
at the groundbreaking of the largest project
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最具开拓性的项目中
00:31
I, and my firm, have ever been involved in.
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得到的一只建筑头盔。
00:34
I was thrilled to get it. I was thrilled to be the only person
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当时得到它我兴奋极了。能成为唯一一个头戴银光闪闪的头盔
00:36
standing on the stage with a shiny silver helmet.
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站上舞台的人实在让我激动不已。
00:39
I thought it represented the importance of the architect.
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我觉得它就代表了那座建筑的重要性。
00:42
I stayed thrilled until I got home,
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直到回到家里，我还激动得不行
00:44
threw the helmet onto my bed,
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我把头盔扔到床上，
00:46
fell down onto my bed and realized inside
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在床上躺下，这才发现头盔里还刻了字。
00:49
there was an inscription.
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（警告：这个特制的镀银头盔只能作装饰用途，无实际保护功能）
00:52
(Laughter)
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（笑）
00:55
Now, I think that this is a great metaphor
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现在，我觉得这是一个深刻的隐喻
00:57
for the state of architecture and architects today.
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正传达了当今建筑师与建筑的情况。
00:59
We are for decorative purposes only.
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我们都只是装饰品而已。
01:02
(Laughter)
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（笑）
01:03
Now, who do we have to blame?
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那么，这都怪谁呢？
01:05
We can only blame ourselves. Over the last 50 years
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只能怪我们自己。过去的这五十年来，
01:08
the design and construction industry has gotten much more complex
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设计和建造业变得如此复杂
01:11
and has gotten much more litigious.
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如此争强好胜。
01:13
And we architects are cowards.
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而我们建筑师却成了胆小鬼。
01:15
So, as we have faced liability,
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当我们面对责任，
01:17
we have stepped back and back,
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就步步后退
01:20
and unfortunately, where there is liability, guess what there is:
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但不幸的是，哪里有责任，
01:22
power.
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哪里就有权利。
01:25
So, eventually we have found ourselves
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结果就是我们最终发现自己
01:27
in a totally marginalized position, way over here.
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已经完全退到了最边缘的地方。
01:30
Now, what did we do? We're cowards,
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现在，我们又该怎么办呢？我们确实是胆小鬼，
01:32
but we're smart cowards.
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但又是其中最聪明的。
01:35
And so we redefined this marginalized position as the place of architecture.
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所以我们得将这块边缘地带重新设定成建筑的存在空间。
01:38
And we announced, "Hey, architecture, it's over here,
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我们大声招呼，”嗨，建筑，看这儿！
01:41
in this autonomous language
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只有这种独立宣言才能
01:43
we're going to seed control of processes."
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让我们掌握整个过程。”
01:46
And we were going to do something that was horrible for the profession.
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然后我们要对这个职业进行骇人的改造
01:51
We actually created an artificial schism
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我们实际上人为地让创造和执行
01:53
between creation and execution,
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分立为二，
01:57
as if you could actually create without knowing how to execute
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在创意的时候完全不用考虑执行的问题
01:59
and as if you could actually execute
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在执行的时候也不需要
02:01
without knowing how to create.
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知道该如何创新。
02:03
Now, something else happened.
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现在情况发生了变化。
02:05
And that's when we began to sell the world
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以前我们告诉世界
02:07
that architecture was created by individuals
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建筑是由描绘出的天才的草图的建筑师
02:10
creating genius sketches.
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创造出来的。
02:12
And that the incredible amount of effort to deliver those sketches
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许多年来，为了实现这些草图
02:16
for years and years and years is not only something
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所付出的难以想象的努力
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to be derided,
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不仅仅被嘲笑作白费力气
02:20
but we would merely write it off as
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而且我们来说，这只是
02:22
merely execution.
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执行问题而已。
02:25
Now I'd argue that that is as absurd as stating
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但是这几乎和把三十分钟的交媾称作创造，
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that 30 minutes of copulation is the creative act,
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将十月怀胎过程
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and nine months of gestation,
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以及二十四小时的生产过程
02:34
and, God forbid, 24 hours of child labor
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仅仅作为执行过程
02:39
is merely execution.
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一样荒谬。
02:41
So, what do we architects need to do? We need to stitch back
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所以我们建筑师到底要做些什么？我们要将
02:43
creation and execution.
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创造和执行一步步地重新缝合。
02:46
And we need to start authoring processes again
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我们要掌控整个过程，
02:49
instead of authoring objects.
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而不是零碎的部件。
02:51
Now, if we do this, I believe we can go back 50 years
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如果我们能做到这些，我相信就能回到五十年前
02:54
and start reinjecting agency,
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将事务所和社会工程
02:56
social engineering, back into architecture.
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重新注入建筑过程。
03:00
Now, there are all kinds of things that we architects need to learn how to do,
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现在，建筑师们有太多东西需要学了
03:02
like managing contracts, learning how to write contracts,
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比如说管理合同，写合同
03:06
understanding procurement processes,
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甚至要搞清采购流程
03:09
understanding the time value of money and cost estimation.
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知道时间就是金钱，还要懂得成本估算。
03:12
But I'm going to reduce this to the beginning of the process,
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但我要把这些“重任”都卸去，回到整个过程的原点，
03:15
into three very pedantic statements.
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三条不得不遵循的规则。
03:18
The first is: Take core positions with your client.
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首先，要在与客户的接触中占核心地位。
03:21
I know it's shocking, right, that architecture would actually say that.
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我知道，这是很不靠谱，但这正是“建筑”需要的。
03:24
The second position is: Actually take positions.
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第二条，坚定立场，并且
03:27
Take joint positions with your client.
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要和客户达成一致
03:29
This is the moment in which you as the architect
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这个时候作为建筑师，
03:31
and your client can begin to inject
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就可以和客户一同注入各自的
03:33
vision and agency.
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创想和作用。
03:35
But it has to be done together.
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这必须由你们共同参与完成。
03:37
And then only after this is done
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只有在这一步完成之后，
03:39
are you allowed to do this, begin to put forward
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你才能开始拿出你的
03:41
architectural manifestations
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建筑设计
03:43
that manifest those positions.
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来展现你的立场。
03:45
And both owner and architect alike
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建筑师和客户双方
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are empowered to critique those manifestations
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都可以在你们达成的共识的基础上
03:50
based on the positions that you've taken.
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对设计进行评价。
03:52
Now, I believe that one really amazing thing will happen if you do this.
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现在，我敢说你如果按我说的做，一定会达到意想不到的效果
03:57
I'd like to call it the lost art of productively losing control.
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我倾向于把它称作一门几近失传的用松散管理来提高效率的艺术
04:01
You do not know what the end result is.
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你不知道结果会怎样
04:04
But I promise you, with enough brain power
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但我保证，只要汇集足够的智慧，
04:06
and enough passion and enough commitment,
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足够的热情和决心
04:09
you will arrive at conclusions
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就能得到超越传统
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that will transcend convention,
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的最终方案
04:13
and will simply be something
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那绝对是
04:16
that you could not have initially
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在项目开始时
04:18
or individually conceived of.
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每个人都无法想象的成功。
04:21
Alright, now I'm going to reduce all of this to a series
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好了，我现在就用一些简单的图画
04:23
of simple dumb sketches.
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来说明以上的过程。
04:25
This is the modus operandi that we have today.
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这是我们现在惯用的伎俩。
04:28
We roll 120-foot Spartan,
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我们推出一个一百二十英尺高的斯巴达人
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i.e. our vision, up to our clients' gates of Troy.
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现在，我们的目标就是打开顾客的特洛伊城门
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And we don't understand why they won't let us in. Right?
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我们还不晓得为什么他们不给我们开门，对吧？
04:42
Well, how about instead of doing that,
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那为什么不这样，
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we roll up to the gates something they want.
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我们给他们送上他们想要的东西
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Now this is a little bit of a dangerous metaphor,
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这就是有点危险性的伪装了
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because of course we all know that inside
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因为我们都知道特洛伊木马里面
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of the Trojan Horse were a bunch of people with spears.
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有一干拿了长矛的战士
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So, we can change the metaphor. Let's call the Trojan Horse
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那么，我们就改变原来容易识破的伪装。
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the vessel by which
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让我们把特洛伊木马称做
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you get through the gate,
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让你攻克大门的容器
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get through the constraints of a project.
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攻克一个项目的种种限制。
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At which point, you and your client
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这时候，你和你的客户
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have the ability to start considering what
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就可以开始考虑在这个容器中
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you're going to put inside that vessel,
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要放些什么
05:09
the agency, the vision.
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事务所的作用，还有你们的创想
05:11
And if you do that, you do that responsibly,
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如果你那么做，尽职尽责地进行
05:14
I believe that instead of delivering Spartans,
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我相信你完全可以将斯巴达人换成创想
05:16
you can deliver maidens.
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传递给客户。
05:18
And if I could summarize that all up into one single sketch it would be this.
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要把刚才说的都总结一下，变成一张图，就会使这样。
05:21
If we are so good at our craft
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如果我们都那么心灵手巧
05:23
shouldn't we be able to conceive
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为什么就不能让我们的建筑构思
05:26
of an architectural manifestation
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天衣无缝地
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that slides seamlessly through
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契合上项目和客户
05:30
the project's and the client's constraints?
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的种种要求呢？
05:32
Now, with that in mind, I'm going to show a project
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有了这些铺垫，我准备向你们展示一个
05:34
that's very dear to many people in this room--
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对很多在做观众都很亲切熟悉的项目
05:36
well, maybe not dear, but certainly close to many people in this room.
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可能不那么亲切，但至少它就在你们身边。
05:39
And that's a project that is just about to open next week,
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这个项目下周就要正式对外开放了
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the new home for the Dallas Theater Center,
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它是达拉斯表演艺术中心
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the Dee and Charles Wyly Theatre.
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迪和查尔斯·威利剧院
05:47
Now, I'm going to present it on the same terms:
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现在，我就要把它置于同样的条件，
05:49
issue, position and architectural manifestation.
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核心问题，立场和建筑表现中来。
05:52
Now, the first issue that we faced
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我们遇到的第一个问题
05:54
was that the Dallas Theater Center
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就是达拉斯表演艺术中心
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had a notoriety that was beyond what you would expect
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虽然在纽约，芝加哥和西雅图
06:00
of some place outside of the triumvirate
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组成的三角区域之外，
06:02
of New York, Chicago and Seattle.
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却一直“恶名昭著”。
06:05
And this had to do with the ambitions of the leadership.
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这与政治野心和领导势力有关。
06:07
But it also had to do with something rather unusual,
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但同时，另一个不同寻常的原因
06:10
and that was this horrible little building that they'd been performing in.
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就是这个以前的表演场所，一幢极其丑陋的小房子
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Why was this horrible little building
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为什么这栋不起眼的小房子
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so important to their renown and their innovation?
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对他们的名声和革新那么重要？
06:20
Because they could do whatever they wanted to to this building.
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因为在这里，他们可以放肆大胆地表演。
06:23
When you're on Broadway, you cannot tear the proscenium down.
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如果是在百老汇，你就不能把幕前舞台整个拆了。
06:28
This building, when an artistic director
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但在这里，如果哪个艺术指导
06:30
wanted to do a "Cherry Orchard" and wanted people
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想要做一场《樱桃园》，并希望人们
06:32
and wanted people to come out of a well on the stage,
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能直接从舞台上出现，
06:34
they brought a backhoe in, and they simply dug the hole.
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他们就能找来挖土机，在舞台上挖个洞。
06:37
Well, that's exciting.
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听起来很刺激吧
06:39
And you can start to get the best artistic directors,
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这样你就可以请全国最好的艺术指导，
06:41
scenic designers and actors from around the country
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布景设计，和演员
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to come to perform here
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来这里表演
06:45
because you can do things you can't do elsewhere.
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因为在这儿他们可以任意发挥，不受限制。
06:47
So, the first position we took was,
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我们的第一个立场就是
06:49
"Hey, we as architects had better not show up
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“哎，我们建筑师可不是来
06:52
and do a pristine building
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做什么仿古建筑的。
06:54
that doesn't engender the same freedoms that this
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那不能保证现在的自由，
06:56
old dilapidated shed provided the company."
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只是能够提供遮蔽的做旧的棚子而已。
06:59
The second issue is a nuance of the first.
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第二个重要议题和第一个稍有不同
07:02
And that's that the company and the building was multiform.
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就是表演人员和场地是多用途的
07:05
That meant that they were able to perform,
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就是说只要他们还有力气
07:08
as long as they had labor
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就可以在幕前，楼板
07:10
they were able to go between proscenium, thrust, flat floor,
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舞台，横断
07:13
arena, traverse, you name it.
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各个地方表演，随你挑。
07:15
All they needed was labor.
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他们需要的就是人力。
07:17
Well, something happened. In fact something happened to all institutions
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嗯...事情在变化。事实上世界各地的各个机构
07:19
around the world.
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都在发生改变。
07:21
It started to become hard to raise operational costs,
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现在越来越难筹集运营资金，
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operational budgets.
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运营预算。
07:26
So, they stopped having inexpensive labor.
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所以，他们连廉价劳动力也不要了。
07:28
And eventually they had to freeze their organization
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最终，他们干脆把整个机构冻结成了
07:31
into something called a bastardized thruscenium.
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他们口中所谓的“劣质场地”。
07:34
So, the second position we took is that the freedoms that we provided,
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由此，我们的第二个立场就是我们要提供一种自由，
07:37
the ability to move between stage configurations,
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可以让舞台结构任意变化
07:40
had better be able to be done
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一定要做到这点
07:42
without relying on operational costs. Alright? Affordably.
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使得演出不用担心运营成本。对不？控制在可承受范围内。
07:46
The architectural manifestation
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建筑展示
07:48
was frankly just dumb.
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是事实的呈现，无需语言。
07:50
It was to take all the things that are known as front of house and back of house
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其中需要的就是把我们知道的房子的前部和后部
07:53
and redefine them as above house and below house.
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换成上部和下部。
07:56
At first blush you think, "Hey it's crazy,
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说到这儿你肯定会想，“哎呀，真是疯了
07:58
what could you possibly gain?"
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这能得出什么玩意儿啊？”
08:00
We created what we like to call superfly.
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我们把我们的创造叫做“超级苍蝇”
08:03
(Laughter)
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（笑）
08:04
Now, superfly, the concept is
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现在，这个概念是这样
08:06
you take all the freedoms you normally associate with the flytower,
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你可以想象舞台升降塔的各种自由
08:08
and you smear them across flytower and auditorium.
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然后让这种种便利散布到观众席中。
08:11
Suddenly the artistic director
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突然间艺术指导
08:13
can move between different stage
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可以在不同的舞台和观众区
08:15
and audience configurations.
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自由移动
08:18
And because that flytower has the ability to pick up
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因为舞台升降塔可以实现各种
08:20
all the pristine elements, suddenly the rest of the environment
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基本需要，忽然间剩下的其他部分
08:23
can be provisional. And you can drill, cut, nail, screw
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都成了临时的。你可以钻洞，切割，固定，拧转，
08:26
paint and replace,
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油漆和替换，
08:28
with a minimum of cost.
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用最小的花费就能实现。
08:30
But there was a third advantage that we got by doing this move
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这么做还有一个好处
08:32
that was unexpected.
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还是出乎我们意料的。
08:34
And that was that it freed up the perimeter of the auditorium
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这种做法以最独特的方式
08:37
in a most unusual way.
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将观众区的周长释放开了。
08:40
And that provided the artistic director suddenly
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这种释放忽然间给了艺术指导
08:42
the ability to define suspension of disbelief.
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定义“解除怀疑”的力量。
08:45
So, the building affords artistic directors the freedom
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于是，这栋建筑成全了艺术指导们，
08:47
to conceive of almost any kind of activity
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让他们可以在这个悬浮的物体下方
08:50
underneath this floating object.
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设计各种可以想象的活动。
08:52
But also to challenge the notion of suspension of disbelief
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同时挑战“接触怀疑”的理念
08:55
such that in the last act of Macbeth,
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比如说在《麦克白》的最后一幕，
08:58
if he or she wants you to associate
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如果哪个艺术指导想让你把这一幕的故事
09:00
the parable that you're seeing with Dallas, with your real life,
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与达拉斯，与你的真实生活联系起来，
09:04
he or she can do so.
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他（她）就能做到。
09:06
Now, in order to do this we and the clients
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为了实现这个目标，我们和我们的客户
09:08
had to do something fairly remarkable.
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必须要做一件相当不同寻常的事儿。
09:10
In fact it really was the clients who had to do it.
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事实上是客户需要做这事儿。
09:13
They had to make a decision, based on the positions we took
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他们要在我们采取的立场上做一个决断，
09:16
to redefine the budget being from two thirds capital-A architecture
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把原来三分之一基础建设，三分之二建筑设计
09:19
and one-third infrastructure,
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的预算分工
09:21
to actually the inverse,
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完全颠倒
09:23
two-thirds infrastructure and one-third capital-A architecture.
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三分之二基础建设和三分之一建筑设计。
09:26
That's a lot for a client to commit to
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对于客户来说，这是不小的决定
09:28
before you actually see the fruition of the concept.
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尤其是在你能看到概念转换成“成果”之前。
09:31
But based on the positions,
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但在我们的那些立场的基础上，
09:33
they took the educated leap of faith to do so.
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他们迈出了极有借鉴意义的一步。
09:36
And effectively we created what we like to call
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作为回应，我们也做出了我们的
09:38
a theater machine.
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“剧院机器”。
09:40
Now, that theater machine has ability
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现在，这台机器的各个结构
09:42
to move between a whole series of configurations
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都可以进行重新组合
09:45
at the push of a button and a few stagehands
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只要按一个钮，加上少量的工作人员，
09:48
in a short amount of time.
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很短的时间内就可以完成。
09:50
But it also has the potential
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不仅如此，
09:52
to not only provide multiform but multi-processional sequences.
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它在提供各种形式的变换之余还能改变观众的入场顺序。
09:56
Meaning: The artistic director
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就是说，艺术指导
09:58
doesn't necessarily need to go through our lobby.
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不一定非要经过大厅。
10:01
One of the things that we learned when we visited various theaters
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在我们还在参观各个剧院的时候，学到的一点
10:03
is they hate us architects,
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就是他们对建筑师恨之入骨，
10:05
because they say the first thing they have to do,
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因为他们说在任何一场演出的前五分钟，
10:07
the first five minutes of any show,
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他们要做的头等重要的事
10:09
is they have to get our architecture
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就是把整个建筑赶出
10:11
out of the mind of their patron.
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资助人的脑海。
10:13
Well now there are potentials of this building
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而现在，这栋房子可以
10:15
to allow the artistic director
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让艺术指导
10:17
to actually move into the building
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在剧院里自由活动
10:19
without using our architecture.
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而不受到建筑本身的限制。
10:21
So, in fact, there is the building, there is what we call the draw.
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这就是我们的剧院，这里是一个坡道，
10:24
You're going down into our lobby,
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从这里进入大厅
10:26
go through the lobby with our own little dangly bits, whether you like them or not,
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穿过大厅，这里有我们悬挂的小物件，不论你喜欢与否
10:30
up through the stair that leads you into the auditorium.
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然后上楼，进入观众区。
10:32
But there is also the potential
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但它还可以
10:34
to allow people to move directly from the outside,
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将人们直接从外面带入内部。
10:36
in this case suggesting kind of Wagnerian entrance,
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就是说这是一种瓦格纳式的入口
10:40
into the interior of the auditorium.
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可以直接进入观众区。
10:42
And here is the fruition of that in actuality.
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这就是我们的成果。
10:44
These are the two large pivoting doors
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这是两扇大转门
10:46
that allow people to move directly from the outside, in
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可以让人们直接从外面进到
10:49
or from the inside, out,
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里面，自由进出
10:51
performers or audience alike.
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表演者，观众都可以。
10:54
Now, imagine what that could be. I have to say honestly
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现在，想象一下那是多么有趣。我必须诚实的说
10:56
this is not something yet the building can do because it takes too long.
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现在这栋建筑还不能做到这步，因为整个过程太长了。
10:59
But imagine the freedoms
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但是想象一下那种自由
11:01
if you could take this further, that in fact you could consider
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如果你能更进一步，可以想象一下
11:04
a Wagnerian entry,
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瓦格纳式的入口
11:06
a first act in thrust,
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第一幕在开始，
11:08
an intermission in Greek, a second act in arena,
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幕间休息在希腊，然后第二幕在竞技场，
11:10
and you leave through our lobby with dangly bits.
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然后你离开的时候再次穿过大厅。
11:14
Now that, I would say, is architecture performing.
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我想说，这简直就是建筑的表演。
11:16
It is taking the hand of the architect
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它在用建筑师的方式
11:18
to actually remove the hand of the architect
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将建筑本身的局限打破，
11:20
in favor of the hand of the artistic director.
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来实现艺术指导的需要。
11:24
I'll go through the three basic configurations.
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下面我来带你们看一下三种不同结构构造。
11:26
This is the flat floor configuration.
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这是一整块的平面构造。
11:28
You notice that there is no proscenium,
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你可以看到没有舞台，
11:30
the balconies have been raised up, there are no seats,
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包厢被移到上方了，也没有观众座位
11:33
the floor in the auditorium is flat.
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观众区的地面是平的。
11:35
The first configuration is easy to understand.
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第一个构造很容易看懂。
11:38
The balconies come down, you see that the orchestra
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现在包厢下来了，适合交响乐演奏
11:41
begins to have a rake that's frontal towards the end stage,
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观众区有了倾斜，正对着舞台
11:44
and the seats come in.
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观众座椅也加进来了。
11:46
The third configuration is a little harder to understand.
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第三个结构有点难懂
11:48
Here you see that the balconies actually have to move out of the way
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你可以看到包厢几乎被完全移走了
11:52
in order to bring a thrust into the space.
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空出来的地方成为舞台的眼神
11:54
And some of the seats need to actually change their direction,
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有些座位的方向也需要改变
11:57
and change their rake, to allow that to happen.
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相应的，坡度也要发生变化。
12:00
I'll do it again so you can see it.
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我再放一遍，让你们看得清楚点
12:02
There you see it's the side balconies for the proscenium.
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你可以看到边上的包厢给舞台让出了位置
12:06
And there it is in the thrust configuration.
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舞台的突出部分形成了。
12:08
In order to do that,
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要想做到这种效果
12:10
again, we needed a client who was willing to take educational risks.
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我们同样需要敢于冒险的客户
12:13
And they told us one important thing:
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他们告诉我们非常重要的一点：
12:15
"You shall not beta-test."
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“你们可别成为试验品。”
12:17
Meaning, nothing that we do
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也就是说，我们最好
12:19
can we be the first ones to do it.
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不要成为第一个吃螃蟹的人。
12:21
But they were willing for us to apply technologies
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但是他们很愿意我们将其他领域的技术
12:23
from other areas that already had failsafe mechanisms to this building.
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已经经过安全试验的装置运用到这个项目中去。
12:27
And the solution in terms of the balconies
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解决移动包厢的问题，
12:30
was to use something that we all know as a scoreboard lift.
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我们用了一种“记分板升降机”
12:33
Now, if you were to take a scoreboard
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现在，如果你把一块记分板
12:36
and drop it on dirt and whiskey,
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丢在土堆上，
12:38
that would be bad.
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结果会惨不忍睹。
12:40
If you were not able to take the scoreboard out of the arena
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如果你没能把记分板拿出体育场，
12:43
and be able to do the Ice Capades the next night,
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第二天又有“白雪溜冰团”的表演，
12:45
that would also be bad.
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结果也会很糟糕。
12:47
And so this technology already had all the failsafe mechanisms
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而这项技术已经经过了安全保险验证，
12:51
and allowed the theater and our client
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可以保证剧院和我们的客户
12:53
to actually do this with confidence
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在移动包厢的时候信心十足
12:56
that they would be able to change over their configurations at will.
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根据自己的意愿改变表演区的结构。
13:00
The second technology that we applied
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我们用到的第二项技术
13:02
was actually using things that you know from
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其实是从大家都知道的
13:05
the stage side of an opera house.
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剧院的舞台两侧的侧舞台。
13:07
In this case what we're doing is we're taking
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我们将交响乐舞台
13:09
the orchestra floor, lifting it up, spinning it,
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抬起来，旋转
13:13
changing the rake, taking it back to flat floor,
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改变坡度，放在平地上，
13:16
changing the rake again. In essence, you can begin to define
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再一次改变坡度。简单地说，就是
13:19
rakes and viewing angles
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你可以任意调整观众席的
13:21
of people in the orchestra seating, at will.
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坡度和视角。
13:24
Here you see the chairs being spun around to go from proscenium or end stage
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这是座椅的方向从面对舞台变成
13:28
to thrust configuration.
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侧对舞台，第二种凸出舞台的构造。
13:31
The proscenium, also. As far as we know this is the first building in the world
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据我们所知，这是世界上第一个可以
13:35
in which the proscenium can entirely fly out of the space.
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自由变换的舞台。
13:38
Here you see the various acoustic baffles as well as
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这里既有各种音乐会需要的降噪板，也有
13:40
the flying mechanisms and catwalks over the auditorium.
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悬空的构造和延伸至观众席的T台。
13:45
And ultimately, up in the flytower,
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还有最重要的，舞台塔上的
13:47
the scene sets that allow the transformations to occur.
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布景可以任意变化。
13:51
As I said, all that was in service of creating a flexible
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正如我所说，这一切都是为了创造一个灵活多变
13:55
yet affordable configuration.
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造价又可控的结构。
13:58
But we got this other benefit, and that was
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我们还有另一个收获，
14:00
the ability of the perimeter to suddenly engage
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即在释放了演出厅的空间后它可以将
14:02
Dallas on the outside.
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外面的达拉斯城参与进来。
14:04
Here you see the building in its current state
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你现在看到的是建筑当前的状态，
14:06
with blinds closed. This is a trompe l'oeil.
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窗帘都拉上了。这是一张模拟图
14:09
Actually this is not a curtain. These are vinyl blinds
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其实这并不是窗帘，而是与玻璃窗合一的
14:12
that are integrated into the windows themselves,
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塑料百叶窗
14:14
again with failsafe mechanisms
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这也是绝对安全的技术。
14:17
that can be lifted such that you can completely demystify,
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如果你想看得清楚点，可以把它收起来
14:20
if you chose, the operations of the theater
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剧场内部进行的一切，
14:22
going on behind, rehearsals and so forth.
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排练之类的都可以看到。
14:24
But you also have the ability
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同时还能让里面的观众
14:27
to allow the audience to see Dallas,
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看到达拉斯的城市，
14:30
to perform with Dallas as the backdrop of your performance.
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将达拉斯当做表演的舞台。
14:33
Now, if I'll take you through --
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现在，我想让你们看一看
14:35
this is an early concept sketch --
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很早的一张概念性的草图
14:37
take you through kind of a mixture of all these things together.
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是这些元素的混合
14:40
Effectively you would have something like this.
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是这样子的
14:42
You would be allowed to bring objects or performers into the performing chamber:
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你可以把各种东西带入演出厅。
14:46
"Aida," their elephants, you can bring the elephants in.
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《阿依达》中的大象你真的可以把它带进去。
14:48
You would be able to expose the auditorium to Dallas
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你可以将观众区展现给达拉斯，
14:53
or vice versa, Dallas to the auditorium.
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反之亦然。
14:56
You'd be able to open portions in order to
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你还可以打开各个部分
14:58
change the procession,
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来改变观众入场的方向，顺序
15:00
allow people to come in and out for an intermission,
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观众可以在休息时自由进出剧院
15:02
or to enter for the beginning or the end of a performance.
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或者是从头到尾都待在剧院里
15:05
As I said, all the balconies can move,
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我刚说过，所有包厢都是可以移动的
15:07
but they can also be disappeared completely.
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甚至可以让它们彻底消失。
15:09
The proscenium can fly.
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舞台可以悬空
15:11
You can bring large objects into the chamber itself.
348
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可以让各种大件物品自己进入展厅
15:14
But most convincingly when we had to confront the idea
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但是最让人称道的就是我们成功挑战了将建筑设计的花费
15:17
of changing costs from architecture to infrastructure,
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转移到基础建设上
15:20
is something that is represented by this.
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这就是这所建筑的代表性。
15:22
And again, this is not all the flexibilities of the building that is actually built,
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这里所说到的还并不能涵盖这座建筑的所有灵活功能
15:25
but at least suggests the ideas.
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但至少能展现我们的基本意图。
15:28
This building has the ability, in short order,
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这栋建筑可以迅速地
15:30
to go back to a flat floor organization
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变成完全平面的空楼层
15:32
such that they can rent it out.
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需要的话可以租出去。
15:34
Now, if there is anyone here from American Airlines,
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如果在座有在美国航空工作的，
15:36
please consider doing your Christmas party here.
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可以考虑下在这里举行你们的圣诞派对。
15:39
(Laughter)
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（笑）
15:40
That allows the company to raise operational budgets
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那可以给公司筹集运营预算
15:43
without having to compete with other venues
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完全不需要
15:45
with much larger auditoriums.
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再和其他场地比较了
15:47
That's an enormous benefit.
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在这儿办活动的好处太多了。
15:49
So, the theater company has the ability
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在这里，剧团可以进行
15:51
to do totally hermetic,
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完全封闭的演出，
15:53
light-controlled, sound-controlled, great acoustics,
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有可控的灯光，音效，一流的音响效果
15:55
great intimacy Shakespeare,
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可以演出一流的莎士比亚戏。
15:58
but can also do Beckett
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这里还可以演贝克特，
16:00
with the skyline of Dallas sitting behind it.
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背景就用达拉斯的天际。
16:03
Here it is in a flat floor configuration.
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这是第一种平面结构。
16:05
The theater has been going through its kind of paces.
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剧院可以大展身手。
16:07
Here it is in an end stage configuration.
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这是第二种结构，
16:10
It's actually beautiful. There was a rock band.
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看上去非常漂亮，可以进行摇滚乐演出。
16:12
We stood outside trying to see if the acoustics worked,
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我们在外面测试了它的音响系统
16:14
and you could see the guys doing this but you couldn't hear them.
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你可以看到里面的人的活动，但完全听不到他们。
16:16
It was very unusual.
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这非常不同寻常。
16:18
Here it is in a thrust configuration.
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这是第三种延伸出来的结构。
16:20
And last but not least,
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它很重要
16:22
you see this already has the ability to create events
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不仅可以在这里进行
16:24
in order to generate operational budgets
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筹集资金的活动
16:26
to overcome the building in fact performing
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这栋建筑还可以帮助
16:29
to allow the company to overcome their biggest problem.
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公司解决它们最大的困难。
16:31
I'm going to show you a brief time lapse.
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我还要给你们展示一下整个建造的快进过程。
16:35
As I said, this can be done with only two people,
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我说过，两个人就能完成
16:37
and with a minimum amount of time.
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用最少的时间完成。
16:39
This is the first time that actually the changeover was done
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这是第一个变化完成的时候
16:41
and so there is literally thousands of people because
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那里大概聚了几千人
16:43
everyone was excited and wanted to be a part of it.
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大家都非常兴奋，想要参与到其中去。
16:45
So, in a way try to disregard all the thousands of ants running around.
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所以为了把那密密麻麻的几千只蚂蚁去掉
16:49
And think of it being done with just a few people.
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影片进行了处理，只留下几个人。
17:22
Again, just a couple people are required.
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是，几个人就够了
17:25
(Laughter)
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（笑）
17:26
I promise.
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我保证。
17:39
Et voila.
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就是这样。
17:41
(Applause)
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（鼓掌）
17:48
So, just in conclusion, a few shots.
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所以，总的来说，不用费多大事儿。
17:50
This is the AT&T Performing Arts Center's
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这是AT&T(美国电信电话公司)表演艺术中心的
17:53
Dee and Charles Wyly Theater.
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迪和查尔斯·威利剧院
17:55
There it is at night.
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今天晚上就到这儿了
17:57
And last but not least the entire AT&T Performing Arts Center.
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最后，但同样重要的是在整个AT&T表演艺术中心
18:01
You can see the Winspear Opera House on the right
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你可以看到右边是温斯皮尔歌剧院，
18:03
and the Dee and Charles Wyly Theater on the left.
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左边是迪和查尔斯·威利剧院
18:06
And to remind you that here is an example in which
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要提示你们的是这幢建筑
18:09
architecture actually did something.
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确实有它存在的意义。
18:11
But we got to that conclusion
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但是我们是在不知道
18:13
without understanding where we were going,
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到底在往哪里发展的情况下得到了这个结果。
18:15
what we knew were a series of issues that the company
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我们只知道一系列公司和客户想要
18:18
and the client was confronted with.
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解决的问题。
18:20
And we took positions with them, and it was through those positions
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我们在各个问题中找到自己的立场，然后通过它们
18:22
that we began to take architectural manifestations
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渐渐看到了建筑的形状
18:25
and we arrived at a conclusion that none of us,
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我们得到的最终结论就是
18:27
really none of us could ever
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我们中没有任何一个人
18:29
have conceived of initially or individually.
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可以单独或者在众人之前完成这个构想。
18:32
Thank you.
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谢谢。
18:34
(Applause)
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（掌声）
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