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Ole Scheeren: Why great architecture should tell a story
奥雷．舍人: 為什麼偉大的建築物需要說故事
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對建築師奥雷．舍人（Ole Scheeren）而言，住在建築物及在裡面工作的人似乎也是建物的一部分，像是混泥土，鋼筋，玻璃一樣。他問說：建築物可以有合作性、故事性，而不是僅有傳統高樓大廈的疏離感嗎？參觀他的五座建築物--從一個在中國的扭曲大樓到泰國的水上電影院--並學習它們背後的故事。
Ole Scheeren - Architect
Ole Scheeren designs buildings that generate both functional and social spaces. Full bio
Ole Scheeren designs buildings that generate both functional and social spaces. Full bio
Double-click the English transcript below to play the video.
00:13
For much of the past century,
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過去好幾個世紀，
00:14
architecture was under the spell
of a famous doctrine.
of a famous doctrine.
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建築物在一條著名的理論魔咒之下，
00:18
"Form follows function" had become
modernity's ambitious manifesto
modernity's ambitious manifesto
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「型隨機能」這個理論
曾經一度成為當代的偉大宣言
曾經一度成為當代的偉大宣言
00:22
and detrimental straitjacket,
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及有害的的緊箍咒，
00:24
as it liberated architecture
from the decorative,
from the decorative,
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因為這句話雖讓建築物
擺脫了裝飾的束縛，
擺脫了裝飾的束縛，
00:27
but condemned it to utilitarian rigor
and restrained purpose.
and restrained purpose.
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但也同時宣判建築物
走向功利嚴謹且倍受約束的終點。
走向功利嚴謹且倍受約束的終點。
當然，建築物與機能有關，
00:32
Of course, architecture is about function,
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00:35
but I want to remember a rewriting
of this phrase by Bernard Tschumi,
of this phrase by Bernard Tschumi,
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但我想向Bernard Tschumi
對這句話的重新改寫致意，
對這句話的重新改寫致意，
00:38
and I want to propose
a completely different quality.
a completely different quality.
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並同時提出一個我個人
完全不同的見解。
完全不同的見解。
如果「型隨小說」，
00:43
If form follows fiction,
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00:45
we could think of architecture
and buildings as a space of stories --
and buildings as a space of stories --
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我們可以這樣想，建築設計與
建築物是一個空間的故事，
建築物是一個空間的故事，
00:49
stories of the people that live there,
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有關居住在那裡的人的故事，
00:52
of the people that work
in these buildings.
in these buildings.
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有關在裡面工作的人的故事，
00:55
And we could start to imagine
the experiences our buildings create.
the experiences our buildings create.
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我們可以開始想像
我們的建築物創造出來的經歷。
我們的建築物創造出來的經歷。
00:59
In this sense, I'm interested in fiction
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在這樣的概念下，
我對小說感興趣的原因，
我對小說感興趣的原因，
01:02
not as the implausible but as the real,
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不是因為它的虛幻，而是它的真實。
01:06
as the reality of what architecture means
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像是，建物風格對那些
生活在裡面的居民
生活在裡面的居民
01:08
for the people that live
in it and with it.
in it and with it.
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有甚麼意義的那樣的真實。
我們的建築物一開始
是一些雛形、想法，
是一些雛形、想法，
01:11
Our buildings are prototypes,
ideas for how the space of living
ideas for how the space of living
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01:15
or how the space of working
could be different,
could be different,
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它讓我們了解生活或
工作空間可以有甚麼不同，
工作空間可以有甚麼不同，
01:18
and what a space of culture
or a space of media could look like today.
or a space of media could look like today.
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以及文化與媒體空間
現今可以如何展現。
現今可以如何展現。
我們的建築物是真實的；
它們會被建造出來，
它們會被建造出來，
01:23
Our buildings are real;
they're being built.
they're being built.
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01:25
They're an explicit engagement
in physical reality
in physical reality
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建築物是一種實體物質與想法概念
01:28
and conceptual possibility.
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兩者之間明確的合約產物。
我認為我們的建築物是一種組織結構，
01:32
I think of our architecture
as organizational structures.
as organizational structures.
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01:36
At their core is indeed
structural thinking, like a system:
structural thinking, like a system:
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它們的核心，的確是一種
結構思想，像是一個系統:
結構思想，像是一個系統:
01:39
How can we arrange things
in both a functional
in both a functional
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我們要如何把事情
安排的具有機能性與經驗性 ?
01:43
and experiential way?
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01:46
How can we create structures
that generate a series
that generate a series
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我們要如何創造出可以引發
01:48
of relationships and narratives?
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一系列關係與故事腳本的結構 ?
而我們在建築物裡面的居民
01:51
And how can fictive stories
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01:53
of the inhabitants and users
of our buildings
of our buildings
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及使用者的虛幻故事
01:56
script the architecture,
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要如何在描繪建築物的同時
01:58
while the architecture scripts
those stories at the same time?
those stories at the same time?
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也能讓建築物描繪出這些故事 ?
而這當中就會產生出第二個詞彙，
02:02
And here comes the second term into play,
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02:04
what I call "narrative hybrids" --
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我稱之為「故事的混合體」 --
02:06
structures of multiple
simultaneous stories
simultaneous stories
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多種不同故事的結構
02:09
that unfold throughout
the buildings we create.
the buildings we create.
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完全展現了我們要創造出的建築物。
所以我們可以想像
建築物是個關係複雜的系統，
建築物是個關係複雜的系統，
02:12
So we could think of architecture
as complex systems of relationships,
as complex systems of relationships,
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一種結合可程序化、機能性、
02:17
both in a programmatic and functional way
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02:20
and in an experiential
and emotive or social way.
and emotive or social way.
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經驗性、情緒性或社交性的複雜系統。
這是中國國家廣播公司的總部，
02:27
This is the headquarters
for China's national broadcaster,
for China's national broadcaster,
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02:29
which I designed together
with Rem Koolhaas at OMA.
with Rem Koolhaas at OMA.
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這建物是我和Rem Koolhaas在
大都會建築事務所共同設計，
大都會建築事務所共同設計，
2002年，當我第一次抵達北京時，
城市規劃員向我們展示了這張圖 :
城市規劃員向我們展示了這張圖 :
02:33
When I first arrived in Beijing in 2002,
the city planners showed us this image:
the city planners showed us this image:
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除了當時少數的幾棟大樓，
02:38
a forest of several hundred skyscrapers
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02:40
to emerge in the central
business district,
business district,
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雨林般的上百棟高樓大廈，
02:42
except at that time,
only a handful of them existed.
only a handful of them existed.
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將會蓋在市中心的商務區。
所以我們必須在一個除了垂直概念以外
02:45
So we had to design in a context
that we knew almost nothing about,
that we knew almost nothing about,
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02:48
except one thing:
it would all be about verticality.
it would all be about verticality.
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其他都沒有的設計概念底下做設計。
當然，高樓大廈是垂直的--
它是個死板板的層次結構，
它是個死板板的層次結構，
02:52
Of course, the skyscraper is vertical --
it's a profoundly hierarchical structure,
it's a profoundly hierarchical structure,
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02:57
the top always the best,
the bottom the worst,
the bottom the worst,
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頂部總是最好的，
底部總是最差的，
底部總是最差的，
02:59
and the taller you are,
the better, so it seems.
the better, so it seems.
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所以似乎是，你蓋的越高越好。
我們質問我們自己，
03:03
And we wanted to ask ourselves,
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03:05
could a building be about
a completely different quality?
a completely different quality?
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我們的建築物可不可以
有一個完全不同的概念?
有一個完全不同的概念?
03:08
Could it undo this hierarchy,
and could it be about a system
and could it be about a system
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它可不可以擺脫層次結構體系，
它可不可以是一種
合作而不是隔離的系統 ?
合作而不是隔離的系統 ?
03:11
that is more about collaboration,
rather than isolation?
rather than isolation?
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03:15
So we took this needle
and bent it back into itself,
and bent it back into itself,
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所以我們把這個針
轉了個彎回到本身，
轉了個彎回到本身，
03:18
into a loop of interconnected activities.
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行成一種可以互相聯絡活動的環狀物。
03:21
Our idea was to bring all aspects
of television-making
of television-making
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我們的想法是，把電視製作的
所有概念融合到單一結構裡面：
所有概念融合到單一結構裡面：
03:25
into one single structure: news,
program production, broadcasting,
program production, broadcasting,
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新聞、節目製作、廣播、
03:29
research and training, administration --
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研究、訓練、管理--
03:31
all into a circuit
of interconnected activities
of interconnected activities
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全部融合到可互相聯繫活動
的這個環形裡面，
的這個環形裡面，
03:35
where people would meet in a process
of exchange and collaboration.
of exchange and collaboration.
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一個人們在這裡見面
互相交流合作的地方。
互相交流合作的地方。
我仍然很喜歡這張圖，
03:39
I still very much like this image.
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03:41
It reminds one of biology classes,
if you remember the human body
if you remember the human body
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如果你還記得人體構造的話，
有自己的器官及循環系統，
有自己的器官及循環系統，
03:44
with all its organs
and circulatory systems, like at school.
and circulatory systems, like at school.
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它像是一堂學校的生物課。
03:47
And suddenly you think of architecture
no longer as built substance,
no longer as built substance,
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突然間，你會覺得建築物不再只是建築材料
03:51
but as an organism, as a life form.
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而像是一種有機體、生命體。
03:54
And as you start to dissect this organism,
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而當你開始剖析這個有機體，
03:56
you can identify a series
of primary technical clusters --
of primary technical clusters --
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你會辨識出一系列的主要技術群--
04:01
program production,
broadcasting center and news.
broadcasting center and news.
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節目製作、廣播中心、新聞。
他們與一些社交設施
緊緊地纏繞在一起 :
緊緊地纏繞在一起 :
04:04
Those are tightly intertwined
with social clusters:
with social clusters:
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04:08
meeting rooms, canteens, chat areas --
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會議室，餐廳，交談區--
04:11
informal spaces for people
to meet and exchange.
to meet and exchange.
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人們碰面交流的非正式場合。
所以，這個建物的組織結構
是一種混合體，
是一種混合體，
04:15
So the organizational structure
of this building was a hybrid
of this building was a hybrid
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04:19
between the technical and the social,
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介於技術與社交及
04:21
the human and the performative.
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人類與表演之間。
04:24
And of course, we used the loop
of the building as a circulatory system,
of the building as a circulatory system,
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當然，我們是使用類似
循環系統的環形建物
循環系統的環形建物
04:27
to thread everything together
and to allow both visitors and staff
and to allow both visitors and staff
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來串聯每樣東西，使訪客與員工
04:31
to experience all these different
functions in a great unity.
functions in a great unity.
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都能在這個偉大的聯合體裡面，
體驗不同的機能。
體驗不同的機能。
擁有473,000平方公尺
的建築面積，
的建築面積，
04:37
With 473,000 square meters,
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04:40
it is one of the largest buildings
ever built in the world.
ever built in the world.
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使它成為全世界
最大的建築物之一，
最大的建築物之一，
04:43
It has a population of over 10,000 people,
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裡面有10,000人口，
04:45
and of course, this is a scale
that exceeds the comprehension
that exceeds the comprehension
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當然，這樣的規模超出了我們
對傳統建築物的理解範圍。
04:49
of many things and the scale
of typical architecture.
of typical architecture.
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04:52
So we stopped work for a while
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所以，我們停工了一陣子，
04:53
and sat down and cut 10,000 little sticks
and glued them onto a model,
and glued them onto a model,
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然後坐下來，剪出10,000張小貼紙，
然後把它們粘在一個模型上，
然後把它們粘在一個模型上，
04:58
just simply to confront ourselves
with what that quantity actually meant.
with what that quantity actually meant.
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只是單純地想挑戰我們自己，
對數量本身真正的含意。
對數量本身真正的含意。
當然，這與數字無關，
05:03
But of course, it's not a number,
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05:04
it is the people, it is a community
that inhabits the building,
that inhabits the building,
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而是人，生活在這一棟大樓裡面的人，
05:09
and in order to both comprehend
this, but also script this architecture,
this, but also script this architecture,
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為了同時理解並為這個
建築物寫腳本，
建築物寫腳本，
05:14
we identified five characters,
hypothetical characters,
hypothetical characters,
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我們創造出五種假想的角色，
05:17
and we followed them throughout their day
in a life in this building,
in a life in this building,
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然後追蹤他們在
這棟大樓一整天的生活狀況，
這棟大樓一整天的生活狀況，
他們會在哪碰面、
他們的體驗如何等。
他們的體驗如何等。
05:21
thought of where they would meet,
what they would experience.
what they would experience.
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05:24
So it was a way to script and design
the building, but of course,
the building, but of course,
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所以，這是一種描繪與設計
建築物的方法，但當然，
建築物的方法，但當然，
也是一種體會它的方式。
05:27
also to communicate its experiences.
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05:29
This was part of an exhibition
with the Museum of Modern Art
with the Museum of Modern Art
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這是紐約及北京
部分現代美術館的收藏品。
05:33
in both New York and Beijing.
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這是廣播主控室，
05:36
This is the main broadcast control room,
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05:39
a technical installation so large,
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技術性安裝層面的要求相當大，
05:40
it can broadcast over 200
channels simultaneously.
channels simultaneously.
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它可同時播放200個頻道，
這是它當今矗立在北京的狀況，
05:45
And this is how the building
stands in Beijing today.
stands in Beijing today.
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它的第一次現場直播是2012年
的倫敦奧林匹克運動會，
的倫敦奧林匹克運動會，
05:49
Its first broadcast live
was the London Olympics 2012,
was the London Olympics 2012,
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05:53
after it had been completed
from the outside for the Beijing Olympics.
from the outside for the Beijing Olympics.
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在這之前，它已經從外部
完成北京奧林匹克的轉播。
完成北京奧林匹克的轉播。
05:57
And you can see at the very tip
of this 75-meter cantilever,
of this 75-meter cantilever,
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你可以在最頂端的
75米懸臂處看風景，
75米懸臂處看風景，
06:02
those three little circles.
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這三個小圓圈，
06:03
And they're indeed part of a public loop
that goes through the building.
that goes through the building.
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它們就是貫穿整棟大樓的
開放空間環型設計。
開放空間環型設計。
06:07
They're a piece of glass
that you can stand on
that you can stand on
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你可以站在玻璃上面
06:09
and watch the city pass by
below you in slow motion.
below you in slow motion.
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俯瞰你腳下整個城市的慢動作。
這棟建築物已經是
北京生活的的一部分，
北京生活的的一部分，
06:15
The building has become
part of everyday life in Beijing.
part of everyday life in Beijing.
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06:18
It is there.
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它就在那。
06:20
It has also become a very popular backdrop
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它也變成了北京一個相當受歡迎的
06:23
for wedding photography.
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婚紗攝影背景。
06:24
(Laughter)
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( 笑聲 )
但最重要的時刻也許是這個，
06:30
But its most important moment
is maybe sill this one.
is maybe sill this one.
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06:33
"That's Beijing" is similar to "Time Out,"
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這本《城市漫步》週刊
很像倫敦的《Time Out》週刊，
很像倫敦的《Time Out》週刊，
06:35
a magazine that broadcasts what
is happening in town during the week,
is happening in town during the week,
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這本雜誌描述了當週
該城市發生了哪些事情，
該城市發生了哪些事情，
06:40
and suddenly you see the building
portrayed no longer as physical matter,
portrayed no longer as physical matter,
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突然間你會發現，這棟大樓
不再僅是一棟大樓而已，
不再僅是一棟大樓而已，
同時扮演了城市一員的角色，
06:45
but actually as an urban actor,
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06:47
as part of a series of personas
that define the life of the city.
that define the life of the city.
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它像是在北京生活的
一系列人物中的其中一員。
一系列人物中的其中一員。
06:52
So architecture suddenly
assumes the quality of a player,
assumes the quality of a player,
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所以，建築設計突然間像是
呈現了一位參與者的內涵品質，
呈現了一位參與者的內涵品質，
06:57
of something that writes stories
and performs stories.
and performs stories.
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它像是在寫故事、呈現故事。
07:02
And I think that could be one
of its primary meanings
of its primary meanings
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而我認為這可以成為
我們相信的事物當中的其中一個重要意義，
07:06
that we believe in.
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07:08
But of course, there's another
story to this building.
story to this building.
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當然，這棟大樓還有另外一個故事，
07:10
It is the story of the people
that made it --
that made it --
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就是建造它的人的故事--
07:13
400 engineers and architects
that I was guiding
that I was guiding
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400個合作幾乎超過10年
07:16
over almost a decade of collaborative work
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我所帶領的工程人員與建築師，
07:19
that we spent together
in scripting this building,
in scripting this building,
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我們花時間一起蓋這棟大樓，
07:22
in imagining its reality
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從想像它的真實性，
07:24
and ultimately getting it built in China.
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到最終，在中國把它建造完成。
07:29
This is a residential development
in Singapore, large scale.
in Singapore, large scale.
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這是一個在新加坡的
大型住宅開發案，
大型住宅開發案，
如果我們看一下新加坡、
亞洲，全世界的其他國家，
亞洲，全世界的其他國家，
07:34
If we look at Singapore like most of Asia
and more and more of the world,
and more and more of the world,
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07:38
of course, it is dominated by the tower,
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當然，他們都是以高樓大廈為主，
07:42
a typology that indeed creates
more isolation than connectedness,
more isolation than connectedness,
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這種類型的大樓確實製造了
更多的疏離感而非親近感，
更多的疏離感而非親近感，
07:46
and I wanted to ask, how
could we think about living,
could we think about living,
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而我想質疑，我們對住家的
想法到底是甚麼 ?
想法到底是甚麼 ?
07:50
not only in terms of the privacy
and individuality of ourselves
and individuality of ourselves
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不是只有我們自己的私密性、個性、
07:53
and our apartment,
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我們的公寓大廈而已，
07:55
but in an idea of a collective?
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而是集體的共同意識吧 ?
07:58
How could we think about creating
a communal environment
a communal environment
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我們要想想如何創造
一個社區交流的環境，
一個社區交流的環境，
08:01
in which sharing things was as great
as having your own?
as having your own?
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一個可以讓你樂於分享的環境 ?
典型的答案是--
我們必須設計1,040間公寓--
我們必須設計1,040間公寓--
08:06
The typical answer to the question --
we had to design 1,040 apartments --
we had to design 1,040 apartments --
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08:11
would have looked like this:
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外型會像這樣子 :
08:12
24-story height limit given
by the planning authorities,
by the planning authorities,
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根據政府法規，會有24層的樓高限制，
08:15
12 towers with nothing
but residual in between --
but residual in between --
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12棟大樓，只剩下一點點開放空間
，其它甚麼都沒有--
，其它甚麼都沒有--
08:19
a very tight system that,
although the tower isolates you,
although the tower isolates you,
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相當擁擠嚴密的系統，
雖然大樓隔離了你，
雖然大樓隔離了你，
08:22
it doesn't even give you privacy,
because you're so close to the next one,
because you're so close to the next one,
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但這根本不能給你隱私，
因為你離隔壁鄰居相當近，
因為你離隔壁鄰居相當近，
08:26
that it is very questionable
what the qualities of this would be.
what the qualities of this would be.
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所以很容易被質疑，
蓋好這樣的數量之後會有甚麼後果。
蓋好這樣的數量之後會有甚麼後果。
08:30
So I proposed to topple the towers,
throw the vertical into the horizontal
throw the vertical into the horizontal
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所以，我提議推掉高塔，
把垂直設計改成水平設計，
把垂直設計改成水平設計，
08:34
and stack them up,
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並把它們堆疊起來，
08:36
and what looks a bit random from the side,
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從側面看，它有點不規則排列，
08:39
if you look from the viewpoint
of the helicopter,
of the helicopter,
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如果你從直升機往下看，
08:42
you can see its organizational structure
is actually a hexagonal grid,
is actually a hexagonal grid,
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你可以看到，它的組織架構實際上是個
水平建物堆疊起來的網狀六邊形，
08:46
in which these horizontal
building blocks are stacked up
building blocks are stacked up
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08:50
to create huge outdoor courtyards --
central spaces for the community,
central spaces for the community,
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這是為了創造出幾個大型戶外庭院--
08:55
programmed with a variety
of amenities and functions.
of amenities and functions.
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這些中央空間為社區
規劃了多種設施與功能。
規劃了多種設施與功能。
你可以看到這些庭院空間
並非是封閉不透氣的空間，
並非是封閉不透氣的空間，
08:59
And you see that these courtyards
are not hermetically sealed spaces.
are not hermetically sealed spaces.
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09:03
They're open, permeable;
they're interconnected.
they're interconnected.
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它們是開放的、
通透的、互相連結的，
通透的、互相連結的，
09:05
We called the project "The Interlace,"
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我們稱呼這個項目是
" 交錯 " ( 社區名稱: 翠城新景 )
" 交錯 " ( 社區名稱: 翠城新景 )
09:07
thinking that we interlace
and interconnect
and interconnect
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像是我們人類
與空間彼此的交錯連結一樣。
09:10
the human beings and the spaces alike.
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09:14
And the detailed quality
of everything we designed
of everything we designed
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我們設計的每樣細節，
09:17
was about animating the space
and giving the space to the inhabitants.
and giving the space to the inhabitants.
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都與「把空間賦予生命並還給社區居民」有關。
09:21
And, in fact, it was a system
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事實上，這個系統
09:22
where we would layer
primarily communal spaces,
primarily communal spaces,
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可以在我們佈局主要的公共空間時，
09:26
stacked to more and more
individual and private spaces.
individual and private spaces.
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讓它層層堆疊出越來越多的
個人與私密空間。
個人與私密空間。
所以，我們展開一種
09:30
So we would open up a spectrum
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09:32
between the collective and the individual.
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介於總體與個人之間
的設計概念，
的設計概念，
一個小小的數學算式 :
09:36
A little piece of math:
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09:37
if we count all the green
that we left on the ground,
that we left on the ground,
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如果我們把所有在地面上
的綠色植物面積，
的綠色植物面積，
09:39
minus the footprint of the buildings,
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扣除掉建物投影面積，
09:42
and we would add back
the green of all the terraces,
the green of all the terraces,
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然後加上所有有綠色植物的陽台面積，
09:45
we have 112 percent green space,
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我們會得出一個112%的綠覆率，
09:47
so more nature than not
having built a building.
having built a building.
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比不蓋大樓還要有更多的自然空間。
當然，這個小小的數學算式
有向你說明了
有向你說明了
09:50
And of course this little piece of math
shows you that we are multiplying
shows you that we are multiplying
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我們把有人住的空間也算進去。
09:54
the space available
to those who live there.
to those who live there.
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事實上，這是第13樓的其中一個陽台，
09:57
This is, in fact, the 13th floor
of one of these terraces.
of one of these terraces.
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10:01
So you see new datum planes,
new grounds planes for social activity.
new grounds planes for social activity.
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所以你會看到提供給社交活動
的新基準平面、新地平面
的新基準平面、新地平面
我們在「可持續發展」上投入很多心力，
10:06
We paid a lot of attention
to sustainability.
to sustainability.
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10:10
In the tropics, the sun is the most
important thing to pay attention to,
important thing to pay attention to,
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在熱帶地區，太陽是最必須留意的重要事項，
10:13
and, in fact, it is seeking
protection from the sun.
protection from the sun.
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事實上，它們要找的是遮蔽處。
10:16
We first proved that all apartments
would have sufficient daylight
would have sufficient daylight
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我們首先確認所有的公寓大樓
整年都會有足夠的日照時間。
10:20
through the year.
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10:21
We then went on to optimize
the glazing of the facades
the glazing of the facades
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然後我們進行外牆玻璃優化，
10:24
to minimize the energy
consumption of the building.
consumption of the building.
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來減少建築物的能量消耗。
但最重要的是，我們確認我們可以
10:27
But most importantly, we could prove
that through the geometry
that through the geometry
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透過地形設計來達成這個目的。
10:31
of the building design,
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10:33
the building itself would provide
sufficient shading to the courtyards
sufficient shading to the courtyards
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建物本身提供了足夠的
遮蔽給中庭花園，
遮蔽給中庭花園，
10:36
so that those would be usable
throughout the entire year.
throughout the entire year.
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因此這些遮蔽是一整年都可以使用的。
10:39
We further placed water bodies
along the prevailing wind corridors,
along the prevailing wind corridors,
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我們更進一步地沿著主風廊，
設置了水體槽，
設置了水體槽，
10:42
so that evaporative cooling
would create microclimates
would create microclimates
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讓它蒸發冷卻後
形成一個微型氣候，
形成一個微型氣候，
10:46
that, again, would enhance
the quality of those spaces
the quality of those spaces
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進而有效地改善居民
10:50
available for the inhabitants.
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居住的空間品質。
10:53
And it was the idea of creating
this variety of choices,
this variety of choices,
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這個想法創造了多樣性的選擇、
10:57
of freedom to think
where you would want to be,
where you would want to be,
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一種你想去哪就去哪、
11:01
where you would want to escape, maybe,
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想躲哪就躲哪的自由，
11:03
within the own complexity
of the complex in which you live.
of the complex in which you live.
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在一個多樣性的生活地方
產生個人的生活多樣性。
產生個人的生活多樣性。
從亞洲來到歐洲 :
11:09
But coming from Asia to Europe:
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11:11
a building for a German
media company based in Berlin,
media company based in Berlin,
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一棟座落在德國柏林的媒體公司，
11:14
transitioning from the traditional
print media to the digital media.
print media to the digital media.
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正從傳統印刷媒體轉型到數位媒體，
11:19
And its CEO asked a few
very pertinent questions:
very pertinent questions:
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而公司的執行長問了一個很中肯的問題 :
11:23
Why would anyone today
still want to go to the office,
still want to go to the office,
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為什麼現今每個人仍希望到辦公室上班，
11:25
because you can actually work anywhere?
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即使他們可以在任何地方辦公 ?
11:27
And how could a digital identity
of a company be embodied
of a company be embodied
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一個公司的數位辨識形象
要如何在建築物上體現出來 ?
11:31
in a building?
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11:34
We created not only an object,
but at the center of this object
but at the center of this object
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我們創作的不只是一個物體，
我們還在物體的中心
我們還在物體的中心
11:37
we created a giant space,
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創造了一個大空間，
11:39
and this space was about
the experience of a collective,
the experience of a collective,
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一個有關於共同合作、
11:43
the experience of collaboration
and of togetherness.
and of togetherness.
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一起團結奮鬥的空間。
11:47
Communication, interaction
as the center of a space
as the center of a space
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溝通、互動是空間的核心思想，
11:50
that in itself would float,
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2539
它會自己浮上來，
11:53
like what we call the collaborative cloud,
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像是我們所說的" 合作雲 "，
11:55
in the middle of the building,
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它就在建物中間，
11:56
surrounded by an envelope
of standard modular offices.
of standard modular offices.
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被一個標準模組的辦公室
所圍繞包裹著。
所圍繞包裹著。
12:00
So with only a few steps
from your quiet work desk,
from your quiet work desk,
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從你的辦公桌，只要走幾步，
12:04
you could participate
in the giant collective experience
in the giant collective experience
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你就可以參與
核心空間裡的龐大共同體驗。
12:07
of the central space.
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最後，我們來到倫敦，
12:12
Finally, we come to London,
a project commissioned
a project commissioned
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3579
一個倫敦市長的
12:15
by the London Legacy
Development Corporation
Development Corporation
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傳承開發公司的項目任務。
12:18
of the Mayor of London.
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12:20
We were asked to undertake a study
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我們被要求要負責研究、
12:22
and investigate the potential of a site
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調查奧林匹克公園
12:25
out in Stratford in the Olympic Park.
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基地的開發潛力。
12:28
In the 19th century, Prince Albert
had created Albertopolis.
had created Albertopolis.
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在19世紀，Albert王子
當時建立了Albert城。
當時建立了Albert城。
12:32
And Boris Johnson thought
of creating Olympicopolis.
of creating Olympicopolis.
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3738
而Boris Johnson想建立奧林匹克城。
12:37
The idea was to bring together
some of Britain's greatest institutions,
some of Britain's greatest institutions,
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想法是把一些英國最偉大的機構、
12:41
some international ones,
and to create a new system of synergies.
and to create a new system of synergies.
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3860
一些國際機構擺在一起，
來創造出一個新的協同效益系統。
來創造出一個新的協同效益系統。
12:45
Prince Albert, as yet, created
Albertopolis in the 19th century,
Albertopolis in the 19th century,
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當時Albert王子在
19世紀建立的Albert城，
19世紀建立的Albert城，
12:50
thought of showcasing
all achievements of mankind,
all achievements of mankind,
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是想用來展示人類的所有成就，
12:52
bringing arts and science closer together.
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讓藝術和科學緊密地結合在一起。
12:56
And he built Exhibition Road,
a linear sequence of those institutions.
a linear sequence of those institutions.
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而且他還打造了會展路，
這區有一系列這樣的機構，
這區有一系列這樣的機構，
當然，現今社會已經比當時進步許多，
13:01
But of course, today's society
has moved on from there.
has moved on from there.
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13:05
We no longer live in a world
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我們不再是活在一種每樣東西都被
界定分開很清楚的世界。
界定分開很清楚的世界。
13:07
in which everything
is as clearly delineated
is as clearly delineated
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13:10
or separated from each other.
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1502
我們活在一種不同領域
之間開始模糊的世界，
之間開始模糊的世界，
13:11
We live in a world in which
boundaries start to blur
boundaries start to blur
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13:15
between the different domains,
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13:16
and in which collaboration and interaction
becomes far more important
becomes far more important
237
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一個彼此合作互動遠比
保持疏離還要重要的世界。
保持疏離還要重要的世界。
13:20
than keeping separations.
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13:23
So we wanted to think
of a giant culture machine,
of a giant culture machine,
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3019
所以我們想建立一個大型的文化機器，
13:26
a building that would orchestrate
and animate the various domains,
and animate the various domains,
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一個會協調並賦予不同
領域生命的建築物，
領域生命的建築物，
13:31
but allow them to interact
and collaborate.
and collaborate.
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但同時也可以讓它們
彼此互動與合作。
彼此互動與合作。
而它的基礎是個非常簡單的模組，
13:35
At the base of it is a very simple module,
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13:37
a ring module.
243
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1151
一個環形模組。
13:38
It can function as a double-loaded
corridor, has daylight, has ventilation.
corridor, has daylight, has ventilation.
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3643
它有雙走道、日照、通風佳的功能
13:42
It can be glazed over
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1151
它可以被透視，
13:43
and turned into a giant
exhibitional performance space.
exhibitional performance space.
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2873
也可以變成一個大型展覽表演空間。
13:46
These modules were stacked together
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這些模組被堆疊起來，
13:48
with the idea that almost any
function could, over time,
function could, over time,
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隨著時間流逝，任何機能
彼此都可能會佔用到其他機能上，
彼此都可能會佔用到其他機能上，
13:52
occupy any of these modules.
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所以機構可能縮小或濃縮，
13:53
So institutions could shrink or contract,
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13:57
as, of course, the future of culture
is, in a way, the most uncertain of all.
is, in a way, the most uncertain of all.
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因為，文化的未來，在某種程度上，
是最無法預測的。
是最無法預測的。
這棟建築將坐落在鄰近的水上運動中心旁，
14:02
This is how the building sits,
adjacent to the Aquatics Centre,
adjacent to the Aquatics Centre,
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14:05
opposite the Olympic Stadium.
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正對奧林匹克運動場，
14:08
And you can see how
its cantilevering volumes
its cantilevering volumes
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你可以看到它的懸臂式空間如何
14:10
project out and engage the public space
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伸出並融入開放空間，
14:13
and how its courtyards
animate the public inside.
animate the public inside.
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和它的中庭如何在
公共空間裡賦予生命，
公共空間裡賦予生命，
當時的想法是創造一個
多樣性複雜的系統，
多樣性複雜的系統，
14:19
The idea was to create a complex system
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14:22
in which institutional entities
could maintain their own identity,
could maintain their own identity,
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讓裡面的機構實體可以維持
它們本身的辨識性，
它們本身的辨識性，
14:27
in which they would not
be subsumed in a singular volume.
be subsumed in a singular volume.
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使它們不會被歸類為
單一個體空間，
單一個體空間，
14:30
Here's a scale comparison
to the Centre Pompidou in Paris.
to the Centre Pompidou in Paris.
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這個它是與法國巴黎龐畢藝術中心
的比例對照圖，
的比例對照圖，
14:33
It both shows the enormous scale
and potential of the project,
and potential of the project,
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兩者都顯示出其項目的龐大規模與潛力，
14:37
but also the difference:
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但也有不一樣的地方 :
14:38
here, it is a multiplicity
of a heterogeneous structure,
of a heterogeneous structure,
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這裡，它是一個多重異質建物，
14:42
in which different entities can interact
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裡面不同的機構彼此間可以互動，
14:45
without losing their own identity.
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而不失它們的辨識度。
想法是這樣的 :創造一個組織結構
14:48
And it was this thought: to create
an organizational structure
an organizational structure
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14:52
that would allow for multiple
narratives to be scripted --
narratives to be scripted --
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可以讓不同的故事
可以被描述出來--
可以被描述出來--
14:55
for those in the educational parts
that create and think culture;
that create and think culture;
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包含文創教育部分 ;
視覺藝術、舞蹈、
15:00
for those that present
the visual arts, the dance;
the visual arts, the dance;
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15:04
and for the public to be
admitted into all of this
admitted into all of this
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讓大眾可以獲准進入這個
15:07
with a series of possible trajectories,
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一系列可能的軌跡動向，
15:09
to script their own reading
of these narratives
of these narratives
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來闡述他們個人
15:12
and their own experience.
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對這些故事敘述的理解與經歷。
15:16
And I want to end on a project
that is very small,
that is very small,
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我想用一個很小的項目來做結束，
15:19
in a way, very different:
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在某種程度上，相當不同 :
15:21
a floating cinema
in the ocean of Thailand.
in the ocean of Thailand.
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一個在泰國的海上漂浮電影院。
15:23
Friends of mine had founded
a film festival,
a film festival,
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我的其中一個朋友
已經投資一部片子，
已經投資一部片子，
15:27
and I thought,
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而我當時在想，
15:29
if we think of the stories
and narratives of movies,
and narratives of movies,
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如果，我們來思考電影的故事及腳本
15:32
we should also think of the narratives
of the people that watch them.
of the people that watch them.
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我們也需要思考
觀看這部電影的觀眾的腳本，
觀看這部電影的觀眾的腳本，
15:36
So I designed a small
modular floating platform,
modular floating platform,
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所以，我設計了一個小型的飄浮平台模組，
15:39
based on the techniques
of local fishermen,
of local fishermen,
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主要技術來自當地漁民
15:41
how they built their lobster
and fish farms.
and fish farms.
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的龍蝦田及魚田的技術，
15:43
We collaborated with the local community
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我們與當地社團合作、建造
15:46
and built, out of recycled
materials of their own,
materials of their own,
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全部是他們的回收材料，
15:49
this fantastical floating platform
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這個令人驚豔的漂浮平台，
15:52
that gently moved in the ocean
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慢慢地移往海裡，
15:54
as we watched films
from the British film archive,
from the British film archive,
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例如，當我們觀看來自英國電影資料館
15:56
[1903] "Alice in Wonderland," for example.
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1904年的「愛麗絲夢遊仙境」時，
15:59
The most primordial
experiences of the audience
experiences of the audience
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觀眾最原始的經歷會與
電影的故事情節相結合。
電影的故事情節相結合。
16:03
merged with the stories of the movies.
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所以我相信，建築設計
不僅超越了實體物質、
不僅超越了實體物質、
16:07
So I believe that architecture exceeds
the domain of physical matter,
the domain of physical matter,
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16:12
of the built environment,
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建築環境的範籌，
16:14
but is really about how
we want to live our lives,
we want to live our lives,
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且真的與我們想如何生活、
16:17
how we script our own stories
and those of others.
and those of others.
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如何闡述我們的故事及
其他人的故事息息相關。
其他人的故事息息相關。
16:20
Thank you.
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謝謝各位。
16:22
(Applause)
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（掌聲）
ABOUT THE SPEAKER
Ole Scheeren - ArchitectOle Scheeren designs buildings that generate both functional and social spaces.
Why you should listen
Ole Scheeren is a German architect and principal of Buro Ole Scheeren with offices in Hong Kong, Beijing, Berlin and Bangkok. He is chief designer and leading the company’s creative vision and strategic development.
Ole Scheeren’s current work includes the Guardian Art Center, a new exhibition space and headquarters for China’s oldest art auction house currently under construction near the Forbidden City in Beijing; 1500 West Georgia, a residential high-rise in downtown Vancouver; DUO, a large-scale mixed-use urban development under construction in Singapore; MahaNakhon, at 314 meters Bangkok’s tallest tower housing the Ritz-Carlton Residences; Angkasa Raya, a 268 meter tall landmark building in the center of Kuala Lumpur; and a large-scale mixed-use urban development in Shenzhen, China.
Prior to launching Buro Ole Scheeren in 2010, Ole was Director and Partner along with Rem Koolhaas at OMA and responsible for the office’s work across Asia. As partner-in-charge of one of the largest buildings in the world, he successfully led the design and realization of the CCTV and TVCC Towers in Beijing. Other projects include The Interlace, a residential complex in Singapore and the Taipei Performing Arts Center in Taiwan. He also directed OMA’s work for Prada and completed the Prada Epicenters in New York and Los Angeles.
Through Studio Ole Scheeren, he is exploring his more personal interest in non-architectural projects and interventions, such as Archipelago Cinema, a floating auditorium in the Andaman Sea for the “Film on the Rocks” Festival in Yao Noi, Thailand, and subsequently installed at the 13th Architecture Biennale in Venice. He also developed Mirage City Cinema, a cinema-architecture space commissioned by the Sharjah Art Foundation as part of the Sharjah Biennial 11 Film Programme.
Ole Scheeren has contributed to various arts and culture projects and exhibitions throughout his career, including triennials in Beijing and Milan, China Design Now in London, the exhibition Cities on the Move at London’s Hayward Gallery and in the city of Bangkok, Media City Seoul and the Rotterdam Film Festival. For the Museum of Modern Art he designed two exhibitions in New York and Beijing featuring the CCTV project.
He regularly lectures at various international institutions and conferences, serves on juries for awards and competitions, and has been awarded numerous prizes, including the CTBUH 2013 Best Tall Building award for CCTV and the 2015 inaugural Urban Habitat Award for The Interlace.
Educated at the universities of Karlsruhe and Lausanne, Ole Scheeren graduated from the Architectural Association in London and was awarded the RIBA Silver Medal.
Ole Scheeren | Speaker | TED.com