TEDNYC
Justin Davidson: Why glass towers are bad for city life -- and what we need instead
賈斯汀·戴維森: 為何閃亮的玻璃高樓對城市生活有害？
Filmed:
Readability: 5
1,518,829 views
一個詭異的轉變正在我們的城市中蔓延著，建築評判家賈斯汀·戴維森這樣說道。無論是德州的休斯頓還是中國的廣州，這些被玻璃覆蓋的鋼筋混凝土大樓，在日光下雖然閃閃發光，卻猶如入侵的物種。當戴維森闡述建築外觀如何形塑都市閱歷時，請大家重新思考自己的城市設計──並想想，當建築師們拋棄了各種建築材料時，我們會失去什麽。
Justin Davidson - Architecture critic
Justin Davidson writes about a broad range of urban, civic, design and arts issues. Full bio
Justin Davidson writes about a broad range of urban, civic, design and arts issues. Full bio
Double-click the English transcript below to play the video.
00:12
Imagine that when you walked
in here this evening,
in here this evening,
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想像一下，當各位今晚走進會場時，
你發現在場所有的人
看上去幾乎長得一模一樣：
看上去幾乎長得一模一樣：
00:15
you discovered that everybody in the room
looked almost exactly the same:
looked almost exactly the same:
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00:20
ageless, raceless,
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沒有年齡、種族的區別，
長得都一樣帥、一樣漂亮。
00:22
generically good-looking.
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00:24
That person sitting right next to you
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而坐在你身旁的人，
他的內心世界可能是個怪咖，
00:26
might have the most
idiosyncratic inner life,
idiosyncratic inner life,
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但你卻看不出來，
00:28
but you don't have a clue
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00:29
because we're all wearing
the same blank expression all the time.
the same blank expression all the time.
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因為我們臉上總是一號表情。
00:34
That is the kind of creepy transformation
that is taking over cities,
that is taking over cities,
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這就是目前在各城市中
發生的詭異變化，
發生的詭異變化，
00:39
only it applies to buildings, not people.
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我說的是建築物，不是人。
00:43
Cities are full of roughness and shadow,
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城市中遍佈了粗糙與陰影、
紋理與色彩。
00:49
texture and color.
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00:50
You can still find architectural surfaces
of great individuality and character
of great individuality and character
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你仍然能夠找到極具個性的外表設計，
在里加、
00:57
in apartment buildings in Riga
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葉門這些地區的公寓樓房中、
01:00
and Yemen,
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01:02
social housing in Vienna,
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維也納的社會住宅中、
01:05
Hopi villages in Arizona,
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亞利桑那的霍皮村落、
紐約的赤褐色砂石建築、
01:07
brownstones in New York,
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舊金山的木屋，它們都極具個性。
01:09
wooden houses in San Francisco.
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01:11
These aren't palaces or cathedrals.
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它們既不是宮殿，也不是大教堂。
01:14
These are just ordinary residences
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它們只是一些
01:15
expressing the ordinary
splendor of cities.
splendor of cities.
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能展現出各個城市魅力的
普通住宅。
普通住宅。
01:19
And the reason they're like that
is that the need for shelter
is that the need for shelter
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而這些房屋之所以這麼有特色，
是因為人們在住宅需求中
也伴隨著對美的渴望。
也伴隨著對美的渴望。
01:22
is so bound up with
the human desire for beauty.
the human desire for beauty.
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01:28
Their rough surfaces
give us a touchable city.
give us a touchable city.
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粗糙的表面帶給了我們
一個觸手可及的城市。
一個觸手可及的城市。
當你的指尖拂過街邊的一磚一瓦時，
01:32
Right? Streets that you can read
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01:34
by running your fingers
over brick and stone.
over brick and stone.
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彷彿走進了小巷深處的記憶。
01:37
But that's getting harder to do,
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但這樣的機會已經越來越少了，
01:40
because cities are becoming smooth.
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因為城市正在變得光滑。
01:43
New downtowns sprout towers
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高層建築在市中心拔地而起，
01:45
that are almost always
made of concrete and steel
made of concrete and steel
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但卻幾乎都是覆蓋著玻璃的
01:48
and covered in glass.
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鋼筋混凝土建築物。
01:50
You can look at skylines
all over the world --
all over the world --
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各位可以去看看
世界各地城市的天際線──
世界各地城市的天際線──
休斯頓、
01:53
Houston,
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01:55
Guangzhou,
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廣州、
01:57
Frankfurt --
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法蘭克福──
01:59
and you see the same army
of high-gloss robots
of high-gloss robots
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那些長的一模一樣的
拋光機器人大軍，
拋光機器人大軍，
佈滿了城市的水平線。
02:02
marching over the horizon.
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02:05
Now, just think of everything we lose
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想想，當建築師們
不再使用其它各式各樣的材料時
我們所失去的一切。
我們所失去的一切。
02:07
when architects stop using
the full range of available materials.
the full range of available materials.
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02:12
When we reject granite
and limestone and sandstone
and limestone and sandstone
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當我們拋棄了
花崗岩、石灰岩、砂岩、
花崗岩、石灰岩、砂岩、
木材、銅片、陶瓦、磚、
02:16
and wood and copper
and terra-cotta and brick
and terra-cotta and brick
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籬芭、石膏，
02:18
and wattle and plaster,
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02:21
we simplify architecture
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我們簡化了建築，
卻拋光了城市。
02:23
and we impoverish cities.
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02:25
It's as if you reduced
all of the world's cuisines
all of the world's cuisines
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這就好比把世界各地的美食
簡化成飛機上的餐食。
02:29
down to airline food.
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（笑聲）
02:31
(Laughter)
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雞肉還是義大利麵？
02:32
Chicken or pasta?
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02:35
But worse still,
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但，更糟糕的是，
02:37
assemblies of glass towers
like this one in Moscow
like this one in Moscow
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像是在莫斯科的這些玻璃帷幕大樓，
暗含著一種對於城市社會生活的歧視。
02:41
suggest a disdain for the civic
and communal aspects of urban living.
and communal aspects of urban living.
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這樣的建築只是為了彰顯
房東或是租客很有錢的樣子，
房東或是租客很有錢的樣子，
02:46
Right? Buildings like these are intended
to enrich their owners and tenants,
to enrich their owners and tenants,
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而對於每天穿行其中的我們來說，
02:51
but not necessarily
the lives of the rest of us,
the lives of the rest of us,
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02:53
those of us who navigate
the spaces between the buildings.
the spaces between the buildings.
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卻沒有多大意義。
02:58
And we expect to do so for free.
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而我們卻放任這樣的建築物存在。
03:01
Shiny towers are an invasive species
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閃亮亮的大廈像是一種入侵物種，
它們掐住了城市的呼吸，
也破壞了我們的公共空間。
也破壞了我們的公共空間。
03:05
and they are choking our cities
and killing off public space.
and killing off public space.
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03:09
We tend to think of a facade
as being like makeup,
as being like makeup,
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我們似乎把建築物的外表
當做上妝的表層，
當做上妝的表層，
最後附上裝飾的一層就算是蓋好了。
03:12
a decorative layer applied at the end
to a building that's effectively complete.
to a building that's effectively complete.
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03:17
But just because a facade is superficial
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但是一個膚淺的外表，
並不意味著建築本身沒有深度。
03:19
doesn't mean it's not also deep.
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我舉個例子，
03:22
Let me give you an example
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說明一下城市的外觀，
會如何影響人們的生活方式。
會如何影響人們的生活方式。
03:24
of how a city's surfaces
affect the way we live in it.
affect the way we live in it.
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03:27
When I visited Salamanca in Spain,
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當我去拜訪位於西班牙的
薩拉曼卡的時候，
薩拉曼卡的時候，
03:30
I gravitated to the Plaza Mayor
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我被馬約爾廣場深深吸引，
於是一整天都呆在了那兒。
03:32
at all hours of the day.
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清晨，陽光撒向整棟建築物，
03:33
Early in the morning,
sunlight rakes the facades,
sunlight rakes the facades,
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留下清晰的陰影。
03:36
sharpening shadows,
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到了傍晚時分
燈光將樓房分割成了
燈光將樓房分割成了
03:38
and at night, lamplight
segments the buildings
segments the buildings
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數百個截然不同的小區域。
03:41
into hundreds of distinct areas,
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03:44
balconies and windows and arcades,
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陽台、窗戶、走廊
都各自造就了獨特的視覺區。
03:46
each one a separate pocket
of visual activity.
of visual activity.
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03:50
That detail and depth, that glamour
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那些細節、深度和它所帶來的魅力，
賦予了廣場擁有一種
大劇場的視覺饗宴。
大劇場的視覺饗宴。
03:54
gives the plaza a theatrical quality.
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它變成了一個
無論男女老少都可以邂逅的舞台。
無論男女老少都可以邂逅的舞台。
03:59
It becomes a stage
where the generations can meet.
where the generations can meet.
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04:02
You have teenagers
sprawling on the pavers,
sprawling on the pavers,
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你會看見年輕人
隨意地坐在廣場上，
隨意地坐在廣場上，
老年人佔據著長椅，
04:05
seniors monopolizing the benches,
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那真實的生活就像是
戲劇裡的佈景。
戲劇裡的佈景。
04:08
and real life starts to look
like an opera set.
like an opera set.
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揭開了薩拉曼卡的全貌。
04:12
The curtain goes up on Salamanca.
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04:15
So just because I'm talking
about the exteriors of buildings,
about the exteriors of buildings,
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因為我談的是建築外觀，
04:20
not form, not function, not structure,
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不是它的形式、功能或是結構，
04:24
even so those surfaces
give texture to our lives,
give texture to our lives,
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但就是這些外觀紋路，
為我們的生活帶來了觸動，
為我們的生活帶來了觸動，
04:29
because buildings
create the spaces around them,
create the spaces around them,
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因為建築物創造了
周圍的空間環境，
周圍的空間環境，
而這些空間環境
可以吸引人們聚在一起，
可以吸引人們聚在一起，
04:32
and those spaces can draw people in
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或是將人們推向它方。
04:35
or push them away.
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04:37
And the difference often has to do
with the quality of those exteriors.
with the quality of those exteriors.
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而這些差距往往就是
建築外觀的特質所決定的。
建築外觀的特質所決定的。
說一個可以與薩拉曼卡的馬約爾廣場
相當的現代廣場，
相當的現代廣場，
04:41
So one contemporary equivalent
of the Plaza Mayor in Salamanca
of the Plaza Mayor in Salamanca
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04:44
is the Place de la Défense in Paris,
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巴黎的協和廣場，
04:47
a windswept, glass-walled open space
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是一個吹襲著強風
被玻璃帷幕圍繞的開放空間，
被玻璃帷幕圍繞的開放空間，
讓辦公白領只想快速通過，
04:51
that office workers hurry through
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04:53
on the way from the metro
to their cubicles
to their cubicles
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從地鐵站直奔他們的小辦公室，
04:55
but otherwise spend
as little time in as possible.
as little time in as possible.
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盡可能地逃離現場。
05:00
In the early 1980s,
the architect Philip Johnson
the architect Philip Johnson
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在上世紀 80 年代初期
一位叫做菲力普·強生的建築師，
一位叫做菲力普·強生的建築師，
曾嘗試在匹茲堡
重塑一個優雅的歐式廣場。
重塑一個優雅的歐式廣場。
05:03
tried to recreate a gracious
European plaza in Pittsburgh.
European plaza in Pittsburgh.
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05:07
This is PPG Place,
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也就是 PPG 廣場，
05:09
a half acre of open space
encircled by commercial buildings
encircled by commercial buildings
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半英畝的空地
被玻璃帷幕的商業大樓所包圍著。
05:14
made of mirrored glass.
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他運用了金屬鑲邊、間隔排架
05:15
And he ornamented those buildings
with metal trim and bays
with metal trim and bays
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還有哥德式的塔樓設計，
05:19
and Gothic turrets
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雖然可以讓建築物
看起來像是真奔天際線，
看起來像是真奔天際線，
05:21
which really pop on the skyline.
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05:23
But at ground level,
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但是從一樓往上看，
05:26
the plaza feels like a black glass cage.
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整個廣場就好像一個
黑色的玻璃籠子。
黑色的玻璃籠子。
05:30
I mean, sure, in summertime
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我的意思是，沒錯，在夏天
孩子們還是會在噴泉的周圍來回奔跑，
05:31
kids are running back and forth
through the fountain
through the fountain
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冬天還是會在這裡溜冰，
05:34
and there's ice-skating in the winter,
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但卻少了一種休閑自在感。
05:36
but it lacks the informality
of a leisurely hangout.
of a leisurely hangout.
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05:39
It's just not the sort of place
you really want to just hang out and chat.
you really want to just hang out and chat.
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這個廣場的確不是那種
會讓你想去聚會暢談的地方。
會讓你想去聚會暢談的地方。
05:47
Public spaces thrive or fail
for many different reasons.
for many different reasons.
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這些公共空間的成功與失敗
取決於很多不同的原因。
取決於很多不同的原因。
建築的風格雖然只是其中一方面，
05:51
Architecture is only one,
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05:53
but it's an important one.
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但卻也是極其重要的一方面。
05:55
Some recent plazas
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一些最近新建的廣場
05:57
like Federation Square in Melbourne
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比如墨爾本的聯邦廣場
或是哥本哈根的 Superkilen 公園，
06:00
or Superkilen in Copenhagen
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06:03
succeed because they combine old and new,
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它們的成功源於
它們結合了古樸與新潮、
它們結合了古樸與新潮、
粗糙與光滑、
06:07
rough and smooth,
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06:09
neutral and bright colors,
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中性與明亮的色彩，
而且它們沒有過分依賴玻璃。
06:11
and because they don't rely
excessively on glass.
excessively on glass.
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06:16
Now, I'm not against glass.
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我並不是反對使用玻璃。
06:19
It's an ancient and versatile material.
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玻璃畢竟是一種古老且
用途多廣的材料。
用途多廣的材料。
06:23
It's easy to manufacture and transport
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它們易於大量生產、運輸、
安裝、替換
06:27
and install and replace
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和清潔。
06:29
and clean.
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無論是巨大的超潔凈板
還是簡單的半透明磚，
還是簡單的半透明磚，
06:31
It comes in everything
from enormous, ultraclear sheets
from enormous, ultraclear sheets
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都有玻璃的存在。
06:34
to translucent bricks.
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06:37
New coatings make it change mood
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新式塗層能夠
讓它們在光照的變化中
讓它們在光照的變化中
06:39
in the shifting light.
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變換色調。
06:41
In expensive cities like New York,
it has the magical power
it has the magical power
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在像紐約這樣的高消費力城市，
玻璃擁有神奇的能力，
玻璃擁有神奇的能力，
它能擴大視覺空間，
使房地產價格輕鬆翻倍，
使房地產價格輕鬆翻倍，
06:45
of being able to multiply
real estate values by allowing views,
real estate values by allowing views,
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而開發商也只能用玻璃當建材，
06:48
which is really the only commodity
that developers have to offer
that developers have to offer
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06:51
to justify those surreal prices.
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來平衡高的嚇人的土地成本。
06:56
In the middle of the 19th century,
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在 19 世紀中期，
06:58
with the construction
of the Crystal Palace in London,
of the Crystal Palace in London,
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伴隨著倫敦水晶宮的建成，
玻璃一躍成了
現代化建築材料的榜首。
現代化建築材料的榜首。
07:01
glass leapt to the top of the list
of quintessentially modern substances.
of quintessentially modern substances.
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07:06
By the mid-20th century,
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到了 20 世紀中期，
07:07
it had come to dominate
the downtowns of some American cities,
the downtowns of some American cities,
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玻璃透過這些壯觀的辦公大樓
07:11
largely through some
really spectacular office buildings
really spectacular office buildings
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主導了美國部分城市的市中心。
像是在曼哈頓由斯基德莫爾、奥因斯
和梅里爾三人設計的利華大廈。
和梅里爾三人設計的利華大廈。
07:14
like Lever House in midtown Manhattan,
designed by Skidmore, Owings and Merrill.
designed by Skidmore, Owings and Merrill.
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07:19
Eventually, the technology
advanced to the point
advanced to the point
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直到最近，科技進步到達了一種
07:22
where architects could design
structures so transparent
structures so transparent
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使建築師們能夠讓設計結構透明到
看不見的地步。
07:25
they practically disappear.
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07:28
And along the way,
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這一路走來，
玻璃成了高樓城市的既定材料，
07:29
glass became the default material
of the high-rise city,
of the high-rise city,
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07:34
and there's a very
powerful reason for that.
powerful reason for that.
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而這些改變的背後，
卻有著強大的理由。
卻有著強大的理由。
因為世界人口都聚集於城市之中，
07:37
Because as the world's populations
converge on cities,
converge on cities,
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窮人會住進臨時搭建的棚屋中。
07:42
the least fortunate pack
into jerry-built shantytowns.
into jerry-built shantytowns.
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但數以億計的人
07:45
But hundreds of millions of people
need apartments and places to work
need apartments and places to work
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仍是需要越來越高大的
住宅和辦公空間，
住宅和辦公空間，
07:49
in ever-larger buildings,
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07:50
so it makes economic sense
to put up towers
to put up towers
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所以從經濟角度考量，
使用便宜耐用的玻璃建材
使用便宜耐用的玻璃建材
07:53
and wrap them in cheap
and practical curtain walls.
and practical curtain walls.
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作為大樓的外觀是完全合理的。
07:57
But glass has a limited ability
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但是玻璃的表現力
畢竟是有局限性的。
08:01
to be expressive.
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08:03
This is a section of wall framing a plaza
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這是一個廣場的外牆
08:05
in the pre-Hispanic city of Mitla,
in southern Mexico.
in southern Mexico.
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位於墨西哥南部的前西班牙城米特拉，
08:10
Those 2,000-year-old carvings
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這些歷經 2000 年的雕紋，
08:12
make it clear that this was a place
of high ritual significance.
of high ritual significance.
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讓這裡充滿了宗教的歷史氣息。
08:17
Today we look at those and we can see
a historical and textural continuity
a historical and textural continuity
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如今，當我們仔細觀察
環繞在山區的這些建築雕刻物，
環繞在山區的這些建築雕刻物，
我們可以看到建築物
歷史紋路的傳承，
歷史紋路的傳承，
08:23
between those carvings,
the mountains all around
the mountains all around
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08:25
and that church which is built
on top of the ruins
on top of the ruins
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建造於廢墟之上的教堂
使用了當地的石材。
08:29
using stone plundered from the site.
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08:32
In nearby Oaxaca,
even ordinary plaster buildings
even ordinary plaster buildings
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在附近的瓦哈卡
即使是普通的石膏建築
即使是普通的石膏建築
也會成為色彩豐富的政治壁畫
08:35
become canvasses for
bright colors, political murals
bright colors, political murals
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08:40
and sophisticated graphic arts.
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或是深奧精美的藝術畫布。
08:43
It's an intricate, communicative language
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這些錯綜覆雜，具有交流性的語言
08:46
that an epidemic of glass
would simply wipe out.
would simply wipe out.
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會因玻璃的盛行而被輕易地替換掉。
08:49
The good news is
that architects and developers
that architects and developers
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好消息是，建築師和開發商們
已經開始在不脫離現代化的基礎上
08:52
have begun to rediscover
the joys of texture
the joys of texture
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重新發掘其它材質帶來的樂趣。
08:55
without backing away from modernity.
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08:58
Some find innovative uses
for old materials like brick
for old materials like brick
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有一些人找到了比如
磚頭或是赤陶瓦等舊材料的
磚頭或是赤陶瓦等舊材料的
09:03
and terra-cotta.
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新用途。
09:05
Others invent new products
like the molded panels that Snøhetta used
like the molded panels that Snøhetta used
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還有一些人則是發掘了新建材
比如斯諾赫塔
比如斯諾赫塔
在舊金山的現代藝術博物館，
使用模壓板，
使用模壓板，
09:11
to give the San Francisco
Museum of Modern Art
Museum of Modern Art
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09:13
that crinkly, sculptural quality.
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讓博物館看起來富有
皺折的雕塑般氣質。
皺折的雕塑般氣質。
09:16
The architect Stefano Boeri
even created living facades.
even created living facades.
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建築師斯特凡諾·博埃里甚至
創造了一種有生命力的建築外觀。
創造了一種有生命力的建築外觀。
這是他在米蘭
「垂直叢林」的雙大樓作品。
「垂直叢林」的雙大樓作品。
09:20
This is his Vertical Forest,
a pair of apartment towers in Milan,
a pair of apartment towers in Milan,
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它們最獨特的地方就是綠化。
09:24
whose most visible feature is greenery.
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09:27
And Boeri is designing a version of this
for Nanjing in China.
for Nanjing in China.
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博埃里正在為中國南京
設計一個類似的版本。
設計一個類似的版本。
09:33
And imagine if green facades
were as ubiquitous as glass ones
were as ubiquitous as glass ones
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想象一下，如果這種綠色外觀
能夠和玻璃一樣普及的話，
能夠和玻璃一樣普及的話，
09:37
how much cleaner the air
in Chinese cities would become.
in Chinese cities would become.
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那麽中國城市的空氣品質
將會得到多麽大的改善啊。
將會得到多麽大的改善啊。
09:41
But the truth is
that these are mostly one-offs,
that these are mostly one-offs,
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但事實上，這些往往都只是
一次性的精美個案。
09:44
boutique projects,
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沒辦法輕易地在全球普及。
09:45
not easily reproduced at a global scale.
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09:49
And that is the point.
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但這也是重點。
09:52
When you use materials
that have a local significance,
that have a local significance,
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當你去使用這些
具有地方特色的建材時，
具有地方特色的建材時，
就能夠避免城市的外觀趨於一致。
09:55
you prevent cities
from all looking the same.
from all looking the same.
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09:58
Copper has a long history in New York --
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在紐約，銅的運用已有
一段很長的歷史──
一段很長的歷史──
自由女神像、
10:01
the Statue of Liberty,
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10:03
the crown of the Woolworth Building --
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伍爾沃思大廈的樓頂都有銅的存在──
10:06
but it fell out of fashion for a long time
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但是它已經脫離時尚界多年，
直到 SHoP 的建築師，
在設計東河岸的一對折型塔樓──
在設計東河岸的一對折型塔樓──
10:09
until shop architects used it
to cover the American Copper Building,
to cover the American Copper Building,
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「美銅大樓」時，再次使用了它。
10:13
a pair of twisting towers
on the East River.
on the East River.
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10:17
It's not even finished
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它還沒有完工，
但你能夠從夕陽中
看到那耀眼的金屬光澤，
看到那耀眼的金屬光澤，
10:18
and you can see the way
sunset lights up that metallic facade,
sunset lights up that metallic facade,
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它們會隨著時間風化成綠色。
10:22
which will weather to green as it ages.
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10:25
Buildings can be like people.
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大樓也可以和人一樣，
它們的外觀也能有歲月的痕跡。
10:28
Their faces broadcast their experience.
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10:31
And that's an important point,
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這是很重要的一點，
10:32
because when glass ages,
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因為當玻璃老化的時候，
10:35
you just replace it,
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我們只會把它換掉，
10:37
and the building looks
pretty much the same way it did before
pretty much the same way it did before
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所以這些建築物
在被打掉重建前，
看起來都跟以前一模一樣。
看起來都跟以前一模一樣。
10:40
until eventually it's demolished.
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幾乎所有的材料都有能力
10:41
Almost all other materials
have the ability
have the ability
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可以吸收並融合歷史與回憶，
10:44
to absorb infusions of history and memory,
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並與當代相呼應。
10:48
and project it into the present.
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10:52
The firm Ennead
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Ennead 公司
10:54
clad the Utah Natural History Museum
in Salt Lake City in copper and zinc,
in Salt Lake City in copper and zinc,
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用銅和鋅包裹了位於鹽湖城的
猶他自然歷史博物館，
猶他自然歷史博物館，
這區的礦產開採歷史
已經有 150 年了，
已經有 150 年了，
10:59
ores that have been mined
in the area for 150 years
in the area for 150 years
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11:05
and that also camouflage the building
against the ochre hills
against the ochre hills
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這也讓這座建築物巧妙的
隱藏於礦山之中。
隱藏於礦山之中。
11:09
so that you have a natural history museum
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這樣我們就擁有了一個真正反映
當地自然歷史的自然歷史博物館。
11:11
that reflects the region's
natural history.
natural history.
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11:15
And when the Chinese
Pritzker Prize winner Wang Shu
Pritzker Prize winner Wang Shu
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當中國建築師王澍
（普利茨克獎獲得者）
（普利茨克獎獲得者）
在寧波建造歷史博物館時，
11:18
was building a history museum in Ningbo,
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11:21
he didn't just create
a wrapper for the past,
a wrapper for the past,
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他不僅僅將過去留在建築裡，
11:25
he built memory right into the walls
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也將回憶帶回了建築當中，
11:28
by using brick and stones and shingles
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他是利用村莊拆除下來的磚石、木瓦
將它建造而成的。
11:31
salvaged from villages
that had been demolished.
that had been demolished.
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11:36
Now, architects can use glass
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當今的建築師也可以
以同樣抒情且別出心裁的方式
以同樣抒情且別出心裁的方式
11:39
in equally lyrical and inventive ways.
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利用玻璃來設計建物。
在這裡，紐約，有兩棟樓，
11:42
Here in New York, two buildings,
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一棟是楊·努維爾設計的，
這棟則是法蘭克·蓋瑞的作品，
這棟則是法蘭克·蓋瑞的作品，
11:43
one by Jean Nouvel
and this one by Frank Gehry
and this one by Frank Gehry
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11:47
face off across West 19th Street,
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它們面朝西十九大道，
11:49
and the play of reflections
that they toss back and forth
that they toss back and forth
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而它們所創造出的光影交錯
就如同光世界的交響曲。
11:52
is like a symphony in light.
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11:56
But when a city defaults to glass
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但當玻璃成為一個城市的既定材料，
不斷地被使用時，
11:59
as it grows,
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城市就會變成充滿鏡面的建築，
12:00
it becomes a hall of mirrors,
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12:03
disquieting and cold.
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會讓人感到不安、冰冷。
12:06
After all, cities are places
of concentrated variety
of concentrated variety
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畢竟，城市應該是一個多元的大熔爐，
匯聚了各國文化、
12:11
where the world's cultures
and languages and lifestyles
and languages and lifestyles
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混合了多國語言和生活方式的地方。
12:16
come together and mingle.
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12:19
So rather than encase all that variety
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所以我們不應該將這些
不同且多樣性的各國文化
不同且多樣性的各國文化
12:22
and diversity in buildings
of crushing sameness,
of crushing sameness,
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局限在這一模一樣的外表下，
我們應該讓建築充分反映
豐富多彩的城市體驗。
豐富多彩的城市體驗。
12:26
we should have an architecture that honors
the full range of the urban experience.
the full range of the urban experience.
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12:32
Thank you.
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謝謝大家。
（掌聲）
12:33
(Applause)
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ABOUT THE SPEAKER
Justin Davidson - Architecture criticJustin Davidson writes about a broad range of urban, civic, design and arts issues.
Why you should listen
Justin Davidson is the author of Magnetic City: A Walking Companion to New York (Spiegel & Grau), which leads readers through a portrait of the city told through its history, architecture, music, art and literature.
Davidson has been the architecture and classical music critic at New York magazine since 2007. Before that, he spent 12 years as classical music critic at Newsday, where he also wrote about architecture and was a regular cultural commentator. He won a Pulitzer Prize for criticism in 2002, an American Society of Newspaper Editors criticism (ASNE) award and the 2015 Stephen A. Kliment Oculus Award for Architectural Journalism from the American Institute of Architects, New York Chapter.
A native of Rome, Davidson graduated from Harvard and later earned a doctoral degree in music composition at Columbia University. He has contributed to many publications, including The New Yorker, Smithsonian, W., The New York Times Book Review, Travel & Leisure, Condé Nast Traveler and Pursuits. He was a columnist for the website Wondering Sound and has appeared regularly on WNYC and other radio and television outlets. He has taught at the Design Criticism program at the School of Visual Arts, the Goldring Arts Journalism Program of Syracuse University and NEA Arts Journalism Institutes. He lives on the Upper West Side of Manhattan.
Justin Davidson | Speaker | TED.com