EG 2007
Liz Diller: The Blur Building and other tech-empowered architecture
Liz Diller玩建築
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在這個引人入勝的EG演講中，建築師Liz Diller和大家分享了她的公司DS+R's的一些很特殊的工作。包括拿霧氣作墻的Blur大廈和用閃光的木材作外觀的Alice Tully音樂廳的改造工程。
Liz Diller - Designer
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice. Full bio
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice. Full bio
Double-click the English transcript below to play the video.
00:16
Aside from keeping the rain out and producing some usable space,
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除了遮風避雨以及創造有用空間外
00:23
architecture is nothing but a special-effects machine
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建築只不過是個
00:27
that delights and disturbs the senses.
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能令人開心或惱人的特效機器
00:30
Our work is across media. The work comes in all shapes and sizes.
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我們的工作是跨媒體的。這工作裡伴隨著各式的形狀和大小。
00:35
It's small and large. This is an ashtray, a water glass.
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它有大有小。這是個煙灰缸，這是水杯。
00:39
From urban planning and master planning
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從市郊計劃和宏觀計劃
00:42
to theater and all sorts of stuff.
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到劇院以及各種其它東西
00:46
The thing that all the work has in common
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所有這些都共有的特點是
00:48
is that it challenges the assumptions about conventions of space.
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它們挑戰了人們關於傳統空間的種種假設。
00:53
And these are everyday conventions,
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這些是日常慣例，
00:55
conventions that are so obvious that we are blinded by their familiarity.
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這些慣例太常見，以致於我們太熟悉而忽略。
01:00
And I've assembled a sampling of work
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我做了抽樣的工作
01:04
that all share a kind of productive nihilism
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資料都包含了有效率的虛無主義
01:08
that's used in the service of creating a particular special effect.
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這個概念被用來創造一些特殊的效果。
01:12
And that is something like nothing, or something next to nothing.
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這效果就像是沒有，或近乎沒有。
01:18
It's done through a form of subtraction or obstruction or interference
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這是從我們自然幻想的世界中，
01:23
in a world that we naturally sleepwalk through.
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在各種干擾或影響之下實現的。
01:27
This is an image that won us a competition
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這副圖幫我們贏得2002年
01:30
for an exhibition pavilion for the Swiss Expo 2002
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在離日內瓦不遠的Neuchatel湖
01:34
on Lake Neuchatel, near Geneva.
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舉辦的瑞士世博會的展廳的競賽
01:36
And we wanted to use the water not only as a context,
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我們不希望水只是背景而已
01:39
but as a primary building material.
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而是一種主要的建築材料。
01:41
We wanted to make an architecture of atmosphere.
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我們想建一座大氣建築。
01:44
So, no walls, no roof, no purpose --
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所以，沒有牆，屋頂，沒有用途 --
01:47
just a mass of atomized water, a big cloud.
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只有一片霧化的水氣和一大片雲朵。
01:50
And this proposal was a reaction to the over-saturation
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這個提案只是對最近國內和世界各地
01:53
of emergent technologies in recent national and world expositions,
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對於新興技術的過份飽和所做的反應。
01:58
which feeds, or has been feeding, our insatiable appetite
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這些新技術滿足了我們對更精湛的數位科技
02:03
for visual stimulation with an ever greater digital virtuosity.
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帶來的視覺刺激的不懈追求。
02:09
High definition, in our opinion, has become the new orthodoxy.
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在我們的目標裡，高識別度是新的正統觀念。
02:14
And we ask the question, can we use technology, high technology,
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而我們問了一個問題,我們能否應用高科技，
02:18
to make an expo pavilion that's decidedly low definition,
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將一座的明顯識別度低的展廳，
02:24
that also challenges the conventions of space and skin,
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去挑戰傳統空間和外觀設計，
02:27
and rethinks our dependence on vision?
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並來重新思考我們對其視覺的依賴？
02:29
So this is how we sought to do it.
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所以這是我們想出來的辦法。
02:32
Water's pumped from the lake and is filtered
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水從湖裡泵上並過濾
02:34
and shot as a fine mist through an array of high-pressure fog nozzles,
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通過一排高壓水霧的噴嘴，打出液體噴霧的效果
02:39
35,000 of them. And a weather station is on the structure.
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共三萬五千個噴嘴。還建有一座氣象站。
02:43
It reads the shifting conditions of temperature, humidity,
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用來檢測環境溫度，濕度，
02:46
wind direction, wind speed, dew point,
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風向，風速，霧點等變化，
02:49
and it processes this data in a central computer
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把這些數據透過中央電腦處理
02:52
that calibrates the degree of water pressure
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來調節水的壓力
02:55
and distribution of water throughout.
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和水霧的分散程度。
02:57
And it's a responsive system that's trained on actual weather.
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這是一個依據實際天氣變化的可靠的系統。
03:02
So, this is just in construction, and there's a tensegrity structure.
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這是還在建構中，那裡有一個張拉整體結構。
03:06
It's about 300 feet wide, the size of a football field,
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大約300英尺寬，一個足球場的大小，
03:09
and it sits on just four very delicate columns.
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坐落在四支非常精美的柱子上。
03:13
These are the fog nozzles, the interface,
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這是水霧的噴嘴，和交界處，
03:16
and basically the system is kind of reading the real weather,
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這個系統實際上是在監控實際的天氣，
03:20
and producing kind of semi-artificial and real weather.
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來創造一個半人工的真實氣候，
03:24
So, we're very interested in creating weather. I don't know why.
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我們很衷情於創造天氣。我也不知道為什麼。
03:28
Now, here we go, one side, the outside
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這裡是一邊，這是外邊。
03:31
and then from the inside of the space
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這是從裡面看
03:33
you can see what the quality of the space was.
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你能看出這一個空間的質感。
03:35
Unlike entering any normal space,
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不同於任何其它的正常的空間，
03:38
entering Blur is like stepping into a habitable medium.
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進入Blur大樓就像是進入一個適合居住的環境。
03:42
It's formless, featureless, depthless, scaleless, massless,
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它沒有形式、特徵、深度、尺度、質量，
03:47
purposeless and dimensionless.
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也沒有目的、維度。
03:49
All references are erased,
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除去所有的輪廓
03:52
leaving only an optical whiteout and white noise of the pulsing nozzles.
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只留下一個光學上的乳白景象和間歇的噴嘴聲。
03:58
So, this is an exhibition pavilion
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這是一個展覽大廳
04:01
where there is absolutely nothing to see and nothing to do.
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裡頭沒有展覽品，也沒有活動
04:05
And we pride ourselves -- it's a spectacular anti-spectacle
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我們很自豪，這是一個壯觀的"新世界"
04:11
in which all the conventions of spectacle are turned on their head.
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在這裡所有傳統的概念都被打破了。
04:15
So, the audience is dispersed,
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觀眾們被分散
04:17
focused attention and dramatic build-up and climax
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集中的注意力、累積的戲劇效果和高潮
04:20
are all replaced by a kind of attenuated attention
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被因霧氣而持續產生的憂慮感所取代
04:23
that's sustained by a sense of apprehension caused by the fog.
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而造成注意力的減弱
04:27
And this is very much like how the Victorian novel used fog in this way.
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這就很像維多利亞小說裡使用霧氣的方式。
04:33
So here the world is put out of focus,
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所以當沒有焦點的時候，
04:36
while our visual dependence is put into focus.
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我們視覺的依賴就會成為焦點。
04:40
The public, you know, once disoriented
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大眾一但迷失方向
04:43
can actually ascend to the angel deck above
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反而能走到較高角度的甲板上
04:47
and then just come down under those lips into the water bar.
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然後再回到水的邊緣。
04:50
So, all the waters of the world are served there,
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所有的水世界都在這裡
04:52
so we thought that, you know, after being at the water
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我們想，在水邊玩過了
04:56
and moving through the water and breathing the water,
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在水裡穿梭過了，也呼吸過了，
04:59
you could also drink this building.
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你還能喝這座建築。
05:02
And so it is sort of a theme,
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它有點像是個主題，
05:06
but it goes a little bit, you know, deeper than that.
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但它又比這更深一層。
05:09
We really wanted to bring out
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我們真的很想把我們對
05:11
our absolute dependence on this master sense,
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這些主觀的依賴感完全展現出來，
05:15
and maybe share our kind of sensibility with our other senses.
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並把我們的感觀和其它感覺連結起來。
05:19
You know, when we did this project it was a kind of tough sell,
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我們做這個計畫的時候，是很棘手的
05:23
because the Swiss said, "Well, why are we going to spend, you know,
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因為瑞士政府說：「那麼，我們為什麼要花
05:25
10 million dollars producing an effect
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一千萬來建造一個效果，
05:29
that we already have in natural abundance that we hate?"
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而這個效果在平常就已經多到讓我們厭煩了？」
05:31
And, you know, we thought -- well, we tried to convince them.
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我們試圖說服他們。
05:36
And in the end, you know, they adapted this as a national icon
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最終，他們接受這個做為國家標誌的提案
05:42
that came to represent Swiss doubt, which we -- you know,
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它代表了瑞士人的疑惑，
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it was kind of a meaning machine
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它像是個有意義的機器
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that everybody kind of laid on their own meanings off of.
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每個人都能各自表述他們的定義
05:51
Anyway, it's a temporary structure that was ultimately destroyed,
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總之，這是一座臨時建築，最終還是要被拆掉
05:54
and so it's now a memory of an apparition, actually,
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所以它現在其實是一種幻像的記憶。
05:58
but it continues to live in edible form.
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但它還是存在在可感知的形式裡。
06:01
And this is the highest honor
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在瑞士，建築的最高榮譽
06:03
to be bestowed upon an architect in Switzerland -- to have a chocolate bar.
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就是能被授予一塊巧克力。
06:08
Anyway, moving along.
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繼續這一話題。
06:10
So in the '80s and '90s, we were mostly known for independent work,
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在八九十年代，獨立工作是最被熟知的，
06:15
such as installation artist, architect,
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比如裝置藝術家，建築師
06:19
commissioned projects by museums and non-for-profit organizations.
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為非盈利組織或博物館所做的計畫。
06:24
And we did a lot of media work,
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我們還做了很多媒體工作，
06:27
also a lot of experimental theater projects.
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還有一些實驗性的劇院計畫。
06:29
In 2003, the Whitney mounted a retrospective of our work
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在2003年，Whitney組織了一次回顧性的展覽，
06:34
that featured a lot of this work from the '80s and '90s.
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展出我們八九十年代的工作。
06:38
However, the work itself resisted the very nature of a retrospective,
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但這些工作本身和回顧的性質是相牴觸的
06:44
and this is just some of the stuff that was in the show.
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這是其中一些展品。
06:47
This was a piece on tourism in the United States.
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這是關於美國旅遊的一個作品。
06:50
This is "Soft Sell" for 42nd Street.
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這是對第42街的"軟推銷"，
06:53
This was something done at the Cartier Foundation.
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這是建在卡地亞基金會前。
06:56
"Master/Slave" at the MOMA, the project series, a piece called "Parasite."
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在現代藝術「主人與奴隸」，是「寄生」系列中的一部。
07:01
And so there were many, many of these kinds of projects.
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有許許多多這樣的例子。
07:04
Anyway, they gave us the whole fourth floor, and, you know,
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總之，他們給了我們完整的第四層樓，
07:10
the problem of the retrospective
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關於回顧的最大問題是
07:12
was something we were very uncomfortable with.
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這是一個我們很不習慣的話題。
07:14
It's a kind of invention of the museum
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這有點像是博物館的發明
07:16
that's supposed to bring a kind of cohesive understanding
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其實應該帶來大眾對某一作品的實體
07:20
to the public of a body of work.
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統一的理解。
07:22
And our work doesn't really resolve itself into a body in any way at all.
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但我們的工作並不能表現任何一種實體
07:27
And one of the recurring themes, by the way, that in the work
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有一個不斷重複的主題是，
07:32
was a kind of hostility toward the museum itself,
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是作品本身中蘊含對博物館的抵制。
07:35
and asking about the conventions of the museum, like the wall, the white wall.
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其本身在質疑博物館的故有形式，比如說白牆。
07:40
So, what you see here
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你現在看到的
07:42
is basically a plan of many installations that were put there.
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其實是一個把很多裝置組裝在一起的計劃。
07:45
And we actually had to install white walls
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而且我們其實是需要裝白牆的
07:48
to separate these pieces, which didn't belong together.
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來分隔這些不同的作品。
07:50
But these white walls became a kind of target and weapon at the same time.
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但同時這些白牆似乎也變成了目標和武器。
07:55
We used the wall to partition the 13 installations of the project
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我們用這些白牆來分隔計畫裡的十三個裝置
07:58
and produce a kind of acoustic and visual separation.
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從而產生一種聽覺和視覺的區隔。
08:03
And what you see is -- actually,
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你看到的，其實是
08:05
the red dotted line shows the track of this performing element,
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紅點連成的線顯示了這個表演元素的路線,
08:10
which was a new piece that created -- that we created for the --
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這是個新作品，我們創作它是為了
08:13
which was a robotic drill, basically, that went all the way around,
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這作品是個機器鑽頭，基本上可以到處移動，
08:17
cruised the museum, went all around the walls and did a lot of damage.
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在博物館裡，穿梭在牆旁，大肆破壞。
08:23
So, the drill was mounted on this robotic arm.
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這個鑽頭是焊在機械手臂上的。
08:26
We worked with, by the way, Honeybee Robotics. This is the brain.
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我們用這種叫蜜蜂的機械。這是主機。
08:30
Honeybee Robotics designed the Mars Driller,
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蜜蜂機械設計了火星鑽頭，
08:33
and it was really very much fun to work with them.
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用這些東西工作，真是件很有樂趣的事。
08:35
They weren't doing their primary work, which was for the government,
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他們沒有做他們的主要工作，為政府工作，
08:39
while they were helping us with this.
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他們在幫我們做事。
08:42
In any case, the way it works is that
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不管怎樣，其工作的原理就是
08:44
an intelligent navigator basically maps the entire surface of these walls.
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一個智慧導航系統記錄下所有這裡的牆面
08:50
So, unfolded it's about 300 linear feet.
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全部展開大概有300英尺。
08:53
And it randomly generates points within a three-dimensional matrix.
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它在三維空間裡隨意地生成點。
08:57
It selects a point, it guides the drill to that point, it pierces the dry wall,
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它選擇一個點，引導鑽頭去點的位置，再鑿穿那面牆，
09:02
leaving a half-inch hole before traveling to the next location.
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留下一個半英尺的洞，然後再去下一個點，
09:07
Initially these holes were lone blemishes,
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最開始這些洞是孤立的瑕疵，
09:11
and as the exhibition continued
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但在展覽進行中
09:13
the walls became increasingly perforated.
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牆上有越來越多的孔。
09:16
So eventually holes on both sides of the wall aligned,
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所以漸漸地，牆兩邊的洞就排成一排了。
09:19
opening views from gallery to gallery.
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然後人們能從一個展廳看到另一個展廳裡。
09:21
Clusters of holes randomly opened up sections of wall.
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一個個隨意打的洞打開了一些牆面。
09:25
And so this was a three-month performance piece
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這是一個為期三個月的展覽作品
09:28
in which the wall was made into kind of an increasingly unstable element.
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這裡的牆已經變成越來越不堅固的元素了。
09:35
And also the acoustic separation was destroyed.
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同時聽覺的區隔也被破壞了。
09:39
Also the visual separation.
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視覺的也是。
09:41
And there was also this constant background groan, which was very annoying.
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還有背景中持續不斷的嗡嗡聲，這很令人討厭。
09:47
And this is one of the blackout spaces
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這是其中的一個不透光的空間
09:49
where there's a video piece that became totally not useful.
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這裡的影像完全沒了用處。
09:52
So rather than securing a neutral background for the artworks on display,
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所以與其讓牆充當展示作品的素凈背景，
09:56
the wall now actively competed for attention.
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現在牆開始主動得到人們的注意力，
10:00
And this acoustical nuisance and visual nuisance
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這種聽覺和視覺上的擾動，
10:04
basically exposed the discomfort of the work
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基本上釋放了作品對於回顧
10:07
to this encompassing nature of the retrospective.
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這個概念的本質的不適應。
10:13
It was really great when it started to break up all of the curatorial text.
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它開始打破策展準則，這是一件特別好的事。
10:17
Moving along to a project that we finished about a year ago.
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下一個案子是我們一年前做的。
10:21
It's the ICA -- the Institute of Contemporary Art -- in Boston,
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在波士頓的當代藝術協會(ICA)
10:26
which is on the waterfront.
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位在碼頭區內。
10:28
And there's not enough time to really introduce the building,
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我們沒有時間真正介紹這棟建築。
10:31
but I'll simply say that the building negotiates
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我想簡單說這棟建築是關於兩方面的妥協
10:33
between this outwardly focused nature of the site --
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一方面要著重於外部的自然環境--
10:39
you know, it's a really great waterfront site in Boston --
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你們知道，波士頓有很棒的海旁用地--
10:42
and this contradictory other desire to have an inwardly focused museum.
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矛盾的是，另一方面內部空間卻著重於博物館。
10:47
So, the nature of the building is that it looks at looking --
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所以，這棟建築的本質是它的外觀--
10:51
I mean that's its primary objective,
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我是說這是這棟建築的首要目的。
10:54
both its program and its architectural conceit.
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包括它的實用目的和它的設計效果。
11:00
The building incorporates the site,
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建築要融入其環境中，
11:04
but it dispenses it in very small doses
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但又不被影響很多，
11:08
in the way that the museum is choreographed.
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這個博物館是精心設計的。
11:11
So, you come in and you're basically squeezed by the theater,
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所以你進來的時候，你基本上是被劇院壓扁的，
11:15
by the belly of the theater, into this very compressed space
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在劇院的中段，進入這個特別壓迫的空間
11:17
where the view is turned off.
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視野關閉的地方。
11:19
Then you come up in this glass elevator right near the curtain wall.
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之後你乘坐這個玻璃電梯上升到幕牆附近。
11:24
This elevator's about the size of a New York City studio apartment.
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這個電梯的大小基本上相當於紐約小型公寓房間。
11:28
And then, this is a view going up,
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這裡視線就開闊了，
11:30
and then you could come into the theater,
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之後你就能進入劇場，
11:32
which can actually deny the view or open it up and become a backdrop.
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這裡能透過布幕打開或者切斷視野。
11:37
And many musicians choose to use the theater glass walls totally open.
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很多音樂家選擇讓劇場的玻璃全部開著。
11:43
The view is denied in the galleries
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視野在展覽是被阻斷的，
11:45
where we receive just natural light,
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我們只能用自然光，
11:48
and then exposed again in the north gallery with a panoramic view.
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然後在朝北的展廳重新開放全景。
11:53
The original intention of this space,
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這個空間的最早創意，
11:55
which was unfortunately never realized,
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雖說很可惜從來沒有實現，
11:58
was to use lenticular glass
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是想使用雙凸透镜
12:00
which allowed only a kind of perpendicular view out.
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透過它只能看到一種垂直的景象。
12:03
In this very narrow space that connects east and west galleries
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在這個連接東和西的狹小的空間裡，
12:06
the intention was really to not get a climax,
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這創意不是想創造什麼高潮，
12:10
but to have the view stalk you,
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而是有一個跟隨你的景色，
12:12
so the view would open up as you walked from one end to the other.
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當你走出前一個景色時，後一個就展現開來了.
12:16
This was eliminated because the view was too good,
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這個創意被否決了，因為景色實在是太好了，
12:19
and the mayor said, "No, we just want this open."
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於是市長說「 不，我們只想讓它開著。」
12:22
The architect lost here.
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建築的想法在這裡派不上用場。
12:24
But culminating -- and that's where this hooks into the theme of my little talk --
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但最後，這是我把這個聯繫到我演講的主題上，
12:27
is this Mediatheque,
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是媒體中心，
12:29
which is suspended from the cantilevered portion of the building.
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這是懸掛在建設的懸臂部分。
12:33
So this is an 80-foot cantilever -- it's quite substantial.
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這是一具80英尺高的懸臂，它很大很結實。
12:36
So, it's already sticking out into space enough,
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它已經在空間中很突出了，
12:40
and then from that is this, is this small area called the Mediatheque.
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從它上面出來的這個小區域是媒體中心。
12:45
The Mediatheque has something like 16 stations
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媒體中心上面有16個工作站
12:49
where the public can get onto the server
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大眾能從這裡連到服務器上
12:51
and look at digital artworks or also curated artworks off the web.
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來觀看數位藝術或網上的藝術策劃。
12:55
And this was really a kind of very important part of this building,
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這其實真的是建築中很重要的一部分，
13:02
and here is a point where architecture --
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有一種說法，沒有技術的建築
13:04
this is like technology-free -- architecture is only a framing device,
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就只是一個有架構的裝置，
13:08
it only edits the harbor view, the industrial harbor
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它只規劃了海景，這座工業港
13:12
just through its walls, its floors and its ceiling,
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景色就穿過了它的牆，地板和天花板，
13:16
to only expose the water itself, the texture of water,
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只顯示水，水的質感。
13:22
much like a hypnotic effect created by electronic snow
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很像是一個電擊產生的催眠效果
13:26
or a lava lamp or something like that.
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或者是熔岩燈什麼之類的。
13:29
And here is where we really felt that there was a great convergence
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就是在這裡，我們才真正感受到了
13:33
of the technological and the natural in the project.
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這個案子裡技術和自然的融合。
13:38
But there is just no information, it's just -- it's just hypnosis.
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但這裡並沒有信息，只是假設。
13:45
Moving along to Lincoln Center.
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下個例子是林肯中心。
13:48
These are the guys that did the project in the first place, 50 years ago.
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50年前，有一群人首先做了這個案子。
13:52
We're taking over now, doing work that ranges in scale
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我們現在接手了，做大規模的改變
13:55
from small-scale repairs to major renovations and major facility expansions.
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從小規模的修復，到大的改造和主要設施的擴建。
14:01
But we're doing it with a lot less testosterone.
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但我們用很少的人力。
14:04
This is the extent of the work that's to be completed by 2010.
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這是2010年完工後的樣子。
14:09
And for the purposes of this talk,
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為了這次的演講，
14:11
I wanted to isolate just a part of a project that's even a part of a project
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我想從案子裡分出一個部分，再從這部分拿一部分出來
14:15
that touches a little bit on this theme of architectural special effects,
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這部分和特殊建築效果有一定關聯。
14:19
and it happens to be our current obsession,
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而且它恰好是我們現在執著做的事，
14:23
and it plays a little bit with the purging and adding of distraction.
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它用了一點清除和增加干擾的概念。
14:29
It's Alice Tully Hall, and it's tucked under the Juilliard Building
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這是Alice Tully廳，它被塞在Juilliard大樓下
14:33
and descends several levels under the street.
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又是在這街下的地下好幾層。
14:37
So, this is the entrance to Tully Hall as it used to be,
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這是它改造前原來的入口，
14:41
before the renovation, which we just started.
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我們剛剛開始它的改造。
14:43
And we asked ourselves, why couldn't it be exhibitionistic,
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我們問自己，為什麼它不能是展覽性的呢，
14:46
like the Met, or like some of the other buildings at Lincoln Center?
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就像大都會歌劇院，或像林肯中心裡的其它建築那樣呢？
14:49
And one of the things that we were asked to do
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我們有一件要做的事就是在街上定位出來，
14:52
was give it a street identity, expand the lobbies and make it visually accessible.
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擴建大廳，讓人們在路上就能看到它。
14:57
And this building, which is just naturally hermetic, we stripped.
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我們扒光了這個本來密不透風的建築。
15:01
We basically did a striptease, architectural striptease,
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我們基本上是讓這棟建築跳了一場脫衣舞，
15:04
where we're framing with this kind of canopy --
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我們用這樣的罩篷做了框架，
15:09
the underside of three levels of expansion of Juilliard,
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在Juilliard大樓下面三層
15:12
about 45,000 square feet -- cutting it to the angle of Broadway,
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有一個四萬五千平方英尺的空間，鄰近百老匯，
15:17
and then exposing, using that canopy to frame Tully Hall.
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並再用這種罩篷搭了Tully廳的框架。
15:22
Before and after shot. (Applause)
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改造之前和之後。
15:26
Wait a minute, it's just in that state, we have a long way to go.
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等一下，它現在只是這樣，我們還有很多要做。
15:30
But what I wanted to do was take a couple of seconds that I have left
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但我想做的就是用最後剩下的幾秒鐘，
15:33
to just talk about the hall itself,
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來談談這個大廳，
15:35
which is kind of where we're really doing a massive amount of work.
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這是我們真正做了很多工作的地方。
15:39
So, the hall is a multi-purpose hall.
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這個大廳是個多功能大廳。
15:42
The clients have asked us to produce a great chamber music hall.
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客戶要求我們做一個好的小音樂廳。
15:47
Now, that's really tough to do with a hall that has 1,100 seats.
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但很難要去規劃一座有1,100個座位的大廳。
15:51
Chamber and the notion of chamber has to do with salons
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小音樂廳的概念是用於沙龍和小型演出的。
15:54
and small-scale performances. They asked us to bring an intimacy.
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他們希望我們讓建築具備親切感。
15:57
How do you bring an intimacy into a hall?
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該如何把親切感帶進大廳？
16:00
Intimacy for us means a lot of different things.
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親切感對我們而言有很多不同的理解。
16:02
It means acoustic intimacy and it means visual intimacy.
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包括聽覺和視覺的親切感。
16:06
One thing is that the subway is running and rumbling right under the hall.
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有一件事是地鐵正好在下面穿過，
16:10
Another thing that could be fixed is the shape of the hall.
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另一件能做的事是改變大廳的形狀。
16:12
It's like a coffin, it basically sends all the sound,
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它像個棺材，基本上是把所有的聲音，
16:15
like a gutter-ball effect, down the aisles.
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像保齡球一樣，沿著走廊傳下去。
16:17
The walls are made of absorptive surface,
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牆是用吸音材料做的，
16:20
half absorptive, half reflective,
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半吸收，半反射，
16:22
which is not very good for concert sound.
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這對於音樂會的音效並不是很好。
16:25
This is Avery Fisher Hall, but the notion of junk -- visual junk --
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這是Avery Fisher大廳, 但關於垃圾，視覺垃圾的概念
16:29
was very, very important to us, to get rid of visual noise.
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這對我們除去視覺雜物來說是很重要的。
16:33
Because we can't eliminate a single seat,
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因為我們不能減少座位,
16:35
the architecture is restricted to 18 inches.
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建築被侷限在18英吋裡。
16:38
So it's a very, very thin architecture.
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是個特別特別狹小的建築。
16:41
First we do a kind of partial box and box separation,
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一開始我們做了盒狀的空間來區隔，
16:45
to take away the distraction of the subway noise.
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消除地鐵的干擾雜音。
16:47
Next we wrap the entire hall -- almost like this Olivetti keyboard --
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之後我們把整個廳包起來，幾乎就像是Olivetti的鍵盤
16:52
with a material, with a wood material
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用的是一種木質材料
16:55
that basically covers all the surfaces:
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基本上蓋住了所有表面。
16:57
wall, ceiling, floor, stage, steps, everything, boxes.
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牆，天花板，地面，舞台，台階和所有東西
17:01
But it's acoustically engineered to focus the sound into the house
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但其聲學設計是要把聲音集中獻給觀眾
17:05
and back to the stage. And here's an acoustic shelf.
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再傳回舞台。這是一個聲貨架。
17:08
Looking up the hall. Just a section of the stage.
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向上看大廳裡，只是舞台的一部分。
17:11
Just everything is lined, it incorporates --
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所有東西都是排列整齊的，
17:14
every single thing that you could possibly imagine
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任何一件你能想像得到的東西都是
17:16
is tucked into this high-performance skin.
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用這種高性能的表面覆蓋的，
17:18
But one more added feature.
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還有另一樣特點。
17:20
So now that we've stripped the hall of all visual distraction,
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現在我們已經把大廳裡所有形成視覺干擾的元素都除去了，
17:23
everything that prevents this intimacy
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所有阻礙親切感的東西，
17:26
which is supposed to connect the house, the audience,
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大廳應該是能把觀眾們
17:29
with the performers, we add one little detail,
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與表演聯繫起來的，我們加入了另一個細節，
17:33
one piece of architectural excess, a special effect: lighting.
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一個額外的建築設計，特殊效果：光，
17:37
We very strongly believe that the theatrics of a concert hall
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我們相信一個音樂廳的戲劇性
17:41
is as much in the space of intermission and the space of arrival
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表現在中間休息時間
17:45
as it is when the concert starts.
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和開場的時候。
17:47
So what we wanted to do was produce this effect,
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我們想做的就是創造這麼一種效果
17:51
this lighting effect,
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光影效果，
17:53
which made us have to bioengineer the wood walls.
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為此我們對木質牆做了生物工程改造。
17:57
And what it entails is the use of resin, of this very thick resin
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它牽涉到樹脂的使用，一種很厚的樹脂
18:03
with a veneer of the same kind of wood that's used throughout the hall,
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它表面有一層薄板，用和整個大廳的木質材料類似的材料
18:07
in a kind of seamless continuity
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用一種無縫的連續性
18:11
that wraps the hall in light, like a belt of light: rather than separating,
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把整個大廳包起來，像一條光做的帶子，
18:16
like a proscenium would separate the audience from performers,
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不像台口是把觀眾和表演者分開，
18:20
it connects audience with players.
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這些光把觀眾和表演都聯繫起來。
18:22
And this is a mockup that is in Salt Lake City
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這是鹽湖城的一個模型
18:28
that gives you a sense of what this is going to look like in full-scale.
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它大概能讓你知道完成後會是什麼樣子。
18:33
And this is a guy from Salt Lake City,
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這是一個鹽湖城的小伙子
18:36
this is what they look like out there.
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那裡的人基本都長這樣。
18:38
(Laughter)
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（笑聲）
18:41
And for us, I mean it's really kind of a very strange thing,
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對我們而言，這真的是一件很奇怪的事，
18:44
but the moments in the hall that the buzz kind of dies down
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但當站在那個廳裡，聽到雜音一點點消失，
18:50
when the audience is waiting for the performance to begin,
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當觀眾等待演出開始，
18:53
very similar to the parting of curtains or the raising of a chandelier,
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當幕布或燈光的升起的時，
18:57
the walls will just exude this glow, temporarily stealing attention from the stage.
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這些牆將會發出光彩，暫時從舞台上偷走一點注意力。
19:03
And this is Tully in construction now.
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這是Tully廳在建造中的樣子。
19:07
I have no ending to say, except that I'm a couple of minutes over.
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除了說我多講了幾分鐘外，我沒什麼結語想說。
19:11
Thank you very much.
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非常感謝。
19:13
(Applause)
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（掌聲）
ABOUT THE SPEAKER
Liz Diller - DesignerLiz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice.
Why you should listen
Liz Diller's firm, Diller Scofidio & Renfro, might just be the first post-wall architects. From a mid-lake rotunda made of fog to a gallery that destroys itself with a robotic drill, her brainy takes on the essence of buildings are mind-bending and rebellious. DS+R partakes of criticism that goes past academic papers and into real structures -- buildings and art installations that seem to tease the squareness of their neighbors.
DS+R was the first architecture firm to receive a MacArthur "genius" grant -- and it also won an Obie for Jet Lag, a wildly creative piece of multimedia off-Broadway theater. A reputation for rampant repurposing of materials and tricksy tinkering with space -- on stage, on paper, on the waterfront -- have made DS+R a sought-after firm, winning accounts from the Juilliard School, Alice Tully Hall and the School of American Ballet, as part of the Lincoln Center overhaul; at Brown University; and on New York's revamp of Governer's Island. Their Institute for Comtemporary Art has opened up a new piece of Boston's waterfront, creating an elegant space that embraces the water.
Liz Diller | Speaker | TED.com