TED2005
Greg Lynn: Organic algorithms in architecture
戈雷格•林恩談建築中的微積分
Filmed:
Readability: 5
429,524 views
戈雷格•林恩談到建築裡的數學基礎 -- 以及微積分和數位工具如何讓當代設計師超越傳統建築形式，並以紐約市皇后區的一棟教堂和一組鈦金屬茶具說明這個理論。
Greg Lynn - Designer
Greg Lynn is the head of Greg Lynn FORM, an architecture firm known for its boundary-breaking, biomorphic shapes and its embrace of digital tools for design and fabrication. Full bio
Greg Lynn is the head of Greg Lynn FORM, an architecture firm known for its boundary-breaking, biomorphic shapes and its embrace of digital tools for design and fabrication. Full bio
Double-click the English transcript below to play the video.
00:12
What I thought I would talk about today
0
0
2000
我想我今天要談的，
00:14
is the transition from one mode
1
2000
3000
是建築界
00:17
of thinking about nature
2
5000
2000
對於自然（與自然形式）
00:19
to another that's tracked by architecture.
3
7000
2000
在看法上的轉變過程。
00:21
What's interesting about architects is,
4
9000
3000
建築師有趣的地方，
00:24
we always have tried to justify beauty
5
12000
3000
在於我們經常藉由參考自然
00:27
by looking to nature,
6
15000
2000
作為美的依據，
00:29
and arguably, beautiful architecture
7
17000
3000
按理說，漂亮的建築
00:32
has always been looking at a model of nature.
8
20000
2000
也經常以自然為師。
00:34
So, for roughly 300 years,
9
22000
3000
所以，約莫有三百年的時間，
00:37
the hot debate in architecture
10
25000
2000
建築界最熱門的爭辯
00:39
was whether the number five
11
27000
2000
是究竟數字5
00:41
or the number seven
12
29000
2000
或者數字7
00:43
was a better proportion to think about architecture,
13
31000
2000
才是建築中較佳的比例，
00:45
because the nose was one-fifth of your head,
14
33000
4000
因為鼻子是頭部的五分之一長，
00:49
or because your head was one-seventh of your body.
15
37000
3000
而頭卻是身體的七分之一長。
00:52
And the reason that that was the model
16
40000
2000
比例關係之所以會成為
00:54
of beauty and of nature
17
42000
2000
美麗與自然的象徵
00:56
was because the decimal point had not been invented yet --
18
44000
3000
是因為當時尚未發明小數點 --
00:59
it wasn't the 16th century --
19
47000
3000
那是16世紀的事情 --
01:02
and everybody had to dimension a building
20
50000
3000
於是所有人都必須用比例關係
01:05
in terms of fractions,
21
53000
2000
來度量建築物，
01:07
so a room would be dimensioned
22
55000
2000
像一個房間是
01:09
as one-fourth of a facade;
23
57000
2000
立面的四分之一寬；
01:11
the structural dais of that might be dimensioned as 10 units,
24
59000
4000
如果結構基座是10個單位，
01:15
and you would get down to the small elements
25
63000
3000
你可以用比例分割的方法
01:18
by fractional subdivision:
26
66000
2000
得到更小的單元；
01:20
finer and finer and finer.
27
68000
2000
愈切愈細、愈切愈細。
01:22
In the 15th century, the decimal point was invented;
28
70000
3000
15世紀時，發明了小數點；
01:25
architects stopped using fractions,
29
73000
2000
建築師不再使用比例，
01:27
and they had a new model of nature.
30
75000
2000
他們有了描述大自然的新模型。
01:29
So, what's going on today
31
77000
3000
所以，今天我們所使用的
01:32
is that there's a model of natural form
32
80000
3000
是一種自然形式的模型
01:35
which is calculus-based
33
83000
2000
它是基於微積分運算
01:37
and which is using digital tools,
34
85000
2000
而且仰賴數位工具，
01:39
and that has a lot of implications
35
87000
2000
這讓我們對於美麗與形式的看法
01:41
to the way we think about beauty and form,
36
89000
2000
有了更為豐富的含意，
01:43
and it has a lot of implications in the way we think about nature.
37
91000
4000
也包括我們思考大自然的方式。
01:47
The best example of this would probably be the Gothic,
38
95000
3000
其中最好的例子應該是哥德式建築，
01:50
and the Gothic was invented after the invention of calculus,
39
98000
4000
哥德式建築在微積分發明之後出現。
01:54
although the Gothic architects
40
102000
2000
雖然哥德式建築師
01:56
weren't really using calculus to define their forms.
41
104000
3000
並不是使用微積分來定義他們的形式。
01:59
But what was important is,
42
107000
2000
但重要的是，
02:01
the Gothic moment in architecture was the first time
43
109000
2000
哥德時期的建築是首次
02:03
that force and motion was thought of in terms of form.
44
111000
4000
用形式來思考力與動態。
02:07
So, examples like Christopher Wren's King's Cross:
45
115000
3000
以Christopher Wren的國王十字(King's Cross)車站為例：
02:10
you can see that the structural forces of the vaulting
46
118000
4000
你可以看到拱頂的結構力量
02:14
get articulated as lines, so you're really actually seeing
47
122000
3000
以線條方式連接，所以你真的可以看見
02:17
the expression of structural force and form.
48
125000
3000
結構力量和形式的表現。
02:20
Much later, Robert Maillart's bridges,
49
128000
3000
再拿廿世紀初Robert Maillart的橋為例，
02:23
which optimize structural form
50
131000
3000
它的結構形式是透過
02:26
with a calculus curvature almost like a parabola.
51
134000
3000
曲率運算所得的最佳形體，宛如拋物線一般。
02:29
The Hanging Chain models of Antonio Gaudi,
52
137000
4000
另一個例子，西班牙加泰隆建築師安東尼•高地
02:33
the Catalan architect.
53
141000
2000
所製作的懸吊繩索模型。
02:35
The end of the 19th century, beginning of the 20th century,
54
143000
4000
此時是19世紀末、20世紀初，
02:40
and how that Hanging Chain model
55
148000
2000
該懸吊繩索模型最令人感興趣的
02:42
translates into archways
56
150000
2000
是線條如何被詮釋為拱門和
02:44
and vaulting.
57
152000
2000
拱頂結構。
02:46
So, in all of these examples,
58
154000
2000
所以，這些例子中，
02:48
structure is the determining force.
59
156000
3000
結構是最關鍵的決定力。
02:52
Frei Otto was starting to use foam bubble diagrams
60
160000
3000
Frei Otto利用泡沫的氣泡圖形
02:55
and foam bubble models to generate his Mannheim Concert Hall.
61
163000
5000
和氣泡模型，設計了他的曼海姆(Mannheim)音樂廳。
03:00
Interestingly, in the last 10 years
62
168000
3000
很有趣的，在過去十年，
03:03
Norman Foster used a similar heat thermal transfer model
63
171000
4000
諾曼•福斯特也用了類似的熱傳導模型
03:07
to generate the roof of the National Gallery,
64
175000
4000
來產生國家藝廊的屋頂，
03:11
with the structural engineer Chris Williams.
65
179000
2000
那是和結構工程師Chris Williams的合作。
03:13
In all these examples,
66
181000
2000
在所有這些例子中，
03:15
there's one ideal form,
67
183000
2000
都存在一個理想的形式，
03:17
because these are thought in terms of structure.
68
185000
2000
因為他們都以結構來思考。
03:20
And as an architect, I've always found these kinds of systems
69
188000
3000
就建築師來說，我一直認為這種系統
03:23
very limiting, because I'm not interested in ideal forms
70
191000
4000
非常侷限，因為我對理想形式並不感興趣
03:27
and I'm not interested in optimizing to some perfect moment.
71
195000
5000
而且我也對形式最佳化到某種完美的地步不感興趣。
03:32
So, what I thought I would bring up is
72
200000
3000
所以，我想提出的是
03:35
another component that needs to be thought of,
73
203000
2000
另一個值得思考的層面。
03:37
whenever you think about nature,
74
205000
2000
每當你想到自然，
03:39
and that's basically the invention of
75
207000
2000
那基本上是一般形體
03:41
generic form in genetic evolution.
76
209000
4000
透過基因演化後的結果。
03:46
My hero is actually not Darwin;
77
214000
2000
我心目中的英雄並不是達爾文；
03:48
it's a guy named William Bateson,
78
216000
2000
而是William Bateson（英國基因學家），
03:50
father of Greg Bateson, who was here for a long time in Monterey.
79
218000
5000
他是Greg Bateson之父，曾長期居住在蒙特瑞(Monterey)，
03:55
And he was what you'd call a teratologist:
80
223000
2000
你可以稱他為畸形學家：
03:57
he looked at all of the monstrosities and mutations
81
225000
5000
他檢視各種畸形與突變案例
04:02
to find rules and laws, rather than looking at the norms.
82
230000
3000
並從中尋找規律與法則，而非只檢視通例。
04:05
So, instead of trying to find the ideal type
83
233000
3000
所以，與其尋找理想型態
04:08
or the ideal average,
84
236000
2000
或理想平均值，
04:10
he'd always look for the exception. So, in this example,
85
238000
3000
他總是尋找例外情況。所以，以這個例子來說，
04:13
which is an example of what's called Bateson's Rule,
86
241000
2000
這例子被稱作Bateson法則，
04:15
he has two kinds of mutations of a human thumb.
87
243000
4000
他舉出兩種人類大拇指突變類型。
04:19
When I first saw this image, 10 years ago,
88
247000
2000
10年前我初次看到這張影像，
04:21
I actually found it very strange and beautiful at the same time.
89
249000
4000
我其實覺得它暨奇異又美麗。
04:25
Beautiful, because it has symmetry.
90
253000
2000
美麗，是因為它具有對稱性。
04:27
So, what he found is that in all cases of thumb mutations,
91
255000
4000
所以，當他發現在所有的拇指突變案例中，
04:31
instead of having a thumb,
92
259000
3000
如果不是只有一個拇指，
04:34
you would either get another opposable thumb,
93
262000
2000
就是會長出另一個反向的拇指，
04:36
or you would get four fingers.
94
264000
2000
或者你會得到另一組四個手指頭。
04:38
So, the mutations reverted to symmetry.
95
266000
3000
所以，突變會回歸到對稱性。
04:41
And Bateson invented
96
269000
2000
據此，Bateson發明了
04:43
the concept of symmetry breaking,
97
271000
2000
對稱斷裂(symmetry breaking)的概念。
04:45
which is that
98
273000
2000
也就是說
04:47
wherever you lose information in a system,
99
275000
3000
當你在系統中欠缺資訊時，
04:50
you revert back to symmetry.
100
278000
2000
你就回頭使用對稱法。
04:52
So, symmetry wasn't the sign of order and organization --
101
280000
4000
所以，對稱無關乎秩序與組織 --
04:56
which is what I was always understanding, and as is an architect --
102
284000
3000
這也是我基於建築師身分所一直理解的事實 --
04:59
symmetry was the absence of information.
103
287000
3000
對稱是因為缺乏資訊。
05:02
So, whenever you lost information, you'd move to symmetry;
104
290000
2000
所以，每當你缺乏資訊時，你就用對稱；
05:04
whenever you added information to a system, you would break symmetry.
105
292000
4000
每當你增加資訊到系統中時，你就打破了對稱。
05:08
So, this whole idea of natural form shifted at that moment
106
296000
4000
於是，我們對於自然形體的想法
05:12
from looking for ideal shapes
107
300000
3000
就從尋找理想形狀
05:15
to looking for a combination of
108
303000
2000
轉變為尋找資訊
05:17
information and generic form.
109
305000
4000
和一般形式的組合。
05:21
You know, literally after seeing that image,
110
309000
3000
你知道，看了那幅影像，
05:24
and finding out what Bateson was working with,
111
312000
3000
以及瞭解Bateson所做的事情之後，
05:27
we started to use these rules for symmetry breaking and branching
112
315000
4000
我們開始利用這些對稱斷裂和分支的規則，
05:31
to start to think about architectural form.
113
319000
2000
開始思考建築形體。
05:33
To just talk for a minute about the
114
321000
3000
讓我稍微談一下
05:36
digital mediums that we're using now
115
324000
2000
我們所使用的數位媒介
05:38
and how they integrate calculus:
116
326000
3000
以及如何與微積分整合：
05:41
the fact that they're calculus-based
117
329000
2000
所謂與微積分整合的意思是
05:43
means that we don't have to think about dimension
118
331000
3000
我們不需要用理想度量單位
05:46
in terms of ideal units
119
334000
2000
或離散的單元
05:48
or discreet elements.
120
336000
3000
來思考大小尺寸。
05:51
So, in architecture we deal with
121
339000
2000
所以，在建築界我們處理的是
05:53
big assemblies of components,
122
341000
2000
元件的大型組合體，
05:55
so there might be up to, say,
123
343000
3000
例如說可能有
05:58
50,000 pieces of material
124
346000
2000
五萬件材料
06:00
in this room you're sitting in right now
125
348000
2000
構成了你所身處的這個房間，
06:02
that all need to get organized.
126
350000
3000
而這些材料都必須被妥善安置。
06:05
Now, typically you'd think that they would all be the same:
127
353000
2000
一般而言，你可能認為這些材料都是一樣的：
06:07
like, the chairs you're sitting in would all be the same dimension.
128
355000
2000
例如你所坐的椅子尺寸應該都相同。
06:09
You know, I haven't verified this, but it's the norm
129
357000
3000
我並沒有確認這件事，但根據標準規範
06:12
that every chair would be a slightly different dimension,
130
360000
3000
每張椅子的尺寸應該略有不同，
06:15
because you'd want to space them all out for everybody's sight lines.
131
363000
4000
因為你需要將椅子錯開排列，避免遮住後排視線。
06:19
The elements that make up the ceiling grid and the lighting,
132
367000
4000
構成天花板和照明的元件，
06:23
they're all losing their modular quality,
133
371000
3000
也都逐漸失去它們的模組特性，
06:26
and moving more and more to these infinitesimal dimensions.
134
374000
3000
而變成在尺寸上具備細微差異的物件。
06:29
That's because we're all using calculus tools
135
377000
2000
那是因為微積分工具也都介入了它們的
06:31
for manufacturing and for design.
136
379000
3000
設計與生產過程。
06:34
Calculus is also a mathematics of curves.
137
382000
4000
微積分也是一種曲線的數學。
06:38
So, even a straight line, defined with calculus, is a curve.
138
386000
4000
所以，即使是直線，在微積分中也是一種曲線，
06:42
It's just a curve without inflection.
139
390000
2000
它只不過是沒有彎曲的曲線。
06:44
So, a new vocabulary of form
140
392000
3000
所以，有一種新的形式語彙
06:47
is now pervading all design fields:
141
395000
3000
逐漸充斥在各種設計領域：
06:50
whether it's automobiles, architecture, products, etc.,
142
398000
4000
無論是汽車、建築、產品等等，
06:54
it's really being affected by this digital medium of curvature.
143
402000
3000
都被這種數位媒介所定義的曲率所影響。
06:57
The intricacies of scale that come out of that --
144
405000
3000
其中尺度的錯綜複雜 --
07:00
you know, in the example of the nose to the face,
145
408000
3000
就像鼻子與臉部的比例，
07:03
there's a fractional part-to-whole idea.
146
411000
3000
都存在一種局部與全體在比例上的概念。
07:06
With calculus, the whole idea
147
414000
3000
就微積分而言，細部分割的想法
07:09
of subdivision is more complex,
148
417000
2000
就更為複雜了，
07:11
because the whole and the parts are one continuous series.
149
419000
4000
因為無論全體或局部都是一個連續的序列。
07:15
It's too early in the morning for a lecture on calculus,
150
423000
3000
一大早上微積分課恐怕太辛苦了，
07:18
so I brought some images to just describe how that works.
151
426000
3000
所以我帶了一些圖片，僅僅示範它如何運作。
07:22
This is a Korean church that we did in Queens.
152
430000
3000
這是我們設計的韓國教堂，位於紐約市皇后區。
07:25
And in this example, you can see
153
433000
3000
在這個例子中，你會看到
07:28
that the components of this stair are repetitive,
154
436000
4000
這個梯子的元件是重複出現的，
07:32
but they're repetitive without being modular.
155
440000
2000
但卻不是模組式的重複。
07:34
Each one of the elements in this structure
156
442000
2000
這個結構中的每一個元素
07:36
is a unique distance and dimension,
157
444000
4000
在距離和尺寸上都不一樣，
07:40
and all of the connections are unique angles.
158
448000
2000
每個接點的角度也不同。
07:42
Now, the only way we could design that,
159
450000
2000
我們能設計、甚至建造出來的
07:44
or possibly construct it,
160
452000
3000
唯一辦法，
07:47
is by using a calculus-based definition
161
455000
2000
就是要使用該形體的
07:49
of the form.
162
457000
2000
微積分定義。
07:51
It also is much more dynamic,
163
459000
2000
這個形體十分動態，
07:53
so that you can see that the same form opens and closes
164
461000
3000
所以當你行走跨越建築時，你可以看到
07:56
in a very dynamic way as you move across it,
165
464000
3000
相同形體以很動態的方式打開與關閉，
07:59
because it has this quality of vector in motion
166
467000
3000
因為它呈現了內在的
08:02
built into it.
167
470000
2000
動作向量品質。
08:04
So the same space that appears to be a kind of closed volume,
168
472000
3000
所以呈現為封閉量體的相同空間，
08:07
when seen from the other side becomes a kind of open vista.
169
475000
4000
從另外一側看，卻變成了開放的景觀。
08:11
And you also get a sense of
170
479000
2000
同時你還會感受到
08:13
visual movement in the space,
171
481000
2000
空間中的視覺移動，
08:15
because every one of the elements is changing in a pattern,
172
483000
4000
因為每個元素的樣式都一直改變，
08:19
so that pattern leads your eye towards the altar.
173
487000
4000
而這樣式會將你的視線帶向聖壇。
08:23
I think that's one of the main changes,
174
491000
3000
我想這對建築造成的改變，
08:26
also, in architecture:
175
494000
2000
就是：
08:28
that we're starting to look now not for some ideal form,
176
496000
3000
除了像教堂裡拉丁十字般的理想形式外，
08:31
like a Latin cross for a church,
177
499000
3000
我們開始尋找不同的東西，
08:34
but actually all the traits of a church:
178
502000
2000
甚至包括了教堂的所有特徵：
08:36
so, light that comes from behind from an invisible source,
179
504000
4000
例如不知從何而來、由背後投出的光線，
08:40
directionality that focuses you towards an altar.
180
508000
4000
很自然讓你聚焦至聖壇的方向。
08:44
It turns out it's not rocket science
181
512000
2000
我們並不需要多麼深奧的學問
08:46
to design a sacred space.
182
514000
2000
去設計、造就神聖的空間。
08:48
You just need to incorporate a certain number of traits
183
516000
3000
你只需要用特定的方式
08:51
in a very kind of genetic way.
184
519000
2000
去結合若干空間特點即可。
08:54
So, these are the different perspectives of that interior,
185
522000
2000
所以，這些內部空間的不同面向，
08:56
which has a very complex
186
524000
2000
都具備了十分複雜的角度變化，
08:58
set of orientations all in a simple form.
187
526000
3000
縱使每個變化的形式都很簡單。
09:02
In terms of construction and manufacturing,
188
530000
3000
就營造和構築而言，
09:05
this is a kilometer-long housing block
189
533000
3000
這是個約莫一公里長的住宅街廓
09:08
that was built in the '70s in Amsterdam.
190
536000
3000
興建於七〇年代的阿姆斯特丹。
09:11
And here we've broken the 500 apartments
191
539000
2000
我們將500間公寓打散
09:13
up into small neighborhoods,
192
541000
3000
成為若干小型區域，
09:16
and differentiated those neighborhoods.
193
544000
2000
並且刻意讓它們有差異性。
09:18
I won't go into too much description of any of these projects,
194
546000
3000
我不打算講述太多關於這些計畫的細節，
09:21
but what you can see is that
195
549000
2000
但你可以看到
09:23
the escalators and elevators
196
551000
3000
電扶梯和升降梯
09:26
that circulate people along the face of the building
197
554000
3000
沿著建築物表面輸送人群
09:29
are all held up by
198
557000
2000
它們是由
09:31
122 structural trusses.
199
559000
4000
122根結構桁架支撐。
09:35
Because we're using escalators
200
563000
2000
因為我們用電扶梯
09:37
to move people,
201
565000
2000
輸送人群，
09:39
all of these trusses are picking up diagonal loads.
202
567000
5000
這些構架承受了對角線方向的重量。
09:44
So, every one of them is a little bit different-shaped
203
572000
3000
所以，每根構架的形狀都有些許差異，
09:47
as you move down the length of the building.
204
575000
2000
尤其當沿著建築物長軸移動時可以觀察到。
09:49
So, working with
205
577000
2000
所以，我們在
09:51
Bentley and MicroStation,
206
579000
3000
賓特利公司的MicroStation上
09:54
we've written a custom piece of software
207
582000
2000
撰寫了自己的軟體，
09:56
that networks all of the components together
208
584000
3000
將所有元件以網路形式串連
09:59
into these chunks of information,
209
587000
3000
成為一段段的資訊，
10:02
so that if we change any element
210
590000
2000
當我們沿著建築物長軸
10:04
along the length of the building,
211
592000
2000
變更任何元件時，
10:06
not only does that change distribute
212
594000
3000
不僅會連帶改變
10:09
through each one of the trusses,
213
597000
2000
整棟建築的每根構架，
10:11
but each one of the trusses then distributes that information
214
599000
3000
這些構架還會將資訊
10:14
down the length of the entire facade of the building.
215
602000
3000
傳遞到建築的整個立面。
10:17
So it's a single calculation
216
605000
2000
對建築物的每個元件而言，
10:19
for every single component of the building
217
607000
3000
我們所加上的
10:22
that we're adding onto.
218
610000
2000
都是獨立的運算。
10:24
So, it's tens of millions of calculations
219
612000
4000
所以，光光為了設計
10:28
just to design one connection between a piece of structural steel
220
616000
3000
兩組結構鋼樑之間的接點
10:31
and another piece of structural steel.
221
619000
2000
就要進行千萬次的運算。
10:33
But what it gives us is a harmonic
222
621000
2000
但它所賦與我們的是一種
10:35
and synthesized
223
623000
2000
介於所有元件彼此之間的
10:39
relationship of all these components, one to another.
224
627000
3000
和諧與合成關係。
10:43
This idea has, kind of, brought me into doing
225
631000
3000
受到這想法影響，我也涉獵了
10:46
some product design,
226
634000
2000
產品設計，
10:48
and it's because design firms
227
636000
3000
因為不少設計公司
10:51
that have connections to architects,
228
639000
2000
都和建築師有合作關係，
10:53
like, I'm working with Vitra, which is a furniture company,
229
641000
3000
例如我目前合作的家具設計公司Vitra
10:56
and Alessi, which is a houseware company.
230
644000
2000
和家庭用具設計公司Alessi。
10:59
They saw this actually solving a problem:
231
647000
2000
他們認為這可以解決一個問題：
11:01
this ability to differentiate components
232
649000
2000
區分元件，並使它們
11:03
but keep them synthetic.
233
651000
3000
充分整合在一起的能力。
11:06
So, not to pick on BMW,
234
654000
2000
不是要挑剔BMW，
11:08
or to celebrate them,
235
656000
2000
也不是稱讚他們，
11:10
but take BMW as an example.
236
658000
2000
而是拿BMW當個例子。
11:12
They have to, in 2005,
237
660000
3000
在2005年，他們必須
11:15
have a distinct identity
238
663000
2000
要讓全系列的車種
11:17
for all their models of cars.
239
665000
2000
都具備鮮明的企業特徵。
11:19
So, the 300 series, or whatever their newest car is,
240
667000
3000
譬如300系列或者任何一款新車，
11:22
the 100 series that's coming out,
241
670000
2000
即將推出的100系列，
11:24
has to look like the 700 series,
242
672000
3000
也都要看起來像他們產品線另一端
11:27
at the other end of their product line,
243
675000
3000
昂貴的700系列，
11:30
so they need a distinct, coherent identity,
244
678000
2000
所以他們都需要一些鮮明而易於瞭解的特徵，
11:32
which is BMW.
245
680000
2000
也就是BMW。
11:34
At the same time, there's a person paying 30,000 dollars
246
682000
3000
同時，有人付三萬美元
11:37
for a 300-series car,
247
685000
2000
買300系列，
11:39
and a person paying 70,000 dollars
248
687000
2000
也有人願意花七萬美元
11:41
for a 700 series,
249
689000
2000
買七百系列，
11:43
and that person paying more than double
250
691000
2000
付了兩倍價錢的人
11:45
doesn't want their car to look too much like
251
693000
2000
不會希望他們的車看起來太像
11:47
the bottom-of-the-market car.
252
695000
2000
廉價車款。
11:49
So they have to also discriminate between these products.
253
697000
3000
所以不同等級車款間的差異勢必要易於辨識。
11:52
So, as manufacturing
254
700000
2000
當生產製造過程
11:54
starts to allow more
255
702000
3000
開始提供更多的
11:57
design options,
256
705000
2000
設計選擇，
11:59
this problem gets exacerbated,
257
707000
2000
這個問題就更加嚴重了，
12:01
of the whole and the parts.
258
709000
2000
對整體與局部而言都一樣。
12:03
Now, as an architect, part-to-whole relationships
259
711000
2000
身為建築師，全體-局部的關係 --
12:05
is all I think about,
260
713000
2000
是我最關注的，
12:07
but in terms of product design
261
715000
2000
但就產品設計來說
12:09
it's becoming more and more of an issue for companies.
262
717000
3000
也逐漸變成設計公司所需面對的問題了。
12:12
So, the first kind of test product we did
263
720000
2000
我們首先拿來測試的產品
12:14
was with Alessi,
264
722000
2000
是和Alessi合作，
12:16
which was for a coffee and tea set.
265
724000
2000
是一套咖啡茶具組。
12:18
It's an incredibly expensive coffee and tea set;
266
726000
3000
那是一套相當昂貴的咖啡茶具組；
12:21
we knew that at the beginning. So, I actually went to some people I knew
267
729000
3000
我們打從一開始就知道了。所以，我拜訪了
12:24
down south in San Diego,
268
732000
3000
聖地牙哥的一些朋友，
12:27
and we used an exploded
269
735000
2000
我們採用
12:29
titanium forming method
270
737000
2000
鈦金屬爆炸成形法，
12:31
that's used in the aerospace industry.
271
739000
2000
這種方法多用在航太工業。
12:34
Basically what we can do,
272
742000
2000
基本上我們能做的，
12:36
is just cut a graphite mold,
273
744000
2000
只是切割石墨模子，
12:38
put it in an oven, heat it to 1,000 degrees,
274
746000
3000
放進烤箱、加熱至一千度，
12:42
gently inflate titanium that's soft,
275
750000
2000
緩慢對軟化的鈦金屬充氣，
12:44
and then explode it at the last minute into this form.
276
752000
3000
接著在最後一刻將其爆炸，形成最終形體。
12:47
But what's great about it is,
277
755000
2000
但最棒的是，
12:49
the forms are only a few hundred dollars.
278
757000
2000
產生形體只需花幾百美金。
12:51
The titanium's several thousand dollars, but the forms are very cheap.
279
759000
3000
鈦金屬要花幾千美金，但產生形體變得很廉價。
12:54
So, we designed a system here
280
762000
2000
所以我們設計了一個系統
12:57
of eight curves that could be swapped,
281
765000
1000
其中包括可以相互置換的八條曲線，
13:00
very similar to that housing project I showed you,
282
768000
3000
那和我剛才提到的建築案很類似，
13:03
and we could recombine those together,
283
771000
2000
接著我們將他們合併在一起，
13:05
so that we always had ergonomic shapes
284
773000
3000
確保所得到的造型符合人因工程
13:08
that always had the same volume
285
776000
3000
同時維持相同體積
13:11
and could always be produced in the same way.
286
779000
2000
而且能被建造出來。
13:13
That way, each one of these tools we could pay for with
287
781000
2000
這麼一來，雖然這些工具的價值
13:15
a few hundred dollars,
288
783000
2000
每個只有幾百美金，
13:17
and get incredible variation in the components.
289
785000
3000
卻能產生元件之間令人意想不到的變化。
13:20
And this is one of those examples of the sets.
290
788000
3000
這僅是諸多例子之一。
13:23
So, for me, what was important is that
291
791000
2000
所以對我來說，重要的是
13:25
this coffee set --
292
793000
2000
這組咖啡茶具組 --
13:27
which is just a coffee pot, a teapot,
293
795000
2000
雖然只不過是咖啡壺、茶壺，
13:29
and those are the pots sitting on a tray --
294
797000
2000
一般放在托盤上的茶壺 --
13:31
that they would have a coherence --
295
799000
2000
他們有一種類似性 --
13:33
so, they would be Greg Lynn Alessi coffee pots --
296
801000
3000
他們可以被稱作Greg Lynn Alessi咖啡壺 --
13:36
but that everyone who bought one
297
804000
2000
但每個購買這組茶具的人
13:38
would have a one-of-a-kind object that was unique in some way.
298
806000
4000
都會買到一組在某些特點上獨一無二的設計。
13:43
To go back to architecture,
299
811000
2000
回到建築議題，
13:45
what's organic about architecture as a field,
300
813000
3000
對建築學科來說，
13:48
unlike product design,
301
816000
2000
有機的定義不同於產品設計，
13:50
is this whole issue of holism
302
818000
2000
乃在於機能整體性的問題
13:52
and of monumentality is really our realm.
303
820000
4000
以及不朽的價值，那才是我們的領域。
13:56
Like, we have to design things which are coherent as a single object,
304
824000
4000
像是我們所設計出來的東西通常具有類似性，
14:00
but also break down into small rooms
305
828000
3000
但同時也區分為不同的房間
14:03
and have an identity of both the big scale
306
831000
2000
而且無論在大尺度和小尺度上
14:05
and the small scale.
307
833000
2000
都能彰顯自我身分。
14:07
Architects tend to work with signature,
308
835000
4000
建築師偏好處理識別性，
14:11
so that an architect needs a signature
309
839000
2000
所以建築師需要識別性
14:13
and that signature has to work across the scale of houses
310
841000
3000
在房子的不同尺度下都要具備這種識別性
14:16
up to, say, skyscrapers,
311
844000
3000
大到摩天大樓都一樣。
14:19
and that problem of signatures is a thing we're very good at maintaining
312
847000
3000
處理識別性的問題是我們的專長
14:22
and working with; and intricacy,
313
850000
2000
而就複雜性，
14:24
which is the relationship of, say,
314
852000
2000
來自於建築物各種元素，如
14:26
the shape of a building, its structure, its windows,
315
854000
3000
建築物外型、結構、開窗、
14:29
its color, its pattern. These are real architectural problems.
316
857000
5000
顏色、樣式等。這些都是實際的建築問題。
14:34
So, my kind of hero for this in the natural world
317
862000
3000
所以自然界在這方面我所崇拜的
14:37
are these tropical frogs.
318
865000
2000
是熱帶雨蛙。
14:39
I got interested in them because they're the most
319
867000
2000
我對他們感到興趣的原因是
14:41
extreme example
320
869000
2000
他們極為特殊
14:43
of a surface where
321
871000
3000
的表皮以及
14:46
the texture and the -- let's call it the decoration --
322
874000
4000
紋理 -- 姑且稱作裝飾吧 --
14:50
I know the frog doesn't think of it as decoration, but that's how it works --
323
878000
3000
雖然雨蛙不這麼認為，但它呈現出來的的確是裝飾 --
14:53
are all intricately connected to one another.
324
881000
3000
這些複雜的紋理彼此相互連結。
14:56
So a change in the form
325
884000
2000
當雨蛙的形體有所改變
14:58
indicates a change in the color pattern.
326
886000
2000
身上的花紋隨之變化。
15:00
So, the pattern and the form aren't the same thing,
327
888000
3000
所以，花紋和型態雖然不是同一件事，
15:03
but they really work together and are fused
328
891000
2000
但他們卻以一種獨特的方式彼此融合、
15:05
in some way.
329
893000
2000
交互運作。
15:07
So, when doing a center
330
895000
3000
所以呢，當我設計
15:10
for the national parks in Costa Rica,
331
898000
3000
哥斯大黎加國家公園旅客中心時，
15:13
we tried to use that idea of a gradient color
332
901000
2000
我們嘗試運用漸層色以及
15:15
and a change in texture
333
903000
3000
以及紋理變化的想法
15:18
as the structure moves across the surface of the building.
334
906000
3000
它們會隨著結構的不同而有所改變。
15:22
We also used a continuity of change
335
910000
3000
我們也讓連續的變化從
15:25
from a main exhibition hall to a natural history museum,
336
913000
4000
展覽大廳延續到自然歷史博物館，
15:29
so it's all one continuous change
337
917000
2000
所以連續變化是整體性的
15:31
in the massing,
338
919000
2000
橫跨建築量體。
15:33
but within that massing are very different kinds of spaces and forms.
339
921000
4000
然而在量體之內，空間和形式卻大異其趣。
15:37
In a housing project in Valencia, Spain, we're doing,
340
925000
3000
在西班牙瓦倫西亞的住宅案裡，
15:40
the different towers of housing fused together
341
928000
4000
我們嘗試將不同的住宅高樓融合在一起
15:44
in shared curves so you get a single mass,
342
932000
3000
使其外圍曲線呈現一致性，結合為單一量體，
15:47
like a kind of monolith,
343
935000
2000
就像一整塊石頭般，
15:49
but it breaks down into individual elements.
344
937000
3000
但其實它卻由不同單元組合而成。
15:54
And you can see that that change in massing
345
942000
3000
這種在量體的變化
15:57
also gives all 48 of the apartments
346
945000
3000
同時也給所有48個住宅單元
16:00
a unique shape and size,
347
948000
2000
它們獨特的形狀與大小，
16:02
but always within a, kind of, controlled limit,
348
950000
3000
只不過被包覆在一種像是限制框架的
16:05
an envelope of change.
349
953000
3000
包覆容器內。
16:09
I work with a group of other architects.
350
957000
2000
我和一群建築師共事，
16:11
We have a company called United Architects.
351
959000
2000
我們的公司叫做「聯合建築師(United Architects)」。
16:13
We were one of the finalists for the World Trade Center site design.
352
961000
4000
我們的作品曾進入紐約世貿大樓原址競圖案決選。
16:17
And I think this just shows how
353
965000
3000
我想這呈現了
16:20
we were approaching
354
968000
2000
我們想嘗試
16:22
the problem of incredibly large-scale construction.
355
970000
3000
超大型建案的企圖。
16:25
We wanted to make a kind of Gothic cathedral
356
973000
3000
我們想在世貿大樓原址的基地周邊
16:28
around the footprints of the World Trade Center site.
357
976000
3000
圍繞著一圈哥德式教堂。
16:32
And to do that, we tried to connect up
358
980000
3000
為了達成目的，我們嘗試將
16:35
the five towers into a single system.
359
983000
4000
五棟大樓連結為單一系統。
16:39
And we looked at, from the 1950s on,
360
987000
4000
從1950年代開始，
16:43
there were numerous examples of other architects
361
991000
2000
已經有不少建築師嘗試
16:45
trying to do the same thing.
362
993000
2000
去做相同的事情。
16:47
We really approached it at the level
363
995000
2000
我們的作法是去
16:49
of the typology of the building,
364
997000
2000
處理建築物的類型，
16:51
where we could build these five separate towers,
365
999000
2000
使得五棟原本分離的大樓，
16:53
but they would all join at the 60th floor
366
1001000
3000
能在60樓的位置相連結
16:56
and make a kind of single monolithic mass.
367
1004000
3000
成為單一的巨型量體。
17:00
With United Architects, also,
368
1008000
2000
聯合建築師事務所也參與了
17:02
we made a proposal for the European Central Bank headquarters
369
1010000
3000
歐洲中央銀行總部的設計提案，
17:05
that used the same system,
370
1013000
2000
也採用了相同系統，
17:07
but this time in a much more monolithic mass,
371
1015000
2000
但這個提案的單一量體更大，
17:09
like a sphere.
372
1017000
2000
就像一顆球。
17:11
But again, you can see this, kind of,
373
1019000
2000
再一次強調，你所看到的這種
17:13
organic fusion
374
1021000
2000
複合建築元素的
17:15
of multiple building elements
375
1023000
2000
有機融合方法
17:17
to make a thing which is whole, but breaks down into smaller parts,
376
1025000
4000
使得事物以一種令人驚異的有機方式建構為一個整體，
17:21
but in an incredibly organic way.
377
1029000
3000
其構成單元又能獨立存在。
17:24
Finally, I'd like to just show you
378
1032000
2000
最後，我想讓大家看一些
17:26
some of the effects of using digital fabrication.
379
1034000
4000
數位製造技術的影響。
17:30
About six years ago, I bought one of these CNC mills,
380
1038000
3000
大約六年前，我買了一部電腦數值控制雕銑機，
17:33
to just replace, kind of,
381
1041000
2000
原本是為了減少
17:35
young people cutting their fingers off all the time building models.
382
1043000
4000
年輕人切割建築模型的頻繁意外。
17:39
And I also bought a laser cutter
383
1047000
2000
我也買了一部雷射切割機
17:41
and started to fabricate within my own shop,
384
1049000
3000
放在模型工廠內，
17:44
kind of, large-scale building elements and models,
385
1052000
3000
進行大型建築元件與模型的製作，
17:47
where we could go directly to the tooling.
386
1055000
3000
方便大家使用各種工具與機具。
17:50
What I found out is that the tooling,
387
1058000
3000
我發現在工具使用上，
17:53
if you intervened in the software,
388
1061000
2000
如果你在軟體上下功夫，
17:55
actually produced decorative effects.
389
1063000
2000
可以製造出裝飾效果。
17:57
So, for these interiors, like this shop in Stockholm, Sweden,
390
1065000
4000
所以像是室內設計，例如這個瑞典斯德哥爾摩的商店，
18:01
or this installation wall in the Netherlands
391
1069000
3000
或者荷蘭建築學會的
18:04
at the Netherlands Architecture Institute,
392
1072000
3000
裝置牆面設計，
18:07
we could use the texture that the tool would leave
393
1075000
3000
我們會用工具所留下的質感
18:10
to produce a lot of the spatial effects,
394
1078000
3000
來產生不錯的空間效果，
18:13
and we could integrate the texture of the wall
395
1081000
2000
我們會利用這種材料
18:15
with the form of the wall with the material.
396
1083000
3000
將牆的紋理質感和形式整合起來。
18:18
So, in vacuum-formed plastic, in fiberglass,
397
1086000
4000
所以傳統上真空成形塑膠、玻璃纖維、
18:22
and then even at the level of structural steel,
398
1090000
2000
甚至結構鋼材，
18:24
which you think of as being linear and modular.
399
1092000
2000
都被視為是線性、模矩化的建材。
18:26
The steel industry is so far
400
1094000
2000
鋼鐵業已經
18:28
ahead of the design industry
401
1096000
2000
嘗試和設計業合作，
18:30
that if you take advantage of it
402
1098000
2000
如果你能利用這個機會
18:32
you can even start to think of beams and columns
403
1100000
3000
你甚至可以開始想像建築中的樑與柱
18:35
all rolled together into a single system
404
1103000
3000
扭曲纏繞為單一個
18:38
which is highly efficient,
405
1106000
2000
效能極佳的結構系統，
18:40
but also produces decorative effects
406
1108000
2000
卻也同時呈現了必要的裝飾效果
18:42
and formal effects
407
1110000
2000
以及外形效果，
18:44
that are very beautiful and organic.
408
1112000
2000
充分滿足了我們對美感與有機的需求。
18:46
Thanks very much.
409
1114000
3000
謝謝大家。
ABOUT THE SPEAKER
Greg Lynn - DesignerGreg Lynn is the head of Greg Lynn FORM, an architecture firm known for its boundary-breaking, biomorphic shapes and its embrace of digital tools for design and fabrication.
Why you should listen
Who says great architecture must be proportional and symmetrical? Not Greg Lynn. He and his firm, Greg Lynn FORM, have been pushing the edges of building design, by stripping away the traditional dictates of line and proportion and looking into the heart of what a building needs to be.
A series of revelations about building practice -- "Vertical structure is overrated"; "Symmetry is bankrupt" -- helped Lynn and his studio conceptualize a new approach, which uses calculus, sophisticated modeling tools, and an embrace of new manufacturing techniques to make buildings that, at their core, enclose space in the best possible way. The New York Presbyterian church that Lynn designed with Douglas Garofalo and Michael McInturf, collaborating remotely, is a glorious example of this -- as a quiet industrial building is transformed into a space for worship and contemplation with soaring, uniquely shaped and tuned elements.
In a sort of midcareer retrospective, the book Greg Lynn Form (watch the video) was released in October 2008; recently, Lynn has collaborated with the video team Imaginary Forces on the New City installation as part of the MOMA exhibit "Design and the Elastic Mind." In November 2008, FORM won a Golden Lion at the Venice Bienniale for its exhibition Recycled Toy Furniture.
Greg Lynn | Speaker | TED.com