TED2006
Joshua Prince-Ramus: Behind the design of Seattle's library
Joshua Prince-Ramus e a biblioteca de Seattle
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O arquiteto Joshua Prince-Ramus leva o público numa estonteante visita virtual a três recentes projetos: a Biblioteca Central de Seattle, o Museu Plaza em Louisville e o Teatro Charles Wyly em Dallas.
Joshua Prince-Ramus - Architect
Joshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006. Full bio
Joshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006. Full bio
Double-click the English transcript below to play the video.
00:26
I'm going to present
three projects in rapid fire.
three projects in rapid fire.
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Vou apresentar três projectos muito rapidamente.
Não tenho muito tempo para o fazer.
00:29
I don't have much time to do it.
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00:30
And I want to reinforce three ideas
with that rapid-fire presentation.
with that rapid-fire presentation.
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E quero reforçar três ideias com esta rápida apresentação.
A primeira é o que eu gosto de chamar de processo hiper-racional.
00:34
The first is what I like to call
a hyper-rational process.
a hyper-rational process.
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É um processo que
00:37
It's a process that takes rationality
almost to an absurd level,
almost to an absurd level,
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leva o racionalismo a um nível quase absurdo,
e que transcende a bagagem
00:41
and it transcends all the baggage
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que normalmente vem associada
00:43
that normally comes
with what people would call,
with what people would call,
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ao que as pessoas chamariam, de certa forma, uma conclusão racional.
00:45
sort of a rational
conclusion to something.
conclusion to something.
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00:47
And it concludes in something
that you see here,
that you see here,
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E a conclusão que se pode ver aqui,
não é a que habitualmente esperaríamos como sendo
00:50
that you actually wouldn't expect
as being the result of rationality.
as being the result of rationality.
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o resultado de racionalidade.
A segunda ideia...
00:54
The second --
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00:57
the second is that this process
does not have a signature.
does not have a signature.
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a segunda ideia é a de que este processo
não tem uma assinatura.
01:02
There is no authorship.
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Não tem um autor. Os arquitetos estão obcecados com a autoria.
01:04
Architects are obsessed with authorship.
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Isto é algo que tem edição e equipas.
01:06
This is something that has
editing and it has teams,
editing and it has teams,
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Na verdade, não podemos ver, neste processo,
01:08
but in fact, we no longer
see within this process,
see within this process,
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o tradicional mestre arquitecto a criar
01:10
the traditional master architect
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01:12
creating a sketch
that his minions carry out.
that his minions carry out.
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um esquisso que os seus subordinados desenvolvem.
E a terceira é que desafia -- e isto é,
01:16
And the third is that it challenges --
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01:18
and this is, in the length of this,
very hard to support why,
very hard to support why,
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na medida em que, é muito difícil suportar a razão,
01:21
connect all these things --
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pela qual tudo se liga --
mas desafia a definição de flexibilidade do alto-modernismo.
01:23
but it challenges the high modernist
notion of flexibility.
notion of flexibility.
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Os alto-modernistas disseram que, iremos criar, de certa forma,
01:26
High modernists said we will create
sort of singular spaces that are generic,
sort of singular spaces that are generic,
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espaços singulares que são genéricos.
Quase tudo pode acontecer dentro deles.
01:30
almost anything can happen within them.
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Eu chamo-lhe uma flexibilidade de caçadeira.
01:31
I call it sort of "shotgun flexibility" --
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Vira-se a cabeça para um lado, dispara-se, e devemos conseguir matar alguma coisa.
01:33
turn your head this way; shoot;
and you're bound to kill something.
and you're bound to kill something.
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Portanto, esta é a promessa do alto-modernismo:
01:37
So, this is the promise of high modernism:
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dentro de um mesmo espaço, qualquer actividade pode ser desenvolvida.
01:39
within a single space, actually,
any kind of activity can happen.
any kind of activity can happen.
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Mas como se constata,
01:42
But as we're seeing,
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01:44
operational costs are starting
to dwarf capital costs
to dwarf capital costs
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os custos operacionais começam a esmagar os custos globais
01:47
in terms of design parameters.
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em termos de parâmetros de design.
E assim, com isto em mente,
01:49
And so, with this sort of idea,
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01:51
what happens is, whatever actually
is in the building on opening day,
is in the building on opening day,
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o que acontece é que, o que quer que esteja no edifício no dia de abertura,
ou o que quer que pareça ser a necessidade mais imediata,
01:54
or whatever seems to be
the most immediate need,
the most immediate need,
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as possibilidades começam a ser esmagadas e de certa forma são incluidas,
01:57
starts to dwarf the possibility
and sort of subsume it,
and sort of subsume it,
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que nada mais irá alguma vez acontecer.
02:00
of anything else could ever happen.
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Portanto estamos a propor um novo nível de flexibilidade.
02:02
And so we're proposing
a different kind of flexibility,
a different kind of flexibility,
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algo que chamamos de
02:05
something that we call
"compartmentalized flexibility."
"compartmentalized flexibility."
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"flexibilidade compartimentalizada".
A ideia é que, dentro desse contínuo,
02:09
And the idea is that you,
within that continuum,
within that continuum,
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02:11
identify a series of points,
and you design specifically to them.
and you design specifically to them.
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se identificam uma série de pontos, e projectamos especificamente para eles.
Podem ser afastados um pouco do centro,
02:14
They can be pushed
off-center a little bit,
off-center a little bit,
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mas no final vão na verdade continuar a ter tanto
02:16
but in the end you actually
still get as much
still get as much
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do espectro original como no início se esperava obter.
02:18
of that original spectrum
as you originally had hoped.
as you originally had hoped.
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02:21
With high modernist flexibility,
that doesn't really work.
that doesn't really work.
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Com uma flexibilidade do alto-modernismo, isso não seria possível.
Agora vou falar de -- vou construir a Biblioteca Central de Seattle
02:25
Now I'm going to talk about --
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02:26
I'm going to build up
the Seattle Central Library
the Seattle Central Library
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desta forma, à vossa frente, em cerca de cinco ou seis diagramas,
02:29
in this way before your eyes
in about five or six diagrams,
in about five or six diagrams,
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e este é na verdade o processo de design que irão ver.
02:31
and I truly mean this is the design
process that you'll see.
process that you'll see.
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Com os funcionários e direcção da biblioteca,
02:34
With the library staff
and the library board,
and the library board,
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baseamo-nos em duas posições fundamentais.
02:37
we settled on two core positions.
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02:38
This is the first one, and this
is showing, over the last 900 years,
is showing, over the last 900 years,
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Esta é a primeira, e mostra, durante os últimos 900 anos,
a evolução do livro e de outras tecnologias.
02:42
the evolution of the book,
and other technologies.
and other technologies.
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Este diagrama foi a peça que nos definiu a posição do livro,
02:45
This diagram was our sort
of position piece about the book,
of position piece about the book,
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02:48
and our position was,
books are technology --
books are technology --
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e a nossa posição foi, os livros são tecnologia --
isso é algo que as pessoas tendem a esquecer --
02:51
that's something people forget --
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mas são uma forma de tecnologia que precisará de partilhar a sua dominância
02:52
but it's a form of technology
that will have to share its dominance
that will have to share its dominance
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com qualquer outra forma de tecnologia ou media.
02:56
with any other form of truly potent
technology or media.
technology or media.
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A segunda premissa -- e foi muito difícil
02:59
The second premise --
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03:01
and this was something
that was very difficult for us
that was very difficult for us
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convencer os bibliotecários disto no início --
03:03
to convince the librarians of at first --
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é que as bibliotecas desde a sua origem
03:05
is that libraries, since the inception
of Carnegie Library tradition in America,
of Carnegie Library tradition in America,
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da tradição das bibliotecas de Carnegie nos EUA
possuem uma segunda responsabilidade, que é para com os papéis sociais.
03:09
had a second responsibility,
and that was for social roles.
and that was for social roles.
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Ok, agora, vou voltar a isto em breve, mas o que os
03:12
Ok, now, this I'll come back
to later, but something --
to later, but something --
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bibliotecários disseram no início foi, "Isso não nos diz respeito.
03:14
actually, the librarians at first said,
"No, this isn't our mandate.
"No, this isn't our mandate.
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O que nos compete são os media, e em particular o livro."
03:18
Our mandate is media,
and particularly the book."
and particularly the book."
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Portanto o que estão agora a ver é na verdade o desenho do edifício.
03:22
So what you're seeing now
is actually the design of the building.
is actually the design of the building.
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O diagrama em cima
03:25
The upper diagram is what we had seen
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é o que se vê habitualmente numa panóplia de bibliotecas contemporâneas
03:27
in a whole host of contemporary libraries
that used high modernist flexibility.
that used high modernist flexibility.
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que usaram o modelo de flexibilidade do alto-modernismo.
Uma espécie de, qualquer actividade poderia acontecer em qualquer lugar.
03:32
Sort of, any activity
could happen anywhere.
could happen anywhere.
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03:35
We don't know the future of the library;
we don't know the future of the book;
we don't know the future of the book;
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Nós não sabemos qual o futuro da biblioteca, não conhecemos o futuro do livro,
e portanto iremos usar este caminho.
03:39
and so, we'll use this approach.
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E o que vimos foram edifícios muito genéricos.
03:40
And what we saw were buildings
that were very generic, and worse --
that were very generic, and worse --
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E pior, não só eram edifícios genéricos --
03:44
not only were they very generic --
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o que faz com que a sala de leitura se pareça com a sala de cópias
03:45
so, not only does the reading room
look like the copy room
look like the copy room
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que se parece com a área de revistas --
03:48
look like the magazine area --
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mas significa que qualquer que seja a questão
03:50
but it meant that whatever issue
was troubling the library at that moment
was troubling the library at that moment
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que estivesse a atingir a biblioteca naquele momento estava a começar a
03:53
was starting to engulf every other
activity that was happening in it.
activity that was happening in it.
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atingir todas as outras actividades.
Neste caso, o que estava a sofrer eram
03:57
And in this case,
what was getting engulfed
what was getting engulfed
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as responsabilidades sociais devido à expansão do livro.
03:59
were these social responsibilities
by the expansion of the book.
by the expansion of the book.
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Portanto propusemos o que está no diagrama inferior.
04:02
And so we proposed
what's at the lower diagram.
what's at the lower diagram.
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Uma solução muito pateta:
04:04
Very dumb approach:
simply compartmentalize.
simply compartmentalize.
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simplesmente compartimentalizar. Pôr as coisas cuja evolução conseguimos prever --
04:07
Put those things whose evolution
we could predict --
we could predict --
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e não estou a dizer que realmente sabemos o que poderia acontecer no futuro,
04:10
and I don't mean that we could say
what would actually happen in the future,
what would actually happen in the future,
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mas temos algumas pistas
04:14
but we have some certainty of the spectrum
of what would happen in the future --
of what would happen in the future --
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do que poderia acontecer no futuro --
colocámos tudo em caixas desenhadas com características específicas
04:17
put those in boxes designed
specifically for it,
specifically for it,
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e colocámos tudo cuja evolução não conseguimos prever no topo.
04:20
and put the things that we can't
predict on the rooftops.
predict on the rooftops.
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Essa foi a ideia base.
04:22
So that was the core idea.
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Agora, precisámos de convencer a biblioteca que os seus deveres sociais
04:24
Now, we had to convince the library
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são tão importantes quanto os media
04:25
that social roles were
equally important to media,
equally important to media,
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e levá-los a aceitar isso.
04:29
in order to get them to accept this.
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O que vão ver agora é o programa deles à esquerda.
04:31
What you're seeing here is actually
their program on the left.
their program on the left.
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Foi assim que nos foi dado, com toda a sua clareza e glória.
04:34
That's as it was given to us
in all of its clarity and glory.
in all of its clarity and glory.
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A nossa primeira resposta foi a digerir isto
04:38
Our first operation was to re-digest it
back to them, show it to them and say,
back to them, show it to them and say,
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voltar a entregá-lo, mostrando-o dizendo,
"Sabem que mais? Não lhe tocámos,
04:42
"You know what? We haven't touched it,
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04:44
but only one-third of your own program
is dedicated to media and books.
is dedicated to media and books.
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mas só um terço do vosso programa está entregue aos livros e aos media.
Dois terços já estão dedicados -- é a faixa branca em baixo --
04:48
Two-thirds of it is already dedicated --
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04:50
that's the white band below,
the thing you said isn't important --
the thing you said isn't important --
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ao que nos disseram não ser importante:
já está dedicado a funções sociais."
04:53
is already dedicated to social functions."
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Portanto, assim que o devolvemos,
04:55
So once we had presented
that back to them,
that back to them,
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aceitaram que esta espécie de conceito fundamental poderia funcionar.
04:57
they agreed that this sort
of core concept could work.
of core concept could work.
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Tínhamos o direito para regressar aos princípios iniciais --
05:00
We got the right to go back
to first principles --
to first principles --
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é o terceiro diagrama. Recombinámos tudo.
05:02
that's the third diagram.
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05:03
We recombined everything.
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E então começámos a tomar decisões.
05:04
And then we started making new decisions.
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O que estão a ver à direita é o desenho da nova biblioteca,
05:06
What you're seeing on the right
is the design of the library,
is the design of the library,
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especificamente em termos de área.
05:09
specifically in terms of square footage.
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À esquerda do diagrama, aqui,
05:11
On the left of that diagram, here,
you'll see a series of five platforms --
you'll see a series of five platforms --
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podem ver
uma série de cinco plataformas --
05:16
sort of combs, collective programs.
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como módulos; programas colectivos.
05:18
And on the right are the more
indeterminate spaces;
indeterminate spaces;
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À direita estão os espaços mais indefinidos,
como salas de leitura, cuja evolução
05:21
things like reading rooms,
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05:22
whose evolution in 20, 30, 40 years
we can't predict.
we can't predict.
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em 20, 30 ou 40 anos não conseguimos prever.
Portanto este é literalmente o desenho do edifício.
05:25
So that literally was the design
of the building.
of the building.
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Eles assinaram, e para sua decepção,
05:27
They signed it, and to their chagrin,
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05:29
we came back a week later,
and we presented them this.
and we presented them this.
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voltámos uma semana depois, e apresentámos isto.
05:32
And as you can see, it is literally
the diagram on the right.
the diagram on the right.
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Ok? Como podem ver, isto é literalmente o diagrama à direita.
Ok? Apenas dimensionámos --
05:35
(Laughter)
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05:36
We just sized -- no, really,
I mean that, literally.
I mean that, literally.
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não, a sério, quero dizer, literalmente.
Ao lado -- do lado esquerdo do diagrama,
05:39
The things on the left-hand side
of the diagram,
of the diagram,
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estão as caixas.
05:41
those are the boxes.
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05:42
We sized them into five compartments.
They're super-efficient.
They're super-efficient.
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Dimensionámo-las em cinco compartimentos.
São super eficientes.Tínhamos um orçamento limitado para trabalhar.
05:45
We had a very low budget to work with.
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Ajustámo-las no local para estudar
05:47
We pushed them around on the site
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relações contextuais literais.
05:49
to make very literal
contextual relationships.
contextual relationships.
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A sala de leitura deveria conseguir ver a água.
05:51
The reading room
should be able to see the water.
should be able to see the water.
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A entrada principal deveria ter uma praça pública adjacente
05:53
The main entrance should have
a public plaza in front of it
a public plaza in front of it
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para responder à codificação por zonas, e por aí em diante.
05:56
to abide by the zoning code, and so forth.
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Portanto, podem ver as cinco plataformas --
05:59
So, you see the five platforms,
those are the boxes.
those are the boxes.
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estas são as caixas -- dentro de cada uma algo acontece.
06:01
within each one, a very discrete
thing is happening.
thing is happening.
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A área intermédia é uma espécie de contínuo urbano,
06:04
The area in between
is sort of an urban continuum,
is sort of an urban continuum,
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não podemos prever a sua evolução até um certo nível.
06:06
these things that we can't predict
their evolution to the same degree.
their evolution to the same degree.
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Para vos dar uma noção do poder desta ideia,
06:10
To give you some sense
of the power of this idea,
of the power of this idea,
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06:12
the biggest block
is what we call the book spiral.
is what we call the book spiral.
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o bloco principal é o que chamamos de livro em espiral.
06:15
It's literally built
in a very inexpensive way --
in a very inexpensive way --
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É literalmente construído de uma forma barata --
é uma garagem para livros.
06:18
it is a parking garage for books.
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06:20
It just so happens to be on the 6th
through 10th floors of the building,
through 10th floors of the building,
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Por acaso é do sexto ao décimo piso do edifício,
mas isso não é nececessariamente uma solução cara.
06:24
but that is not necessarily
an expensive approach.
an expensive approach.
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06:27
And it allows us to organize
the entire Dewey Decimal System
the entire Dewey Decimal System
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E permite-nos organizar todo o sistema Dewey decimal de uma só vez:
06:30
on one continuous run; no matter how it
grows or contracts within the building,
grows or contracts within the building,
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não importa quanto cresce ou diminui dentro do edifício,
vai estar sempre bem definido
06:34
it will always have its clarity
to end the sort of trail of tears
to end the sort of trail of tears
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para acabar com a espécie de rio de lágrimas
06:38
that we've all experienced
in public libraries.
in public libraries.
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que todos experienciamos em bibliotecas públicas
06:41
(Laughter)
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(Risos)
06:42
And so this was the final operation,
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E então esta foi a operação final, que consistiu em pegar nestes blocos
06:44
which was to take these blocks
as they were all pushed off kilter,
as they were all pushed off kilter,
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que estavam todos desordenados
e sustentá-los com um revestimento.
06:47
and to hold onto them with a skin.
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06:49
That skin serves double duty,
again, for economics.
again, for economics.
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Este revestimento tem 2 funções, novamente devido à economia de meios.
06:52
One, it is the lateral stability
for the entire building;
for the entire building;
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Uma é a estabilidade lateral de todo o edifício:
06:55
it's a structural element.
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é um elemento estrutural. Mas as suas dimensões foram desenhadas não só pela estrutura,
06:57
But its dimensions were designed
not only for structure,
not only for structure,
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mas também para prender cada pedaço de vidro.
06:59
but also for holding on
every piece of glass.
every piece of glass.
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O vidro foi então -- vou usar a palavra impregnado --
07:02
The glass was then --
I'll use the word impregnated --
I'll use the word impregnated --
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07:04
but it had a layer of metal
that was called "stretched metal."
that was called "stretched metal."
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mas tinha uma camada de metal à qual se chama metal sob pressão.
Esse metal age como uma micro clarabóia,
07:08
That metal acts as a microlouver,
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fazendo com que do exterior do edifício o sol o veja como totalmente opaco,
07:10
so from the exterior of the building,
the sun sees it as totally opaque,
the sun sees it as totally opaque,
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mas do interior é completamente transparente.
07:13
but from the interior,
it's entirely transparent.
it's entirely transparent.
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Agora vou levar-vos a dar uma volta pelo edifício.
07:16
So now I'm going to take you
on a tour of the building.
on a tour of the building.
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07:19
Let me see if I can find it.
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Vamos ver se consigo encontrar. A todos aqueles que --
07:21
For anyone who gets
motion sickness, I apologize.
motion sickness, I apologize.
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ficam enjoados, peço desculpa.
Portanto este é o edifício.
07:25
So, this is the building.
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E acho que o que é importante é que, quando o mostrei pela primeira vez,
07:28
And I think what's important is,
when we first unveiled the building,
when we first unveiled the building,
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o público pensou -- viu-o como sendo apenas o produto
07:32
the public saw it as being
totally about our whim and ego.
totally about our whim and ego.
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dos nossos caprichos e ego.
07:36
And it was defended,
believe it or not, by the librarians.
believe it or not, by the librarians.
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E quem o defendeu, acreditem ou não, foram os bibliotecários. Disseram,
07:39
They said, "Look,
we don't know what it is,
we don't know what it is,
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"Olhem, não sabemos o que é, mas sabemos que é tudo o que precisamos que seja
07:41
but we know it's everything
that we need it to be,
that we need it to be,
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com base nas escolhas
07:44
based on the observations
that we've done about the program."
that we've done about the program."
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que fizemos com o programa."
Esta imagem é a de uma das entradas.
07:49
This is going into one of the entries.
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Portanto não é uma biblioteca comum,
07:51
So, it's an unusual building
for a public library, obviously.
for a public library, obviously.
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como é óbvio.
07:58
So now we're going
into what we call the living room.
into what we call the living room.
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Então agora estamos a entrar no que chamamos sala de leitura -- desculpem, sala de estar.
Este é na verdade o programa que inventámos para a biblioteca.
08:02
This is actually a program
that we invented with the library.
that we invented with the library.
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Reconhece que bibliotecas públicas
08:05
It was recognizing that public libraries
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são o último vestígio de espaço público livre.
08:07
are the last vestige of public free space.
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Há inúmeras galerias comerciais que permitem que as pessoas saiam da chuva
08:10
There are plenty of shopping malls
that allow you to get out of the rain
that allow you to get out of the rain
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na baixa de Seattle
08:13
in downtown Seattle,
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mas não há muitos
08:14
but there are not so many free places
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espaços livres que permitam que saiam da chuva.
08:17
that allow you to get out of the rain.
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Portanto esta é uma área sem programa onde as pessoas podem, basicamente fazer tudo,
08:19
So this was an unprogrammed area where
people could pretty much do anything,
people could pretty much do anything,
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incluindo comer, gritar, jogar xadrez e por aí a diante.
08:23
including eat, yell,
play chess and so forth.
play chess and so forth.
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Agora vamos subir para
08:25
Now we're moving up into what we call
the mixing chamber.
the mixing chamber.
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o que chamamos de sala de mistura.
É uma espécie de área tecnológica do edifício.
08:29
That was the main
technology area in the building.
technology area in the building.
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Digam-me se estiver a ir demasiado rápido.
08:32
You'll have to tell me
if I'm going too fast for you.
if I'm going too fast for you.
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Agora para cima.
08:39
And now up.
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Este é o local que criámos no edifício
08:45
This is actually the place
that we put into the building
that we put into the building
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para que eu pudesse pedir a minha mulher em casamento
08:48
so I could propose
to my wife, right there.
to my wife, right there.
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(risos)
08:50
(Laughter)
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08:52
She said yes.
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Ela disse que sim.
08:53
(Laughter)
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08:57
I'm running out of time,
so I'm actually going to stop.
so I'm actually going to stop.
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Estou a ficar sem tempo, por isso vou parar.
Posso mostrar-vos isto depois.
08:59
I can show this to you later.
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09:01
But let's see if I can very quickly
get into the book spiral,
get into the book spiral,
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Mas vamos ver se posso, muito rapidamente, entrar na espiral dos livros,
porque acho que é, como disse, a mais --
09:05
because I think it's,
as I said, the most --
as I said, the most --
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é a sala de leitura principal -- um sector único do edifício.
09:07
this is the main reading room --
the most unique part of the building.
the most unique part of the building.
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Já estão tontos?
09:11
You dizzy yet?
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Ok, então aqui está a espiral dos livros.
09:13
Ok, so here, this is the book spiral.
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Então, é pouco perceptível,
09:21
So, it's very indiscernible,
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mas na verdade é uma escada contínua.
09:23
but it's actually
a continuous stair-stepping.
a continuous stair-stepping.
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09:26
It allows you to, on one city block,
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Permite a cada um, num quarteirão,
09:28
go up one full floor,
so that it's on a continuum.
so that it's on a continuum.
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subir um andar, pelo que é um contínuo.
Ok, agora vou voltar atrás, e vou começar com o segundo projecto.
09:36
Ok, now I'm going to go back,
and I'm going to hit a second project.
and I'm going to hit a second project.
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09:39
I'm going to go very,
very quickly through this.
very quickly through this.
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Vou ser mesmo rápido com este
Este é o Teatro de Dallas. Foi um cliente pouco habitual para nós,
09:42
Now this is the Dallas Theater.
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09:43
It was an unusual client for us,
because they came to us and they said,
because they came to us and they said,
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porque vieram ter connosco e disseram,
"Precisamos que nos façam um edifício novo. Estivemos a trabalhar
09:47
"We need you to do a new building.
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09:48
We've been working
in a temporary space for 30 years,
in a temporary space for 30 years,
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num espaço temporário durante 30 anos,
mas por ser um espaço temporário,
09:52
but because of that temporary space,
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tornámo-nos numa companhia de teatro com má fama.
09:54
we've become an infamous theater company.
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O teatro está muito concentrado em Nova York, Chicago e Seattle,
09:56
Theater is really focused in New York,
Chicago and Seattle,
Chicago and Seattle,
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com a excepção da companhia de teatro de Dallas."
09:59
with the exception
of the Dallas Theater Company."
of the Dallas Theater Company."
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E o facto de trabalharem num espaço temporário
10:03
And the very fact that they worked
in a provisional space
in a provisional space
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permitia-lhes deitar abaixo uma parede para representar Beckett;
10:05
meant that for Beckett,
they could blow out a wall;
they could blow out a wall;
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podiam representar o "Cherry Orchard" e fazer um buraco no chão e por aí em diante.
10:08
they could do "Cherry Orchard" and blow
a hole through the floor, and so forth.
a hole through the floor, and so forth.
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Portanto foi uma tarefa dantesca fazer um edifício totalmente novo
10:12
So it was a very daunting task
for us to do a brand-new building
for us to do a brand-new building
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que conseguisse manter -- ser um edifício primitivo,
10:15
that could be a pristine building,
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mas ao mesmo tempo manter uma natureza experimental.
10:17
but keep this kind of experimental nature.
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E a segunda é que, eram o que chamamos de
10:19
And the second is,
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10:20
they were what we call
a multi-form theater,
a multi-form theater,
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teatro multi-facetado: eles têm
10:23
they do different kinds
of performances in repertory.
of performances in repertory.
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diferentes tipos de performances no repertório.
Portanto durante a manhã fazem
10:25
So they in the morning
will do something in arena,
will do something in arena,
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algumas coisas na arena,
10:28
then they'll do something
in proscenium and so forth.
in proscenium and so forth.
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depois fazem algumas coisas no palco e por aí em diante.
E assim são capazes de se transformar rapidamente
10:31
And so they needed to be able
to quickly transform
to quickly transform
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entre diversas organizações de teatro,
10:33
between different theater organizations,
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e por razões economicamente operacionais,
10:35
and for operational budget reasons,
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isto não acontece muitas vezes
10:37
this actually no longer
happens in pretty much
happens in pretty much
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a uma companhia multi-facetada nos Estados Unidos,
10:39
any multi-form theater
in the United States,
in the United States,
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10:41
so we needed to figure out
a way to overcome that.
a way to overcome that.
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por isso precisámos de encontrar uma forma de ultrapassar isso.
Então o nosso projecto foi literalmente pôr o projecto de pernas para o ar:
10:44
So our thought was to literally
put the theater on its head:
put the theater on its head:
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pegar no que era definido previamente como frente e traseiras
10:47
to take those things
that were previously defined
that were previously defined
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10:49
as front-of-house and back-of-house
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1675
e empilhá-las -- casa de cima e casa de baixo --
10:51
and stack them above house
and below house,
and below house,
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2008
e criar o que começámos a chamar máquina teatral.
10:53
and to create what we called
a theater machine.
a theater machine.
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Investimos fundos na operação do edifício.
10:55
We invest the money
in the operation of the building.
in the operation of the building.
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É quase como se o edifício pudesse ser colocado em qualquer lado: onde quer que fosse, a área por baixo
10:57
It's almost as though the building
could be placed anywhere,
could be placed anywhere,
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11:00
wherever you place it,
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seria impregnada de performances teatrais.
11:01
the area under it is charged
for theatrical performances.
for theatrical performances.
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Isso permitiu-nos recuar até aos princípios iniciais,
11:04
And it allowed us to go back
to first principles,
to first principles,
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e redefinir a torre de cena, características acústicas,
11:07
and redefine fly tower, acoustic
enclosure, light enclosure and so forth.
enclosure, light enclosure and so forth.
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projecção de luz e afins.
11:10
And at the push of a button,
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E ao carregar de um botão, permite que o director artístico
11:12
it allows the artistic director
to move between proscenium, thrust,
to move between proscenium, thrust,
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se mova entre cena, e de facto,
entre arena e bastidores e depósito
11:15
and in fact, arena
and traverse and flat floor,
and traverse and flat floor,
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11:19
in a very quick transfiguration.
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numa configuração muito rápida.
Portanto na realidade, podemos ir, usando o custo operacional --
11:22
So in fact, using
operational budget, we can --
operational budget, we can --
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perdão, custo bruto -- podemos conseguir
11:25
sorry, capital cost --
we can actually achieve
we can actually achieve
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11:27
what was no longer achievable
in operational cost.
in operational cost.
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o que já não era atingível em termos de custo operacional.
E isso significa que o director artístico fica com
11:30
And that means that the artistic director
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11:32
now has a palette that he or she
can choose from,
can choose from,
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um catálogo a partir do qual pode escolher
entre uma série de formas e uma série de procissões,
11:35
between a series of forms
and a series of processions,
and a series of processions,
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porque o que envolve o teatro,
11:38
because that enclosure around the theater
that is normally trapped
that is normally trapped
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o que está normalmente preso a fachada e traseiras,
11:41
with front-of-house and back-of-house
spaces has been liberated.
spaces has been liberated.
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foi liberto.
11:44
So an artistic director has the ability
to have a performance
to have a performance
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Portanto um director artístico tem a possibilidade de mostrar --
tem um espectáculo com uma procissão de Wagner,
11:48
that enters in a Wagnerian procession,
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mostra o primeiro acto em acção,
11:50
shows the first act in thrust,
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o intervalo com uma procissão Grega,
11:52
the intermission in a Greek procession,
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11:55
second act in arena, and so forth.
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1818
o segundo acto na arena, e por aí em diante.
Agora vou mostrar-vos que -- o que isto realmente significa.
11:58
So I'm going to show you
what this actually means.
what this actually means.
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Este é o teatro de perto.
12:00
This is the theater up close.
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Qualquer porção em volta do teatro pode ser aberta discretamente.
12:02
Any portion around the theater
actually can be opened discretely.
actually can be opened discretely.
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3086
Os suportes de iluminação podem ser elevados separadamente
12:07
The light enclosure can be lifted
separate to the acoustic enclosure,
separate to the acoustic enclosure,
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dos suportes acústicos, por isso pode fazer-se Beckett
12:11
so you can do Beckett
with Dallas as the backdrop.
with Dallas as the backdrop.
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com Dallas como pano de fundo.
Podem abrir-se partes do edifício, pelo que se podem conduzir motas
12:14
Portions can be opened,
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12:16
so you can now actually have motorcycles
drive directly into the performance,
drive directly into the performance,
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até ao espectáculo, ou podem-se fazer espectáculos ao ar livre,
12:19
or you can even just have
an open-air performance,
an open-air performance,
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ou para os intervalos.
12:22
or for intermissions.
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Todas as varandas se movem entre estas configurações,
12:23
The balconies all move to go
between those configurations,
between those configurations,
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mas também desaparecem.
12:26
but they also disappear.
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A linha de cena também pode desaparecer.
12:28
The proscenium line can also disappear.
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Podem-se introduzir enormes objectos, na verdade eles --
12:30
You can bring enormous objects in,
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1841
12:32
so in fact, the Dallas Theater Company --
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1991
a companhia de teatro de Dallas -- no seu primeiro espectáculo
vão representar uma peça sobre Charles Lindbergh,
12:34
their first show will be a play
about Charles Lindbergh,
about Charles Lindbergh,
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2651
e querem ter um avião verdadeiro.
12:37
and they'll want to bring in
a real aircraft.
a real aircraft.
266
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2292
12:39
And then it also provides them,
in the off-season,
in the off-season,
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2611
E também lhes permite, fora de época,
a possibilidade de alugar
12:42
the ability to actually rent out
their space for entirely different things.
their space for entirely different things.
268
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5206
o espaço para necessidades completamente diferentes.
12:48
This is it from a distance.
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2655
Esta é à noite -- desculpem a distância.
12:53
Open up entire portions
for different kinds of events.
for different kinds of events.
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2988
Abrir porções inteiras para diferentes tipos de enventos.
12:56
And at night.
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751933
1151
E à noite.
Novamente, removendo a iluminação; mantendo a estrutura acústica.
12:59
Again, remove the light enclosure;
keep the acoustic enclosure.
keep the acoustic enclosure.
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Este é um espectáculo de "Monster Trucks".
13:04
This is a monster truck show.
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1878
Agora vou-vos mostrar o último projecto.
13:06
I'm going to show now the last project.
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1891
Também é de um cliente pouco habitual.
13:08
This also is an unusual client.
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1483
13:09
They inverted the whole idea
of development.
of development.
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2473
Inverteram a ideia de desenvolvimento.
Vieram ter connosco e disseram -- ao contrário dos promotores comuns --
13:12
They came to us and they said --
unlike normal developers --
unlike normal developers --
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2827
disseram, "Queremos começar por providenciar
13:15
they said, "We want to start out
278
770348
1537
13:16
by providing a contemporary
art museum in Louisville.
art museum in Louisville.
279
771909
2749
um museu de arte contemporânea
em Louisville. Esse é o nosso objectivo principal."
13:19
That's our main goal."
280
774682
1204
13:20
And so instead of being a developer
that sees an opportunity to make money,
that sees an opportunity to make money,
281
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3595
E então em vez de ser um promotor que vê uma oportunidade
para fazer dinheiro, eles viram uma possibilidade de se tornarem num catalisador
13:24
they saw an ability to be
a catalyst in their downtown.
a catalyst in their downtown.
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779529
3021
da baixa da cidade.
13:27
And the fact that they wanted to support
the contemporary art museum
the contemporary art museum
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3580
E o facto de quererem apoiar
o museu de arte contemporânea constituía o seu pro forma,
13:30
actually built their pro forma,
284
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1557
por isso começaram ao contrário.
13:32
so they worked in reverse.
285
787759
1317
E esse pro forma leva-nos
13:34
And that pro forma led us
286
789431
1545
13:35
to a mixed-use building
that was very large,
that was very large,
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791000
2976
a um edifício polivalente que era muito grande
13:38
in order to support
their aspirations of the art,
their aspirations of the art,
288
794000
2304
de forma a suportar as suas aspirações para a arte,
mas também abriu oportunidades para a própria arte
13:41
but it also opened up opportunities
for the art itself
for the art itself
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796328
2547
colaborar, interagir com espaços comerciais
13:43
to collaborate, interact
with commercial spaces
with commercial spaces
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2220
com os quais os artistas cada vez mais querem trabalhar.
13:45
that actually artists more
and more want to work within.
and more want to work within.
291
801143
2760
E também mudou a nossa forma de pensar, sobre como ter
13:49
And it also charged us
with thinking about how to have
with thinking about how to have
292
804356
3025
algo que era tanto um edificio singular
13:52
something that was both a single building
293
807405
1964
e uma incrível espécie de sub-edifício.
13:54
and a credible sort of sub-building.
294
809393
2583
13:56
So this is Louisville's skyline,
295
812000
2543
Então agora vou -- este é o perfil de cidade de Louisville --
e vou levá-los através de
13:59
and I'm going to take
you through the various constraints
you through the various constraints
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814567
2680
várias condicionantes que nos guiaram no projecto.
14:02
that led to the project.
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1193
Primeiro, as condicionantes físicas. Precisámos de trabalhar
14:03
First: the physical constraints.
298
818488
1539
em três locais diminutos,
14:04
We actually had to operate
on three discrete sites,
on three discrete sites,
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820051
2401
todos eles muito, muito mais pequenos que o tamanho do edifício.
14:07
all of them well smaller
than the size of the building.
than the size of the building.
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Precisámos de trabalhar perto do novo centro Muhammad Ali,
14:10
We had to operate next to the new
Muhammad Ali Center, and respect it.
Muhammad Ali Center, and respect it.
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e respeitá-lo.
Precisámos de trabalhar com o plano de cheias a 100 anos.
14:13
We had to operate
within the 100-year floodplain.
within the 100-year floodplain.
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Esta área alaga três a quatro vezes por ano,
14:16
Now, this area floods
three to four times a year,
three to four times a year,
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e existe uma barreira de contenção atrás do nosso terreno
14:18
and there's a levee behind our site,
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similar à que rebentou em Nova Orleães.
14:20
similar to the ones
that broke in New Orleans.
that broke in New Orleans.
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Precisámos de trabalhar atrás da via I-64,
14:23
Had to operate behind the I-64 corridor,
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14:27
a street that cuts through the middle
of these separate sites.
of these separate sites.
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uma estrada que corta através destes terrenos.
Portanto -- estamos de certa forma a construir um
14:30
So we're starting to build a sort of
nightmare of constraints in a bathtub.
nightmare of constraints in a bathtub.
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pesadelo de condicionantes numa banheira.
Por baixo da banheira estão
14:35
Underneath the bathtub
are the city's main power lines.
are the city's main power lines.
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as principais linhas de alta-potência da cidade.
E existe um corredor de pedestres que eles queriam acrescentar
14:39
And there is a pedestrian corridor
that they wanted to add,
that they wanted to add,
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para ligar uma série de edifícios culturais,
14:42
that would link a series
of cultural buildings,
of cultural buildings,
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e um corredor visual -- porque este é um distrito histórico --
14:45
and a view corridor --
because this is the historic district --
because this is the historic district --
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que eles não queriam obstruir com o novo edifício.
14:48
that they didn't want to obstruct
with a new building.
with a new building.
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(Risos)
E agora vamos acrescentar 100 mil metros quadrados.
14:50
(Laughter)
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14:51
And now we're going to add
1.1 million square feet.
1.1 million square feet.
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Se fizéssemos o processo tradicional, esses 100 mil metros quadrados --
14:54
And if we did the traditional thing,
that 1.1 million square feet --
that 1.1 million square feet --
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estes são programas distintos -- tradicionalmente iríamos identificar
14:58
these are the different programs --
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14:59
the traditional thing would be to identify
the public elements, place them on sites,
the public elements, place them on sites,
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os elementos públicos, colocá-los no local,
e teríamos uma situação terrível:
15:03
and now we'd have a really
terrible situation:
terrible situation:
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um espaço público no meio de uma banheira propensa a cheias.
15:06
a public thing in the middle
of a bathtub that floods.
of a bathtub that floods.
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15:09
And then we would size
all the other elements --
all the other elements --
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E depois iríamos dimensionar todos os outros elementos --
os diferentes elementos comerciais:
15:12
the different commercial elements:
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hotel; habitação de luxo; escritórios e afins --
15:14
hotel, luxury housing,
offices and so forth --
offices and so forth --
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e despejar no topo. E iríamos criar algo
15:16
and dump it on top.
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15:17
And we would create
something that was unviable.
something that was unviable.
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que era inviável.
15:20
In fact -- and you know this -- this
is called the Time Warner Building.
is called the Time Warner Building.
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De facto -- e vocês sabem isso -- isto chama-se edifício "Time Warner".
(Risos)
15:24
(Laughter)
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Por isso a nossa estratégia foi muito simples.
15:25
So our strategy was very simple.
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15:27
Just lift the entire block,
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Simplesmente levantar todo o bloco,
inverter alguns dos elementos, reposicioná-los,
15:30
flip some of the elements over,
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15:32
reposition them
so they have appropriate views
so they have appropriate views
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para que tivessem vistas apropriadas e relações com a baixa,
15:35
and relationships to downtown,
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e fizessem ligações contínuas e redesenho da estrada.
15:37
and make circulation connections
and reroute the road.
and reroute the road.
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Portanto esse é basicamente o conceito,
15:40
So that's the basic concept,
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e agora vou mostrar-vos ao que nos leva.
15:42
and now I'm going to show you
what it leads to.
what it leads to.
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15:45
Ok, it seems a very formal,
willful gesture,
willful gesture,
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Ok, parece muito formal, um gesto decidido,
mas algo que deriva totalmente de limitações.
15:48
but something derived entirely
out of the constraints.
out of the constraints.
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E de novo, quando o apresentámos, houve uma espécie de nervosismo
15:50
And again, when we unveiled it,
there was a sort of nervousness
there was a sort of nervousness
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que isto era mais uma tomada de posição de um arquitecto,
15:53
that this was about an architect
making a statement,
making a statement,
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e não um arquitecto a tentar resolver
15:56
not an architect who was attempting
to solve a series of problems.
to solve a series of problems.
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uma série de problemas.
Agora, com aquela zona central, como eu disse,
15:59
Now, within that center zone, as I said,
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temos a possibilidade de misturar uma série de elementos.
16:02
we have the ability to mix
a series of things.
a series of things.
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Portanto aqui podem ver que estes --
16:04
So here, this is sort of an x-ray --
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esta -- espécie de raio-x -- as torres
16:07
the towers are totally developer-driven.
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942393
1935
são inteiramente destinadas aos promotores. Disseram-nos as dimensões, os tamanhos e por aí em diante
16:09
They told us the dimensions,
the sizes and so forth,
the sizes and so forth,
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944352
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e focámo-nos em pegar em todos os elementos públicos --
16:11
and we focused on taking
all the public components --
all the public components --
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as antecâmaras, os bares,
16:14
the lobbies, the bars --
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todos os elementos comerciais --
16:15
everything that different commercial
elements would have,
elements would have,
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16:18
and combined it in the center,
in the sort of subway map,
in the sort of subway map,
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e combiná-los no centro, numa espécie de mapa de metro,
16:21
in the transfer zone that would also
include the contemporary art museum.
include the contemporary art museum.
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na zona de transferências que também iria incluir um museu de arte contemporânea.
Então cria uma situação assim,
16:25
So it creates a situation like this,
where you have artists who can operate
where you have artists who can operate
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onde temos artistas que podem trabalhar dentro
16:29
within an art space that also has
an amazing view on the 22nd floor,
an amazing view on the 22nd floor,
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de um espaço que também tem uma vista incrível do 22º andar,
mas que está próximo o suficiente para que o curador
16:33
but it also has proximity that the curator
can either open or close.
can either open or close.
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possa abrir ou fechar.
Permite que pessoas em bicicletas de exercício
16:37
It allows people
on exercise bicycles to be seen,
on exercise bicycles to be seen,
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sejam vistas e vejam arte, e por aí em diante.
16:40
or to see the art, and so forth.
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Também significa que se um artista quer invadir algo como uma piscina,
16:41
It also means that if an artist wants
to invade something like a swimming pool,
to invade something like a swimming pool,
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podem começar por fazer a exposição numa piscina,
16:45
they can begin to do their exhibition
in a swimming pool,
in a swimming pool,
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pelo que não são obrigados a trabalhar dentro do espaço
16:48
so they're not forced to always
work within the confines
work within the confines
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da galeria contemporânea.
16:51
of a contemporary gallery space.
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Então, como construir isto.
16:52
So, how to build this.
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É muito simples: é uma cadeira.
16:53
It's very simple: it's a chair.
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1944
16:55
So, we begin by building the cores.
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991000
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Então começamos por construir o núcleo.
Enquanto construímos o núcleo, construímos o museu de arte contemporânea em progressão.
16:59
As we're building the cores, we build
the contemporary art museum at grade.
the contemporary art museum at grade.
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O que nos permite obter uma eficiência incrível e redução de custos.
17:02
That allows us to have
incredible efficiency and cost efficiency.
incredible efficiency and cost efficiency.
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Este não é um edifício de custos elevados.
17:05
This is not a high-budget building.
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No momento em que o núcleo chega ao nível central,
17:07
The moment the cores get to mid level,
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1002839
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acabamos o museu de arte, introduzimos todo o equipamento mecânico
17:09
we finish the art museum; we put
all the mechanical equipment in it;
all the mechanical equipment in it;
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1004712
3195
e elevâmo-lo no ar com macacos pneumáticos.
17:12
and then we jack it up into the air.
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1007931
1745
É assim que se constroem hangares de aviões
17:14
This is how they build
really large aircraft hangars,
really large aircraft hangars,
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1009700
2489
por exemplo aqueles que fizeram para o A380.
17:17
for instance, the ones
that they did for the A380.
that they did for the A380.
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Acabados os núcleos, acabada a carne
17:19
Finish the cores, finish the meat
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1840
obtém-se algo semelhante a isto.
17:21
and you get something
that looks like this.
that looks like this.
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2013
Agora só tenho cerca de 30 segundos, por isso quero
17:23
Now I only have about 30 seconds,
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começar um filme, e assim concluo a apresentação.
17:24
so I want to start an animation,
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17:26
and we'll conclude with that.
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17:28
Thank you.
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(Aplausos)
17:29
(Applause)
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17:33
Chris asked me to add --
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Chris pediu-me para dizer --
17:35
the theater is under construction,
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que o teatro está em construção, e
17:37
and this project will start
construction in about a year,
construction in about a year,
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este projecto vai começar a ser construído daqui a um ano,
e será terminado em 2010.
17:40
and finish in 2010.
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17:41
[identify public elements]
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17:42
[insert public elements at grade]
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17:44
[optimize tower dimensions]
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17:47
[place towers on site]
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17:48
[lift program]
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17:51
[flip!]
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17:53
[optimize program adjacencies]
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17:54
[connect to context]
389
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17:56
[redirect 7th street]
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ABOUT THE SPEAKER
Joshua Prince-Ramus - ArchitectJoshua Prince-Ramus is best known as architect of the Seattle Central Library, already being hailed as a masterpiece of contemporary culture. Prince-Ramus was the founding partner of OMA New York—the American affiliate of the Office for Metropolitan Architecture (OMA) in the Netherlands—and served as its Principal until he renamed the firm REX in 2006.
Why you should listen
With one of the decade's most celebrated buildings under his belt, Joshua Prince-Ramus would seem well-positioned to become the world's next "starchitect." Except that he doesn't want the job. With his quiet intensity and intellectual bearing, Prince-Ramus is the antithesis of the egomaniacal master architect. He flatly rejects not just the title, but the entire notion of a "starchitect" designing with a genius stroke of the pen.
Prince-Ramus is best known for his work on the Seattle Central Library. The striking, diamond-windowed structure reimagines, to spectacular effect, the library's role in a modern urban context. "Seattle's new Central Library is a blazing chandelier to swing your dreams upon," Herbert Muschamp wrote in The New York Times. "In more than 30 years of writing about architecture, this is the most exciting new building it has been my honor to review."
Having founded the US practice of the radical Dutch architecture firm OMA in 2000, Prince-Ramus served as its Principal until he renamed the firm REX in May 2006. He continues to take what he describes as a performance-based approach to architecture, pushing logic and rational ideas to their limits to create buildings that are unexpected, but wholly appropriate to their environment and intended use. REX recently completed the AT&T Performing Arts Center’s Dee and Charles Wyly Theatre in Dallas, Texas and the Vakko Fashion Center and Power Media Center in Istanbul, Turkey. Current work includes Museum Plaza, a 62-story mixed-use skyscraper housing a contemporary art center in Louisville, Kentucky;the new Central Library and Music Conservatory for the city of Kortrijk, Belgium;and a 2,643,000 ft2 luxury residential development in Songdo Landmark City, South Korea.
More profile about the speakerPrince-Ramus is best known for his work on the Seattle Central Library. The striking, diamond-windowed structure reimagines, to spectacular effect, the library's role in a modern urban context. "Seattle's new Central Library is a blazing chandelier to swing your dreams upon," Herbert Muschamp wrote in The New York Times. "In more than 30 years of writing about architecture, this is the most exciting new building it has been my honor to review."
Having founded the US practice of the radical Dutch architecture firm OMA in 2000, Prince-Ramus served as its Principal until he renamed the firm REX in May 2006. He continues to take what he describes as a performance-based approach to architecture, pushing logic and rational ideas to their limits to create buildings that are unexpected, but wholly appropriate to their environment and intended use. REX recently completed the AT&T Performing Arts Center’s Dee and Charles Wyly Theatre in Dallas, Texas and the Vakko Fashion Center and Power Media Center in Istanbul, Turkey. Current work includes Museum Plaza, a 62-story mixed-use skyscraper housing a contemporary art center in Louisville, Kentucky;the new Central Library and Music Conservatory for the city of Kortrijk, Belgium;and a 2,643,000 ft2 luxury residential development in Songdo Landmark City, South Korea.
Joshua Prince-Ramus | Speaker | TED.com