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Ole Scheeren: Why great architecture should tell a story
奥雷·舍人: 为什么伟大的建筑物需要说故事
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对建筑师奥雷·舍人（Ole Scheeren）而言，住在建筑物及在里面工作的人似乎也是建物的一部分，就好比是混泥土，钢筋，玻璃一样。他问：建筑物可以有合作性、故事性，而不是仅有传统高楼大厦的疏离感吗？参观他的五座建筑物——从中国的一栋扭曲式大楼到泰国的一座水上电影院——并学习它们背后的故事。
Ole Scheeren - Architect
Ole Scheeren designs buildings that generate both functional and social spaces. Full bio
Ole Scheeren designs buildings that generate both functional and social spaces. Full bio
Double-click the English transcript below to play the video.
00:13
For much of the past century,
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过去的好几个世纪中，
建筑物都被一条著名的魔咒所禁锢，
00:14
architecture was under the spell
of a famous doctrine.
of a famous doctrine.
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00:18
"Form follows function" had become
modernity's ambitious manifesto
modernity's ambitious manifesto
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“形致围绕功能”这个理论
曾经一度成为当代的伟大宣言，
曾经一度成为当代的伟大宣言，
同时又是个危险的紧箍咒，
00:22
and detrimental straitjacket,
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因为这句话虽让建筑物
不再具有装饰性，
不再具有装饰性，
00:24
as it liberated architecture
from the decorative,
from the decorative,
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但也同时宣判建筑物
走向功利严谨且倍受约束的终点。
走向功利严谨且倍受约束的终点。
00:27
but condemned it to utilitarian rigor
and restrained purpose.
and restrained purpose.
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当然，建筑物确实需要实现某些功能，
00:32
Of course, architecture is about function,
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但这让我想起了Bernard Tschumi
对这句话的改写，
对这句话的改写，
00:35
but I want to remember a rewriting
of this phrase by Bernard Tschumi,
of this phrase by Bernard Tschumi,
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并同时提出一个我个人
完全不同的见解。
完全不同的见解。
00:38
and I want to propose
a completely different quality.
a completely different quality.
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如果是“形致围绕小说”，
00:43
If form follows fiction,
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我们可以这样想，建筑设计与
建筑物是布满故事的空间，
建筑物是布满故事的空间，
00:45
we could think of architecture
and buildings as a space of stories --
and buildings as a space of stories --
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有关居住在那里的人的故事，
00:49
stories of the people that live there,
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有关在里面工作的人的故事。
00:52
of the people that work
in these buildings.
in these buildings.
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00:55
And we could start to imagine
the experiences our buildings create.
the experiences our buildings create.
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我们可以开始想像
我们的建筑物创造出来的体验。
我们的建筑物创造出来的体验。
00:59
In this sense, I'm interested in fiction
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按这种方式来理解的话，
我对小说感兴趣的原因，
我对小说感兴趣的原因，
不是因为它的虚幻，而是它的真实，
01:02
not as the implausible but as the real,
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就好比建筑风格对那些
01:06
as the reality of what architecture means
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生活在里面的居民
有什么意义那样的真实。
有什么意义那样的真实。
01:08
for the people that live
in it and with it.
in it and with it.
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我们的建筑物一开始
是一些雏形、想法，
是一些雏形、想法，
01:11
Our buildings are prototypes,
ideas for how the space of living
ideas for how the space of living
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让我们了解当今的生活或
工作空间可以有什么不同，
工作空间可以有什么不同，
01:15
or how the space of working
could be different,
could be different,
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01:18
and what a space of culture
or a space of media could look like today.
or a space of media could look like today.
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以及文化与媒体空间
可以如何展现。
可以如何展现。
我们的建筑物是真实的；
它们会被建造出来，
它们会被建造出来，
01:23
Our buildings are real;
they're being built.
they're being built.
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建筑物是一种实体物质与想法概念的
01:25
They're an explicit engagement
in physical reality
in physical reality
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合约产物。
01:28
and conceptual possibility.
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我认为我们的建筑物是一种组织结构。
01:32
I think of our architecture
as organizational structures.
as organizational structures.
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01:36
At their core is indeed
structural thinking, like a system:
structural thinking, like a system:
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它们的核心，的确是一种
结构思想，像是一个系统:
结构思想，像是一个系统:
我们要如何把事情
01:39
How can we arrange things
in both a functional
in both a functional
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01:43
and experiential way?
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安排的兼具功能性与体验性呢 ?
01:46
How can we create structures
that generate a series
that generate a series
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我们要如何创造出可以引发
01:48
of relationships and narratives?
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一系列关系与故事剧本的结构 ?
而我们在建筑物里面的居民
01:51
And how can fictive stories
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01:53
of the inhabitants and users
of our buildings
of our buildings
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及使用者的虚幻故事
要如何在描绘建筑物的同时
01:56
script the architecture,
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01:58
while the architecture scripts
those stories at the same time?
those stories at the same time?
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也能被建筑物描绘出来 ?
而这当中就会产生出第二个词汇，
02:02
And here comes the second term into play,
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我称之为“叙事混合体”——
02:04
what I call "narrative hybrids" --
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多个同时进行的故事的结构
02:06
structures of multiple
simultaneous stories
simultaneous stories
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完全通过我们创造出的
建筑物展现了出来。
建筑物展现了出来。
02:09
that unfold throughout
the buildings we create.
the buildings we create.
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所以我们可以想像
建筑物是个呈现关联性的复杂系统，
建筑物是个呈现关联性的复杂系统，
02:12
So we could think of architecture
as complex systems of relationships,
as complex systems of relationships,
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02:17
both in a programmatic and functional way
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既具备可程序化和功能性，
02:20
and in an experiential
and emotive or social way.
and emotive or social way.
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又具备体验性和情绪性，或者社交性。
这是中国国家广播公司的总部，
02:27
This is the headquarters
for China's national broadcaster,
for China's national broadcaster,
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是我和Rem Koolhaas在
大都会建筑事务所共同设计的。
大都会建筑事务所共同设计的。
02:29
which I designed together
with Rem Koolhaas at OMA.
with Rem Koolhaas at OMA.
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2002年，当我第一次抵达北京时，
城市规划员向我们展示了这张图 :
城市规划员向我们展示了这张图 :
02:33
When I first arrived in Beijing in 2002,
the city planners showed us this image:
the city planners showed us this image:
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除了当时已有的屈指可数的几栋大楼，
02:38
a forest of several hundred skyscrapers
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02:40
to emerge in the central
business district,
business district,
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雨林般的上百栋高楼大厦，
将会出现在市中心的商务区。
02:42
except at that time,
only a handful of them existed.
only a handful of them existed.
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所以我们必须在一个除了垂直概念以外
02:45
So we had to design in a context
that we knew almost nothing about,
that we knew almost nothing about,
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其他几乎什么都没有的
设计概念底下做设计。
设计概念底下做设计。
02:48
except one thing:
it would all be about verticality.
it would all be about verticality.
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当然，高楼大厦是垂直的——
它是个死板的层次结构，
它是个死板的层次结构，
02:52
Of course, the skyscraper is vertical --
it's a profoundly hierarchical structure,
it's a profoundly hierarchical structure,
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顶部总是最好的，
底部总是最差的，
底部总是最差的，
02:57
the top always the best,
the bottom the worst,
the bottom the worst,
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所以看起来就好像，
你盖的越高看起来就越好。
你盖的越高看起来就越好。
02:59
and the taller you are,
the better, so it seems.
the better, so it seems.
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我们想问问自己，
03:03
And we wanted to ask ourselves,
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我们的建筑物可不可以
有一个完全不同的概念?
有一个完全不同的概念?
03:05
could a building be about
a completely different quality?
a completely different quality?
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它可不可以摆脱层次结构体系，
03:08
Could it undo this hierarchy,
and could it be about a system
and could it be about a system
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它可不可以是一种
合作而不是隔离的系统 ?
合作而不是隔离的系统 ?
03:11
that is more about collaboration,
rather than isolation?
rather than isolation?
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所以我们把这个针朝着自身的方向
打了个弯，
打了个弯，
03:15
So we took this needle
and bent it back into itself,
and bent it back into itself,
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形成一个首尾相连的环状物。
03:18
into a loop of interconnected activities.
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我们的想法是，把电视制作的
所有概念融合到单一结构里面：
所有概念融合到单一结构里面：
03:21
Our idea was to bring all aspects
of television-making
of television-making
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03:25
into one single structure: news,
program production, broadcasting,
program production, broadcasting,
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新闻、节目制作、广播、
研究、培训、管理——
03:29
research and training, administration --
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全部融合到可互相联系的
这个环形里面，
这个环形里面，
03:31
all into a circuit
of interconnected activities
of interconnected activities
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一个人们在这里见面
互相交流合作的地方。
互相交流合作的地方。
03:35
where people would meet in a process
of exchange and collaboration.
of exchange and collaboration.
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我仍然很喜欢这幅图，
03:39
I still very much like this image.
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如果你还记得人体构造的话，
有自己的器官及循环系统，
有自己的器官及循环系统，
03:41
It reminds one of biology classes,
if you remember the human body
if you remember the human body
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它像是一堂学校的生物课。
03:44
with all its organs
and circulatory systems, like at school.
and circulatory systems, like at school.
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突然间，你会觉得建筑物不再
只是搭建出的实体，
只是搭建出的实体，
03:47
And suddenly you think of architecture
no longer as built substance,
no longer as built substance,
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而更像是一种有机体、生命体。
03:51
but as an organism, as a life form.
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03:54
And as you start to dissect this organism,
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而当你开始剖析这个有机体，
你会辨识出一系列的主要技术部门——
03:56
you can identify a series
of primary technical clusters --
of primary technical clusters --
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节目制作、广播中心和新闻中心。
04:01
program production,
broadcasting center and news.
broadcasting center and news.
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它们与一些社交场所
紧密交织在一起 :
紧密交织在一起 :
04:04
Those are tightly intertwined
with social clusters:
with social clusters:
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会议室，餐厅，交谈区——
04:08
meeting rooms, canteens, chat areas --
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等等这些人们碰面交流的非正式场合。
04:11
informal spaces for people
to meet and exchange.
to meet and exchange.
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所以，这个建筑的组织结构
是一种混合体，
是一种混合体，
04:15
So the organizational structure
of this building was a hybrid
of this building was a hybrid
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集技术和社交，
04:19
between the technical and the social,
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04:21
the human and the performative.
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人员和表演于一身。
04:24
And of course, we used the loop
of the building as a circulatory system,
of the building as a circulatory system,
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当然，我们是使用类似
循环系统的环形建筑
循环系统的环形建筑
来串联每样东西，使访客与员工
04:27
to thread everything together
and to allow both visitors and staff
and to allow both visitors and staff
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04:31
to experience all these different
functions in a great unity.
functions in a great unity.
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都能在这个伟大的联合体里面，
体验所有这些不同的功能。
体验所有这些不同的功能。
473,000平方米的建筑面积，
04:37
With 473,000 square meters,
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使它成为全世界最大的建筑物之一，
04:40
it is one of the largest buildings
ever built in the world.
ever built in the world.
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里面容纳了1万人，
04:43
It has a population of over 10,000 people,
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04:45
and of course, this is a scale
that exceeds the comprehension
that exceeds the comprehension
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当然，这样的规模超出了我们
对传统建筑物的理解范围。
04:49
of many things and the scale
of typical architecture.
of typical architecture.
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所以，我们停工了一阵子，
04:52
So we stopped work for a while
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04:53
and sat down and cut 10,000 little sticks
and glued them onto a model,
and glued them onto a model,
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然后坐下来，剪出1万张小贴纸，
把它们粘在一个模型上，
把它们粘在一个模型上，
只是单纯地想挑战我们自己
对庞大数字的本身的理解。
对庞大数字的本身的理解。
04:58
just simply to confront ourselves
with what that quantity actually meant.
with what that quantity actually meant.
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当然，这并不仅仅是数字，
05:03
But of course, it's not a number,
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而是人，生活在这一栋大楼里面的人，
05:04
it is the people, it is a community
that inhabits the building,
that inhabits the building,
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为了同时理解并为这个
建筑物写剧本，
建筑物写剧本，
05:09
and in order to both comprehend
this, but also script this architecture,
this, but also script this architecture,
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我们创造出五种假想的角色，
05:14
we identified five characters,
hypothetical characters,
hypothetical characters,
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然后追踪他们在
这栋大楼一整天的生活动态，
这栋大楼一整天的生活动态，
05:17
and we followed them throughout their day
in a life in this building,
in a life in this building,
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他们会在哪碰面、
他们会遇到哪些事情等。
他们会遇到哪些事情等。
05:21
thought of where they would meet,
what they would experience.
what they would experience.
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05:24
So it was a way to script and design
the building, but of course,
the building, but of course,
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所以，这是一种描绘与设计
建筑物的方法，但当然，
建筑物的方法，但当然，
也是一种体会它的方式。
05:27
also to communicate its experiences.
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05:29
This was part of an exhibition
with the Museum of Modern Art
with the Museum of Modern Art
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这是纽约和北京
现代美术馆的部分展示品。
05:33
in both New York and Beijing.
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这是广播主控室，
05:36
This is the main broadcast control room,
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技术性安装工作的面积相当大，
05:39
a technical installation so large,
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05:40
it can broadcast over 200
channels simultaneously.
channels simultaneously.
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它可同时播放200个频道的节目，
这是它当今矗立在北京的样子。
05:45
And this is how the building
stands in Beijing today.
stands in Beijing today.
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它的第一次现场直播是2012年的
伦敦奥运会，
伦敦奥运会，
05:49
Its first broadcast live
was the London Olympics 2012,
was the London Olympics 2012,
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而在北京奥运会之前，
它的外部装修已经全部完成。
它的外部装修已经全部完成。
05:53
after it had been completed
from the outside for the Beijing Olympics.
from the outside for the Beijing Olympics.
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05:57
And you can see at the very tip
of this 75-meter cantilever,
of this 75-meter cantilever,
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你可以在最顶端的
75米悬臂处看风景，
75米悬臂处看风景，
这三个小圆圈，
06:02
those three little circles.
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就是贯穿整栋大楼
开放回廊的一部分。
开放回廊的一部分。
06:03
And they're indeed part of a public loop
that goes through the building.
that goes through the building.
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06:07
They're a piece of glass
that you can stand on
that you can stand on
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你可以站在玻璃上面
俯瞰你脚下整个城市在缓缓流动。
06:09
and watch the city pass by
below you in slow motion.
below you in slow motion.
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这栋建筑物已经是
北京人生活的一部分，
北京人生活的一部分，
06:15
The building has become
part of everyday life in Beijing.
part of everyday life in Beijing.
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它就在那儿。
06:18
It is there.
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它也变成了北京一个相当受欢迎的
06:20
It has also become a very popular backdrop
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06:23
for wedding photography.
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婚纱摄影背景。
06:24
(Laughter)
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（笑声）
但最重要的时刻也许是这个，
06:30
But its most important moment
is maybe sill this one.
is maybe sill this one.
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这本《城市漫步》周刊
很像伦敦的《Time Out》周刊，
很像伦敦的《Time Out》周刊，
06:33
"That's Beijing" is similar to "Time Out,"
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06:35
a magazine that broadcasts what
is happening in town during the week,
is happening in town during the week,
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这本杂志描述了当周
该城市发生了哪些事情，
该城市发生了哪些事情，
突然间你会发现，这栋大楼
不再仅是一栋大楼而已，
不再仅是一栋大楼而已，
06:40
and suddenly you see the building
portrayed no longer as physical matter,
portrayed no longer as physical matter,
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它同时扮演了城市一员的角色，
06:45
but actually as an urban actor,
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06:47
as part of a series of personas
that define the life of the city.
that define the life of the city.
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像是在北京生活的群体中的一员。
06:52
So architecture suddenly
assumes the quality of a player,
assumes the quality of a player,
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所以，建筑设计突然间好像
呈现了一位参与者的内涵品质，
呈现了一位参与者的内涵品质，
它像是在写故事、呈现故事。
06:57
of something that writes stories
and performs stories.
and performs stories.
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而我认为这可以成为我们所相信的
07:02
And I think that could be one
of its primary meanings
of its primary meanings
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重要意义之一。
07:06
that we believe in.
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当然，这栋大楼还有另外一个故事，
07:08
But of course, there's another
story to this building.
story to this building.
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就是建造它的人们的故事——
07:10
It is the story of the people
that made it --
that made it --
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400个我所带领的工程人员与建筑师，
07:13
400 engineers and architects
that I was guiding
that I was guiding
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合作了差不多10年，
07:16
over almost a decade of collaborative work
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我们花时间一起设计这栋大楼，
07:19
that we spent together
in scripting this building,
in scripting this building,
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从想像它建成后的样子，
07:22
in imagining its reality
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07:24
and ultimately getting it built in China.
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到最终，在中国把它建造完成。
07:29
This is a residential development
in Singapore, large scale.
in Singapore, large scale.
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这是一个在新加坡的
大型住宅项目。
大型住宅项目。
如果我们看一下新加坡，
亚洲和全世界的其他国家，
亚洲和全世界的其他国家，
07:34
If we look at Singapore like most of Asia
and more and more of the world,
and more and more of the world,
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当然，这些城市都是以高楼大厦为主，
07:38
of course, it is dominated by the tower,
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这种类型的大楼确实制造了
更多的疏离感而非亲近感，
更多的疏离感而非亲近感，
07:42
a typology that indeed creates
more isolation than connectedness,
more isolation than connectedness,
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而我想问，我们看待居所的时候，
要如何做到
要如何做到
07:46
and I wanted to ask, how
could we think about living,
could we think about living,
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不是只考虑私密性，我们自己和公寓的
07:50
not only in terms of the privacy
and individuality of ourselves
and individuality of ourselves
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07:53
and our apartment,
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独立性，
而是能产生集体的共同意识呢 ?
07:55
but in an idea of a collective?
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我们要如何想到要去创造
一个交流的环境，
一个交流的环境，
07:58
How could we think about creating
a communal environment
a communal environment
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让分享与独自拥有，同样使人舒心呢 ?
08:01
in which sharing things was as great
as having your own?
as having your own?
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典型的答案是——
我们必须设计1040间公寓——
我们必须设计1040间公寓——
08:06
The typical answer to the question --
we had to design 1,040 apartments --
we had to design 1,040 apartments --
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08:11
would have looked like this:
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外型会像这样子 :
根据政府法规，会有24层的楼高限制，
08:12
24-story height limit given
by the planning authorities,
by the planning authorities,
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12栋大楼，剩下一点点开放空间，
其它什么都没有——
其它什么都没有——
08:15
12 towers with nothing
but residual in between --
but residual in between --
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相当拥挤严密的系统，
虽然大楼可以将你与其他人分隔开，
虽然大楼可以将你与其他人分隔开，
08:19
a very tight system that,
although the tower isolates you,
although the tower isolates you,
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08:22
it doesn't even give you privacy,
because you're so close to the next one,
because you're so close to the next one,
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但这根本不能给你隐私，
因为你离隔壁邻居相当近，
因为你离隔壁邻居相当近，
所以盖好之后的公寓群质量堪忧。
08:26
that it is very questionable
what the qualities of this would be.
what the qualities of this would be.
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08:30
So I proposed to topple the towers,
throw the vertical into the horizontal
throw the vertical into the horizontal
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所以，我提议推掉高塔，
把垂直设计改成水平设计，
把垂直设计改成水平设计，
并把它们堆叠起来，
08:34
and stack them up,
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从侧面看，它是不规则的排列，
08:36
and what looks a bit random from the side,
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如果从直升机上往下看，
08:39
if you look from the viewpoint
of the helicopter,
of the helicopter,
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可以看到，它的组织架构实际上是个
08:42
you can see its organizational structure
is actually a hexagonal grid,
is actually a hexagonal grid,
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水平建筑物堆叠起来的网状六边形，
08:46
in which these horizontal
building blocks are stacked up
building blocks are stacked up
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这是为了创造出几个大型户外庭院——
08:50
to create huge outdoor courtyards --
central spaces for the community,
central spaces for the community,
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这些中央空间为社区
规划了多种设施与功能。
规划了多种设施与功能。
08:55
programmed with a variety
of amenities and functions.
of amenities and functions.
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可以看到这些庭院空间
并非是封闭不透气的空间。
并非是封闭不透气的空间。
08:59
And you see that these courtyards
are not hermetically sealed spaces.
are not hermetically sealed spaces.
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它们是开放的、通透的、
互相连接起来的。
互相连接起来的。
09:03
They're open, permeable;
they're interconnected.
they're interconnected.
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我们称呼这个项目是
" 交错 " ( 社区名称: 翠城新景 )，
" 交错 " ( 社区名称: 翠城新景 )，
09:05
We called the project "The Interlace,"
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09:07
thinking that we interlace
and interconnect
and interconnect
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想象我们把人类与空间
09:10
the human beings and the spaces alike.
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彼此交错连接起来。
09:14
And the detailed quality
of everything we designed
of everything we designed
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我们设计的每样细节，
09:17
was about animating the space
and giving the space to the inhabitants.
and giving the space to the inhabitants.
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都与“把空间赋予生命并
还给社区居民”有关。
还给社区居民”有关。
事实上，这个系统
09:21
And, in fact, it was a system
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可以在我们布局主要的公共空间时，
09:22
where we would layer
primarily communal spaces,
primarily communal spaces,
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让它层层堆叠出越来越多的
个人与私密空间。
个人与私密空间。
09:26
stacked to more and more
individual and private spaces.
individual and private spaces.
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于是我们就能够展开一种
09:30
So we would open up a spectrum
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介于集体与个人之间的设计概念。
09:32
between the collective and the individual.
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来做个简单的数学计算 :
09:36
A little piece of math:
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如果我们把所有地面上的绿色植物面积，
09:37
if we count all the green
that we left on the ground,
that we left on the ground,
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09:39
minus the footprint of the buildings,
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扣除掉建筑物的投影面积，
然后加上所有有绿色植物的阳台面积，
09:42
and we would add back
the green of all the terraces,
the green of all the terraces,
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我们会得出一个112%的植被覆盖率，
09:45
we have 112 percent green space,
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09:47
so more nature than not
having built a building.
having built a building.
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比不盖大楼还要有更多的自然空间。
当然，这个简单的计算结果说明了
09:50
And of course this little piece of math
shows you that we are multiplying
shows you that we are multiplying
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我们增加了居民可利用的空间。
09:54
the space available
to those who live there.
to those who live there.
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事实上，这是13楼的其中一个阳台。
09:57
This is, in fact, the 13th floor
of one of these terraces.
of one of these terraces.
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你会看到提供给社交活动的
新基准面、新地平面。
新基准面、新地平面。
10:01
So you see new datum planes,
new grounds planes for social activity.
new grounds planes for social activity.
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我们在“可持续发展”上花费了很多心思。
10:06
We paid a lot of attention
to sustainability.
to sustainability.
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在热带地区，阳光是最需要注意的因素，
10:10
In the tropics, the sun is the most
important thing to pay attention to,
important thing to pay attention to,
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事实上，我们说的是寻找遮蔽处。
10:13
and, in fact, it is seeking
protection from the sun.
protection from the sun.
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我们首先确认所有的
公寓大楼整年都会有
公寓大楼整年都会有
10:16
We first proved that all apartments
would have sufficient daylight
would have sufficient daylight
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10:20
through the year.
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足够的日照时间。
10:21
We then went on to optimize
the glazing of the facades
the glazing of the facades
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然后我们进行外墙玻璃优化，
来减少建筑物的能量消耗。
10:24
to minimize the energy
consumption of the building.
consumption of the building.
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但最重要的是，我们能够证明
10:27
But most importantly, we could prove
that through the geometry
that through the geometry
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通过地形设计，
10:31
of the building design,
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建筑物本身就为中庭花园
提供了足够的遮蔽，
提供了足够的遮蔽，
10:33
the building itself would provide
sufficient shading to the courtyards
sufficient shading to the courtyards
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所以花园一整年都适宜人们活动和纳凉。
10:36
so that those would be usable
throughout the entire year.
throughout the entire year.
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我们更进一步地沿着主风廊，
设置了水池景观，
设置了水池景观，
10:39
We further placed water bodies
along the prevailing wind corridors,
along the prevailing wind corridors,
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10:42
so that evaporative cooling
would create microclimates
would create microclimates
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在蒸发冷却的过程中
形成一个微型气候，
形成一个微型气候，
进而有效地改善居民
10:46
that, again, would enhance
the quality of those spaces
the quality of those spaces
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10:50
available for the inhabitants.
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居住的空间品质。
这个想法创造了多样性的选择、
10:53
And it was the idea of creating
this variety of choices,
this variety of choices,
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一种你想去哪儿就去哪儿、
10:57
of freedom to think
where you would want to be,
where you would want to be,
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11:01
where you would want to escape, maybe,
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想躲哪儿就躲哪儿的自由，
11:03
within the own complexity
of the complex in which you live.
of the complex in which you live.
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在一个多样性的居住环境中
产生个人生活的多样性。
产生个人生活的多样性。
从亚洲来到欧洲 :
11:09
But coming from Asia to Europe:
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一栋座落在德国柏林的媒体公司，
11:11
a building for a German
media company based in Berlin,
media company based in Berlin,
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正从传统印刷媒体转型到数字媒体。
11:14
transitioning from the traditional
print media to the digital media.
print media to the digital media.
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11:19
And its CEO asked a few
very pertinent questions:
very pertinent questions:
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公司的CEO问了一些很中肯的问题 :
为什么现今每个人仍希望到办公室上班，
11:23
Why would anyone today
still want to go to the office,
still want to go to the office,
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11:25
because you can actually work anywhere?
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即使他们可以在任何地方办公 ?
一个公司的数字形象定位
要如何在建筑物上
要如何在建筑物上
11:27
And how could a digital identity
of a company be embodied
of a company be embodied
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11:31
in a building?
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体现出来 ?
11:34
We created not only an object,
but at the center of this object
but at the center of this object
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我们创作的不只是一个物体，
我们还在物体的中心
我们还在物体的中心
创造了一个大空间，
11:37
we created a giant space,
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一个有关于集体的、
11:39
and this space was about
the experience of a collective,
the experience of a collective,
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共同合作，和谐共处的空间体验。
11:43
the experience of collaboration
and of togetherness.
and of togetherness.
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11:47
Communication, interaction
as the center of a space
as the center of a space
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沟通、互动是空间的核心思想，
会在空间内部自然地浮现出来，
11:50
that in itself would float,
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就像我们所说的" 合作云 "，
11:53
like what we call the collaborative cloud,
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它就在建筑物中间，
11:55
in the middle of the building,
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被一个标准模块化的办公区域所围绕。
11:56
surrounded by an envelope
of standard modular offices.
of standard modular offices.
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12:00
So with only a few steps
from your quiet work desk,
from your quiet work desk,
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从你的办公桌只要走几步，
你就可以开始核心区域中
12:04
you could participate
in the giant collective experience
in the giant collective experience
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12:07
of the central space.
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广阔空间内的共同体验。
最后，我们来到伦敦，参与了
12:12
Finally, we come to London,
a project commissioned
a project commissioned
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3579
伦敦市长的传承开发公司的
12:15
by the London Legacy
Development Corporation
Development Corporation
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一个项目任务。
12:18
of the Mayor of London.
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我们被要求负责研究、
12:20
We were asked to undertake a study
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调查Stratford奥林匹克公园
12:22
and investigate the potential of a site
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基地的开发潜力。
12:25
out in Stratford in the Olympic Park.
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在19世纪，Albert王子
建立了Albertopolis城。
建立了Albertopolis城。
12:28
In the 19th century, Prince Albert
had created Albertopolis.
had created Albertopolis.
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3584
12:32
And Boris Johnson thought
of creating Olympicopolis.
of creating Olympicopolis.
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3738
Boris Johnson想建立奥林匹克城。
想法是把一些英国最伟大的机构、
12:37
The idea was to bring together
some of Britain's greatest institutions,
some of Britain's greatest institutions,
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一些国际机构衔接在一起，
创造出一个新的协同效益系统。
创造出一个新的协同效益系统。
12:41
some international ones,
and to create a new system of synergies.
and to create a new system of synergies.
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3860
当时Albert王子在
19世纪建立的Albertopolis城，
19世纪建立的Albertopolis城，
12:45
Prince Albert, as yet, created
Albertopolis in the 19th century,
Albertopolis in the 19th century,
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4524
是想用来展示人类的所有成就，
12:50
thought of showcasing
all achievements of mankind,
all achievements of mankind,
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12:52
bringing arts and science closer together.
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让艺术和科学更紧密地结合在一起。
12:56
And he built Exhibition Road,
a linear sequence of those institutions.
a linear sequence of those institutions.
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而且他还打造了会展路，
把一系列这样的机构沿路串联在一起，
把一系列这样的机构沿路串联在一起，
当然，现今社会已经比当时进步许多。
13:01
But of course, today's society
has moved on from there.
has moved on from there.
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13:05
We no longer live in a world
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1956
我们不再是活在一个
13:07
in which everything
is as clearly delineated
is as clearly delineated
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每样东西都被界定或者分离得
13:10
or separated from each other.
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很清楚的世界。
我们活在一个不同领域的界限
13:11
We live in a world in which
boundaries start to blur
boundaries start to blur
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开始模糊的世界，
13:15
between the different domains,
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1468
13:16
and in which collaboration and interaction
becomes far more important
becomes far more important
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一个彼此合作互动远比保持疏离
还要重要的世界。
13:20
than keeping separations.
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13:23
So we wanted to think
of a giant culture machine,
of a giant culture machine,
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所以我们想建立一个大型的文化机器，
13:26
a building that would orchestrate
and animate the various domains,
and animate the various domains,
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一个会协调并赋予不同
领域生命的建筑物，
领域生命的建筑物，
但同时也可以让它们
彼此互动与合作。
彼此互动与合作。
13:31
but allow them to interact
and collaborate.
and collaborate.
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它的基座是个非常简单的模块，
13:35
At the base of it is a very simple module,
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13:37
a ring module.
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1151
一个环形模块。
13:38
It can function as a double-loaded
corridor, has daylight, has ventilation.
corridor, has daylight, has ventilation.
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它有双走廊、有日照、通风很好。
它的结构十分通透，
13:42
It can be glazed over
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可以变成一个大型展览表演空间。
13:43
and turned into a giant
exhibitional performance space.
exhibitional performance space.
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这些模組被堆叠起来，
13:46
These modules were stacked together
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随着时间流逝，
任何功能彼此都可能
任何功能彼此都可能
13:48
with the idea that almost any
function could, over time,
function could, over time,
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会占据其他功能。
13:52
occupy any of these modules.
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1737
所以机构可能缩小或浓缩，
13:53
So institutions could shrink or contract,
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13:57
as, of course, the future of culture
is, in a way, the most uncertain of all.
is, in a way, the most uncertain of all.
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因为，文化的未来，在某种程度上，
是最无法预测的。
是最无法预测的。
这栋建筑将坐落在邻近的
水上运动中心旁边，
水上运动中心旁边，
14:02
This is how the building sits,
adjacent to the Aquatics Centre,
adjacent to the Aquatics Centre,
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2955
正对奥林匹克运动场，
14:05
opposite the Olympic Stadium.
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1951
你可以看到它的悬臂式空间如何
14:08
And you can see how
its cantilevering volumes
its cantilevering volumes
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2333
伸出并融入开放空间，
14:10
project out and engage the public space
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2790
和它的中庭如何在
公共空间里赋予生命。
公共空间里赋予生命。
14:13
and how its courtyards
animate the public inside.
animate the public inside.
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3701
当时的想法是创造一个复杂的系统，
14:19
The idea was to create a complex system
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让里面的机构实体可以维持
它们本身的辨识性，
它们本身的辨识性，
14:22
in which institutional entities
could maintain their own identity,
could maintain their own identity,
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使它们不会被归类为
单一的个体空间。
单一的个体空间。
14:27
in which they would not
be subsumed in a singular volume.
be subsumed in a singular volume.
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这个是它与法国巴黎蓬皮杜艺术中心的
比例对照图。
比例对照图。
14:30
Here's a scale comparison
to the Centre Pompidou in Paris.
to the Centre Pompidou in Paris.
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两者都显示出其项目的庞大规模与潜力，
14:33
It both shows the enormous scale
and potential of the project,
and potential of the project,
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但也有不一样的地方 :
14:37
but also the difference:
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这里，它是一个多样型的结构的复合体，
14:38
here, it is a multiplicity
of a heterogeneous structure,
of a heterogeneous structure,
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里面不同的机构彼此间可以互动，
14:42
in which different entities can interact
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而不失去它们自身的辨识度。
14:45
without losing their own identity.
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想法是这样的：要创造一个组织结构
14:48
And it was this thought: to create
an organizational structure
an organizational structure
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可以让不同的故事被描述出来——
14:52
that would allow for multiple
narratives to be scripted --
narratives to be scripted --
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包含创造和思考文化的教育部分 ;
14:55
for those in the educational parts
that create and think culture;
that create and think culture;
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包含视觉艺术、舞蹈；
15:00
for those that present
the visual arts, the dance;
the visual arts, the dance;
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以及让大众可以获准进入
15:04
and for the public to be
admitted into all of this
admitted into all of this
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这一系列可能的轨迹动向，
15:07
with a series of possible trajectories,
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来阐述他们个人对这些故事叙述的
15:09
to script their own reading
of these narratives
of these narratives
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理解与体验。
15:12
and their own experience.
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15:16
And I want to end on a project
that is very small,
that is very small,
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我想用一个很小的项目来结束演讲，
在某种程度上，相当不同 :
15:19
in a way, very different:
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一个在泰国的水上漂浮电影院。
15:21
a floating cinema
in the ocean of Thailand.
in the ocean of Thailand.
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我的朋友创立了一个电影节，
15:23
Friends of mine had founded
a film festival,
a film festival,
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而我当时在想，
15:27
and I thought,
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15:29
if we think of the stories
and narratives of movies,
and narratives of movies,
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如果，我们来思考电影的故事及剧本，
我们也需要思考
观看这部电影的观众的剧本。
观看这部电影的观众的剧本。
15:32
we should also think of the narratives
of the people that watch them.
of the people that watch them.
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所以，我设计了一个
小型模块式水上平台，
小型模块式水上平台，
15:36
So I designed a small
modular floating platform,
modular floating platform,
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主要技术来自当地渔民的
15:39
based on the techniques
of local fishermen,
of local fishermen,
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15:41
how they built their lobster
and fish farms.
and fish farms.
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龙虾田及鱼田建造技术，
我们与当地社团合作建造，
15:43
We collaborated with the local community
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用的全部是他们的回收材料，
15:46
and built, out of recycled
materials of their own,
materials of their own,
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这个令人惊艳的漂浮平台，
15:49
this fantastical floating platform
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慢慢地移向海里，
15:52
that gently moved in the ocean
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比如这是大家在观看
来自英国电影资料馆，
来自英国电影资料馆，
15:54
as we watched films
from the British film archive,
from the British film archive,
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1904年的“爱丽丝梦游仙境”。
15:56
[1903] "Alice in Wonderland," for example.
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15:59
The most primordial
experiences of the audience
experiences of the audience
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观众最原始的经历会与
16:03
merged with the stories of the movies.
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电影的故事情节相结合。
所以我相信，建筑设计
不仅超越了实体物质、
不仅超越了实体物质、
16:07
So I believe that architecture exceeds
the domain of physical matter,
the domain of physical matter,
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建筑环境的范畴，
16:12
of the built environment,
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而且真切地与我们想如何生活、
16:14
but is really about how
we want to live our lives,
we want to live our lives,
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如何阐述我们的故事及
其他人的故事息息相关。
其他人的故事息息相关。
16:17
how we script our own stories
and those of others.
and those of others.
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16:20
Thank you.
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谢谢各位。
16:22
(Applause)
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（掌声）
ABOUT THE SPEAKER
Ole Scheeren - ArchitectOle Scheeren designs buildings that generate both functional and social spaces.
Why you should listen
Ole Scheeren is a German architect and principal of Buro Ole Scheeren with offices in Hong Kong, Beijing, Berlin and Bangkok. He is chief designer and leading the company’s creative vision and strategic development.
Ole Scheeren’s current work includes the Guardian Art Center, a new exhibition space and headquarters for China’s oldest art auction house currently under construction near the Forbidden City in Beijing; 1500 West Georgia, a residential high-rise in downtown Vancouver; DUO, a large-scale mixed-use urban development under construction in Singapore; MahaNakhon, at 314 meters Bangkok’s tallest tower housing the Ritz-Carlton Residences; Angkasa Raya, a 268 meter tall landmark building in the center of Kuala Lumpur; and a large-scale mixed-use urban development in Shenzhen, China.
Prior to launching Buro Ole Scheeren in 2010, Ole was Director and Partner along with Rem Koolhaas at OMA and responsible for the office’s work across Asia. As partner-in-charge of one of the largest buildings in the world, he successfully led the design and realization of the CCTV and TVCC Towers in Beijing. Other projects include The Interlace, a residential complex in Singapore and the Taipei Performing Arts Center in Taiwan. He also directed OMA’s work for Prada and completed the Prada Epicenters in New York and Los Angeles.
Through Studio Ole Scheeren, he is exploring his more personal interest in non-architectural projects and interventions, such as Archipelago Cinema, a floating auditorium in the Andaman Sea for the “Film on the Rocks” Festival in Yao Noi, Thailand, and subsequently installed at the 13th Architecture Biennale in Venice. He also developed Mirage City Cinema, a cinema-architecture space commissioned by the Sharjah Art Foundation as part of the Sharjah Biennial 11 Film Programme.
Ole Scheeren has contributed to various arts and culture projects and exhibitions throughout his career, including triennials in Beijing and Milan, China Design Now in London, the exhibition Cities on the Move at London’s Hayward Gallery and in the city of Bangkok, Media City Seoul and the Rotterdam Film Festival. For the Museum of Modern Art he designed two exhibitions in New York and Beijing featuring the CCTV project.
He regularly lectures at various international institutions and conferences, serves on juries for awards and competitions, and has been awarded numerous prizes, including the CTBUH 2013 Best Tall Building award for CCTV and the 2015 inaugural Urban Habitat Award for The Interlace.
Educated at the universities of Karlsruhe and Lausanne, Ole Scheeren graduated from the Architectural Association in London and was awarded the RIBA Silver Medal.
Ole Scheeren | Speaker | TED.com