ABOUT THE SPEAKER
Liz Diller - Designer
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice.

Why you should listen

Liz Diller's firm, Diller Scofidio & Renfro, might just be the first post-wall architects. From a mid-lake rotunda made of fog to a gallery that destroys itself with a robotic drill, her brainy takes on the essence of buildings are mind-bending and rebellious. DS+R partakes of criticism that goes past academic papers and into real structures -- buildings and art installations that seem to tease the squareness of their neighbors.

DS+R was the first architecture firm to receive a MacArthur "genius" grant -- and it also won an Obie for Jet Lag, a wildly creative piece of multimedia off-Broadway theater. A reputation for rampant repurposing of materials and tricksy tinkering with space -- on stage, on paper, on the waterfront -- have made DS+R a sought-after firm, winning accounts from the Juilliard School, Alice Tully Hall and the School of American Ballet, as part of the Lincoln Center overhaul; at Brown University; and on New York's revamp of Governer's Island. Their Institute for Comtemporary Art has opened up a new piece of Boston's waterfront, creating an elegant space that embraces the water.

Learn more about the Hirshhorn Museum >>

 

More profile about the speaker
Liz Diller | Speaker | TED.com
EG 2007

Liz Diller: The Blur Building and other tech-empowered architecture

Liz Diller玩建筑

Filmed:
771,724 views

在这个引人入胜的演讲中, 建筑师Liz Diller 分享她的公司DS+R的不寻常工作,包括墙壁是雾做的模糊的房子(Blur Building),他们把Alice Tully大会堂翻新成激情四射的木头外观.
- Designer
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice. Full bio

Double-click the English transcript below to play the video.

00:16
Aside在旁边 from keeping保持 the rain out and producing生产 some usable可用 space空间,
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除了遮风挡雪和提供一些可用的空间之外,
00:23
architecture建筑 is nothing but a special-effects特殊效果 machine
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建筑只不过是一个
00:27
that delights美食 and disturbs会干扰 the senses感官.
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取悦和打搅人类感官的特效机器.
00:30
Our work is across横过 media媒体. The work comes in all shapes形状 and sizes大小.
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我们的职业是跨媒界的. 这个职业包含所有的外形和尺寸.
00:35
It's small and large. This is an ashtray烟灰缸, a water glass玻璃.
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它可小可大. 比如一个烟灰缸,一个茶杯.
00:39
From urban城市的 planning规划 and master planning规划
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或从城市和总体规划到剧院
00:42
to theater剧院 and all sorts排序 of stuff东东.
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以及里面所有的东西.
00:46
The thing that all the work has in common共同
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这些作品都有一个共同点,
00:48
is that it challenges挑战 the assumptions假设 about conventions公约 of space空间.
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就是挑战人们对空间的传统看法.
00:53
And these are everyday每天 conventions公约,
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这些是我们的习惯,
00:55
conventions公约 that are so obvious明显 that we are blinded失明 by their familiarity熟悉.
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这些习惯太明显以至于我们忽略掉他们的相似性.
01:00
And I've assembled组装 a sampling采样 of work
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我收集了一个设计的样品,
01:04
that all share分享 a kind of productive生产的 nihilism虚无主义
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他们常用一种特定效果,
01:08
that's used in the service服务 of creating创建 a particular特定 special特别 effect影响.
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华丽的虚无主义.
01:12
And that is something like nothing, or something next下一个 to nothing.
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就像什么也没有,或者几乎没有.
01:18
It's doneDONE through通过 a form形成 of subtraction减法 or obstruction梗阻 or interference干扰
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在我们自然幻想的世界里,
01:23
in a world世界 that we naturally自然 sleepwalk梦游 through通过.
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我们在各种干扰或影响之下完成
01:27
This is an image图片 that won韩元 us a competition竞争
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这张照片是我们在瑞士纽沙特尔湖附近的日内瓦
01:30
for an exhibition展览 pavilion for the Swiss瑞士人 Expo世博会 2002
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举办的2002展会时
01:34
on Lake Neuchatel纳沙泰尔, near Geneva日内瓦.
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所获得的一个奖项.
01:36
And we wanted to use the water not only as a context上下文,
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我们用水做的不仅仅是背景,
01:39
but as a primary building建造 material材料.
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而是一种基本的建筑材料.
01:41
We wanted to make an architecture建筑 of atmosphere大气层.
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我们要建造一种大气建筑.
01:44
So, no walls墙壁, no roof屋顶, no purpose目的 --
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所以, 没有墙壁, 没有房顶, 没有用途 --
01:47
just a mass of atomized雾化 water, a big cloud.
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只是一片雾化的水气, 一大片云朵.
01:50
And this proposal提案 was a reaction反应 to the over-saturation过饱和
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这个建议有着过渡饱和的反应.
01:53
of emergent应急 technologies技术 in recent最近 national国民 and world世界 expositions博览会,
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在全世界最新应急技术博览会上,
01:58
which哪一个 feeds供稿, or has been feeding馈送, our insatiable贪心 appetite食欲
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我们贪得无厌的寻找能源和释放能源
02:03
for visual视觉 stimulation促进 with an ever greater更大 digital数字 virtuosity精湛技艺.
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为了完成一次更宏伟的视觉盛宴.
02:09
High definition定义, in our opinion意见, has become成为 the new orthodoxy正统.
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主观条件下高清晰度已经成为主流.
02:14
And we ask the question, can we use technology技术, high technology技术,
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我们提出质询,我们可以用技术,高端技术.
02:18
to make an expo博览会 pavilion that's decidedly果断地 low definition定义,
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使博览馆有着果断的定义,
02:24
that also challenges挑战 the conventions公约 of space空间 and skin皮肤,
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挑战条约中的空间和外观.
02:27
and rethinks反思 our dependence依赖 on vision视力?
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让我们从新思考是否完全依赖视于觉感官.
02:29
So this is how we sought追捧 to do it.
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这就是我们力争去做的事情.
02:32
Water's水的 pumped from the lake and is filtered过滤
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水从湖中过滤出来
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and shot射击 as a fine mist薄雾 through通过 an array排列 of high-pressure高压力 fog多雾路段 nozzles喷嘴,
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通过高压喷雾嘴形成细雾喷射,
02:39
35,000 of them. And a weather天气 station is on the structure结构体.
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由35000人组建成的气象站.
02:43
It reads the shifting conditions条件 of temperature温度, humidity湿度,
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它将读取温度,湿度,
02:46
wind direction方向, wind speed速度, dew point,
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风向,风速,霜的变化,
02:49
and it processes流程 this data数据 in a central中央 computer电脑
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中央处理器会处理数据
02:52
that calibrates校准 the degree of water pressure压力
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通过计时器测量水压力的程度
02:55
and distribution分配 of water throughout始终.
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在水底是如何分布的.
02:57
And it's a responsive响应 system系统 that's trained熟练 on actual实际 weather天气.
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此系统受过气象变化训练.
03:02
So, this is just in construction施工, and there's a tensegrity张拉整体 structure结构体.
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因此,这并不是仅仅是建筑,而是一个整体构造.
03:06
It's about 300 feet wide, the size尺寸 of a football足球 field领域,
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这块场地有300英尺,
03:09
and it sits坐镇 on just four very delicate精巧 columns.
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它坐落在四列塔器之间.
03:13
These are the fog多雾路段 nozzles喷嘴, the interface接口,
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这些都是喷雾管接口,
03:16
and basically基本上 the system系统 is kind of reading the real真实 weather天气,
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系统像电子书一样展示气象变化.
03:20
and producing生产 kind of semi-artificial半人工 and real真实 weather天气.
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天气的变换就像半自动化生产.
03:24
So, we're very interested有兴趣 in creating创建 weather天气. I don't know why.
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不知道为什么.我们对天气产生很大的兴趣.
03:28
Now, here we go, one side, the outside
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现在,让我们向外界展示内在的一面
03:31
and then from the inside of the space空间
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然后从内部空间
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you can see what the quality质量 of the space空间 was.
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你可以鉴赏到外部空间的变换.
03:35
Unlike不像 entering进入 any normal正常 space空间,
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不同于正常的空间,
03:38
entering进入 Blur模糊 is like stepping步进 into a habitable可居住 medium.
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进入雾气空间就像跨入一个可以居住的地方.
03:42
It's formless无形, featureless无特色, depthless无深度, scaleless无鳞, massless无质量,
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它是无形的,无特点的 ,深不可测的,无外表 ,无重量.
03:47
purposeless漫无目的 and dimensionless因次.
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无目的,无量纲的(物理量).
03:49
All references引用 are erased擦除,
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除去所有的轮廓,
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leaving离开 only an optical光纤 whiteout白化 and white白色 noise噪声 of the pulsing脉动 nozzles喷嘴.
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只剩下一个光气象和白噪声的脉动喷嘴.
03:58
So, this is an exhibition展览 pavilion
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这就像是一个展览馆
04:01
where there is absolutely绝对 nothing to see and nothing to do.
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在那里你绝对看不到也做不了任何事.
04:05
And we pride自豪 ourselves我们自己 -- it's a spectacular壮观 anti-spectacle抗奇观
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并且我们非常自豪--这是另一个世界
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in which哪一个 all the conventions公约 of spectacle场面 are turned转身 on their head.
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所有的景象将吸引人们的眼球.
04:15
So, the audience听众 is dispersed分散,
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因此,分散的注意力,
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focused重点 attention注意 and dramatic戏剧性 build-up积聚 and climax高潮
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将重点关注雾气空间的建设,
04:20
are all replaced更换 by a kind of attenuated减毒 attention注意
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所有减少的注意力被放回原位
04:23
that's sustained持续 by a sense of apprehension顾虑 caused造成 by the fog多雾路段.
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是因为一个持续的大雾造成的恐惧感.
04:27
And this is very much like how the Victorian维多利亚时代 novel小说 used fog多雾路段 in this way.
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这就是维多利亚时期小说里运用雾的方式.
04:33
So here the world世界 is put out of focus焦点,
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这将成为世界的焦点,
04:36
while our visual视觉 dependence依赖 is put into focus焦点.
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世人关注的是视觉效果.
04:40
The public上市, you know, once一旦 disoriented迷失方向
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如你所知,大家总是迷失方向
04:43
can actually其实 ascend to the angel天使 deck甲板 above以上
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但实际上在桥面上看
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and then just come down under those lips嘴唇 into the water bar酒吧.
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水是从桥下过滤出来。
04:50
So, all the waters水域 of the world世界 are served提供服务 there,
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因此,水填充着整个世界,
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so we thought that, you know, after being存在 at the water
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人们认为在水雾中
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and moving移动 through通过 the water and breathing呼吸 the water,
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我们可以在这里行走,呼吸
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you could also drink this building建造.
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你也可以喝掉这个建筑.
05:02
And so it is sort分类 of a theme主题,
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这就是一个水簇馆,
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but it goes a little bit, you know, deeper更深 than that.
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但是我们应该深入的了解.
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We really wanted to bring带来 out
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我们真正想要什么
05:11
our absolute绝对 dependence依赖 on this master sense,
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而且是完全依赖于主观感官,
05:15
and maybe share分享 our kind of sensibility感性 with our other senses感官.
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用感官触碰敏感底线.
05:19
You know, when we did this project项目 it was a kind of tough强硬 sell,
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我们做这个项目是相当不容易的,
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because the Swiss瑞士人 said, "Well, why are we going to spend, you know,
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因为瑞士人说:“为什么我们要
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10 million百万 dollars美元 producing生产 an effect影响
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用1000万美元
05:29
that we already已经 have in natural自然 abundance丰富 that we hate讨厌?"
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来制造一种我们讨厌的到处都是自然现象?
05:31
And, you know, we thought -- well, we tried试着 to convince说服 them.
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我们努力的想答案--并试图说服他们.
05:36
And in the end结束, you know, they adapted适应 this as a national国民 icon图标
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最终,你知道,这将成为一个国家的标志.
05:42
that came来了 to represent代表 Swiss瑞士人 doubt怀疑, which哪一个 we -- you know,
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我们代表瑞士质疑,你知道,
05:47
it was kind of a meaning含义 machine
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它是有着不同理念的机器
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that everybody每个人 kind of laid铺设 on their own拥有 meanings含义 off of.
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每个人都有自己的见解
05:51
Anyway无论如何, it's a temporary临时 structure结构体 that was ultimately最终 destroyed销毁,
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总之,它只是一个最终将被销毁的结构,
05:54
and so it's now a memory记忆 of an apparition幻影, actually其实,
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并且,虽然它现在只是一个特异的景象,
05:58
but it continues继续 to live生活 in edible食用 form形成.
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但它仍然有实用价值.
06:01
And this is the highest最高 honor荣誉
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这是授予我们的最高荣誉
06:03
to be bestowed追封 upon an architect建筑师 in Switzerland瑞士 -- to have a chocolate巧克力 bar酒吧.
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颁予瑞士建筑师--一个巧克力.
06:08
Anyway无论如何, moving移动 along沿.
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无论如何,我们一直努力去做.
06:10
So in the '80s and '90s, we were mostly大多 known已知 for independent独立 work,
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八,九十年代我们都知道要独立工作,
06:15
such这样 as installation安装 artist艺术家, architect建筑师,
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如安装师,艺术家,建筑师,
06:19
commissioned委托 projects项目 by museums博物馆 and non-for-profit不以营利为目的 organizations组织.
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博物馆以及福利机构,
06:24
And we did a lot of media媒体 work,
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我们做了大量媒体工作,
06:27
also a lot of experimental试验 theater剧院 projects项目.
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也做了很多戏剧项目实验.
06:29
In 2003, the Whitney惠特尼 mounted安装 a retrospective回顾 of our work
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2003 年,在惠特尼回顾我们的工作
06:34
that featured精选 a lot of this work from the '80s and '90s.
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这个项目有许多来自80,90年代的人.
06:38
However然而, the work itself本身 resisted抵制 the very nature性质 of a retrospective回顾,
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然而,回顾的本质并不是评论工作的本身.
06:44
and this is just some of the stuff东东 that was in the show显示.
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这些是展示的一部分.
06:47
This was a piece on tourism旅游 in the United联合的 States状态.
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现在,这也是美国旅游业的一个部分.
06:50
This is "Soft柔软的 Sell" for 42ndND Street.
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这是第四十二街的"软推销"
06:53
This was something doneDONE at the Cartier卡地亚 Foundation基础.
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这是由卡地亚基金会完成的"主人与奴隶".
06:56
"Master/Slave奴隶" at the MOMAMOMA, the project项目 series系列, a piece called "Parasite寄生物."
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现在存放于纽约现代艺术博物馆里的项目系列中,一块叫"寄生虫"的地方.
07:01
And so there were many许多, many许多 of these kinds of projects项目.
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并且,那里非常多的这类的项目.
07:04
Anyway无论如何, they gave us the whole整个 fourth第四 floor地板, and, you know,
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不论以何种方式,他们提供了整个第四层的展示.
07:10
the problem问题 of the retrospective回顾
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但你知道
07:12
was something we were very uncomfortable不舒服 with.
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回顾的问题是在于, 我们并不是很喜欢.
07:14
It's a kind of invention发明 of the museum博物馆
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这有点像博物馆的发明,
07:16
that's supposed应该 to bring带来 a kind of cohesive凝聚力 understanding理解
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理论上把你的工作以一种通俗易懂的形式
07:20
to the public上市 of a body身体 of work.
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展现给大众.
07:22
And our work doesn't really resolve解决 itself本身 into a body身体 in any way at all.
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我们的工作没有真正的达到这个目的.
07:27
And one of the recurring经常性 themes主题, by the way, that in the work
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重现这个主题, 实际上
07:32
was a kind of hostility敌意 toward the museum博物馆 itself本身,
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在工作中有点与博物馆的抵制意识.
07:35
and asking about the conventions公约 of the museum博物馆, like the wall, the white白色 wall.
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征询博物馆的惯例时,比如墙壁需要是白色的.
07:40
So, what you see here
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所以, 你在这张图上看到的
07:42
is basically基本上 a plan计划 of many许多 installations安装 that were put there.
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是我们很多设备的安装计划.
07:45
And we actually其实 had to install安装 white白色 walls墙壁
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我们其实需要安装在白墙上
07:48
to separate分离 these pieces, which哪一个 didn't belong属于 together一起.
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区分开这些不同的部分.
07:50
But these white白色 walls墙壁 became成为 a kind of target目标 and weapon武器 at the same相同 time.
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但这些白墙就变成了一种武器和目标.
07:55
We used the wall to partition划分 the 13 installations安装 of the project项目
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我们把这个项目分成13块装备
07:58
and produce生产 a kind of acoustic and visual视觉 separation分割.
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并且将声音和视觉相分离.
08:03
And what you see is -- actually其实,
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你可以看到, 实际上,
08:05
the red dotted line线 shows节目 the track跟踪 of this performing执行 element元件,
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红色虚线表示这些表现元素的状态,
08:10
which哪一个 was a new piece that created创建 -- that we created创建 for the --
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创建了一个新的块.
08:13
which哪一个 was a robotic机器人 drill钻头, basically基本上, that went all the way around,
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我们用一个四处游动的机器人钻头
08:17
cruised巡航 the museum博物馆, went all around the walls墙壁 and did a lot of damage损伤.
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在博物馆的墙上到处流动,搞了不少破坏.
08:23
So, the drill钻头 was mounted安装 on this robotic机器人 arm.
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这个钻头是挂载到一个机器人手臂上的.
08:26
We worked工作 with, by the way, Honeybee蜜蜂 Robotics机器人. This is the brain.
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我们用的是蜜蜂机器人(Honeybee Robotics),这是大脑.
08:30
Honeybee蜜蜂 Robotics机器人 designed设计 the Mars火星 Driller钻床,
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蜜蜂机器人的设计者是Mars Driller.
08:33
and it was really very much fun开玩笑 to work with them.
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跟它们工作真的是很有趣.
08:35
They weren't doing their primary work, which哪一个 was for the government政府,
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它们没有做它们首要的工作,
08:39
while they were helping帮助 us with this.
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在帮助我们的时候它们停止政府给它们的工作.
08:42
In any case案件, the way it works作品 is that
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在任何情况下, 它应该是基于智能导航地图
08:44
an intelligent智能 navigator航海家 basically基本上 maps地图 the entire整个 surface表面 of these walls墙壁.
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定位墙面的位置.
08:50
So, unfolded展开 it's about 300 linear线性 feet.
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所以, 完全打开要300尺高.
08:53
And it randomly随机 generates生成 points within a three-dimensional三维 matrix矩阵.
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并且它会随机产生3维模型
08:57
It selects选择 a point, it guides导游 the drill钻头 to that point, it pierces刺穿 the dry wall,
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利用定位点将钻头定位准确,然后打孔.
09:02
leaving离开 a half-inch半英寸 hole before traveling旅行 to the next下一个 location位置.
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完成一个半寸的孔后开始新一轮的打孔.
09:07
Initially原来 these holes were lone孤单 blemishes瑕疵,
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最初这些孔只是白墙上寂寞的缺陷
09:11
and as the exhibition展览 continued继续
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但随着展览进行
09:13
the walls墙壁 became成为 increasingly日益 perforated穿孔的.
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墙上的孔不断的增加.
09:16
So eventually终于 holes on both sides双方 of the wall aligned对齐,
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墙的两面的孔连接起来.
09:19
opening开盘 views意见 from gallery画廊 to gallery画廊.
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画廊到画廊的开放视角.
09:21
Clusters集群 of holes randomly随机 opened打开 up sections部分 of wall.
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这些孔随机的打开了部分的墙壁.
09:25
And so this was a three-month三个月 performance性能 piece
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这是三个月的成果
09:28
in which哪一个 the wall was made制作 into kind of an increasingly日益 unstable不稳定 element元件.
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把这面墙搞的越来越不稳定.
09:35
And also the acoustic separation分割 was destroyed销毁.
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听觉部分已经被破坏了.
09:39
Also the visual视觉 separation分割.
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视觉部分也差不多.
09:41
And there was also this constant不变 background背景 groan呻吟, which哪一个 was very annoying恼人的.
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并且还会有不断的杂音,非常烦人.
09:47
And this is one of the blackout灯火管制 spaces空间
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这是一块灰暗的空间
09:49
where there's a video视频 piece that became成为 totally完全 not useful有用.
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视频块已经完全没用.
09:52
So rather than securing确保 a neutral中性 background背景 for the artworks艺术品 on display显示,
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将一个中性背景当作艺术品
09:56
the wall now actively积极地 competed竞争 for attention注意.
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这面墙的积极争取到很多眼球.
10:00
And this acoustical声音 nuisance滋扰 and visual视觉 nuisance滋扰
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并且这种声学和视觉厌恶
10:04
basically基本上 exposed裸露 the discomfort不舒服 of the work
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基本上暴露了工作的不适
10:07
to this encompassing包罗万象 nature性质 of the retrospective回顾.
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包括对自然的回顾.
10:13
It was really great when it started开始 to break打破 up all of the curatorial策展 text文本.
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它开始打破馆长的预言. 它真的很棒.
10:17
Moving移动 along沿 to a project项目 that we finished about a year ago.
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再来看看我们一年之前完成的一个项目.
10:21
It's the ICAICA -- the Institute研究所 of Contemporary现代的 Art艺术 -- in Boston波士顿,
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这是在波士顿的当代艺术研究所,
10:26
which哪一个 is on the waterfront滨水.
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就在江边.
10:28
And there's not enough足够 time to really introduce介绍 the building建造,
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我们没有太多时间来介绍这个建筑,
10:31
but I'll simply只是 say that the building建造 negotiates谈判中
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但我要说这栋建筑
10:33
between之间 this outwardly向外 focused重点 nature性质 of the site现场 --
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外表上看着重于自然
10:39
you know, it's a really great waterfront滨水 site现场 in Boston波士顿 --
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这是波士顿一处非常好的临江之地.
10:42
and this contradictory矛盾 other desire欲望 to have an inwardly里面 focused重点 museum博物馆.
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矛盾的是它内在却着重于博物馆.
10:47
So, the nature性质 of the building建造 is that it looks容貌 at looking --
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所以, 建筑的自然特性是长相如何--
10:51
I mean that's its primary objective目的,
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我是指基本目标.
10:54
both its program程序 and its architectural建筑的 conceit自负.
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项目和建筑特点都是.
11:00
The building建造 incorporates合并 the site现场,
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这个建筑融入了周围的环境.
11:04
but it dispenses次分配 it in very small doses剂量
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但它分解出很多很小的细节,
11:08
in the way that the museum博物馆 is choreographed编排.
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细节到博物馆的舞蹈编排上.
11:11
So, you come in and you're basically基本上 squeezed挤压 by the theater剧院,
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所以,你走进去就基本被挤到剧院里了,
11:15
by the belly肚皮 of the theater剧院, into this very compressed压缩 space空间
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在剧院的后半部分,紧缩的空间里.
11:17
where the view视图 is turned转身 off.
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视觉被关闭了.
11:19
Then you come up in this glass玻璃 elevator电梯 right near the curtain窗帘 wall.
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你走进窗帘附近的玻璃电梯里.
11:24
This elevator's电梯的 about the size尺寸 of a New York纽约 City studio工作室 apartment公寓.
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这个电梯有纽约城市的演播间那么大.
11:28
And then, this is a view视图 going up,
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然后,视觉开始不断上升.
11:30
and then you could come into the theater剧院,
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接着你进入剧院,
11:32
which哪一个 can actually其实 deny拒绝 the view视图 or open打开 it up and become成为 a backdrop背景.
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这个剧院可以开辟或拒绝这些视角,并变为一个背景.
11:37
And many许多 musicians音乐家 choose选择 to use the theater剧院 glass玻璃 walls墙壁 totally完全 open打开.
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很多音乐家选择把这个剧院的玻璃幕墙全部打开.
11:43
The view视图 is denied否认 in the galleries画廊
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景色落在剧院里
11:45
where we receive接收 just natural自然 light,
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我们看到的自然光线
11:48
and then exposed裸露 again in the north gallery画廊 with a panoramic全景 view视图.
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然后转换成北面的全景图.
11:53
The original原版的 intention意向 of this space空间,
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这个空间的原意,
11:55
which哪一个 was unfortunately不幸 never realized实现,
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很遗憾从来没有实现过.
11:58
was to use lenticular透镜状 glass玻璃
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最初设计是用透镜
12:00
which哪一个 allowed允许 only a kind of perpendicular垂直 view视图 out.
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仅允许一些垂直的视角.
12:03
In this very narrow狭窄 space空间 that connects所连接 east and west西 galleries画廊
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在非常狭窄的空间里将东部和西部的走廊连接进来
12:06
the intention意向 was really to not get a climax高潮,
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意图真的不是把高潮连接起来.
12:10
but to have the view视图 stalk you,
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而是让视觉跟着你走.
12:12
so the view视图 would open打开 up as you walked from one end结束 to the other.
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所以视角会随着你的移动而不断改变.
12:16
This was eliminated淘汰 because the view视图 was too good,
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因为视角太好
12:19
and the mayor市长 said, "No, we just want this open打开."
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而且市长说:"不, 我们只要它打开就好了."
12:22
The architect建筑师 lost丢失 here.
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设计师在这里迷惑了.
12:24
But culminating高潮 -- and that's where this hooks挂钩 into the theme主题 of my little talk --
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但最高点 -- 这也是我把它放在演讲里的原因.
12:27
is this Mediatheque媒体中心,
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就是Mediatheque,
12:29
which哪一个 is suspended暂停 from the cantilevered悬臂 portion一部分 of the building建造.
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就挂在大厦的悬臂部分.
12:33
So this is an 80-foot-脚丫子 cantilever悬臂 -- it's quite相当 substantial大量的.
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这是个80英尺长的悬臂 -- 它相当牢固.
12:36
So, it's already已经 sticking症结 out into space空间 enough足够,
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它已经突出了足够大一部分空间了,
12:40
and then from that is this, is this small area called the Mediatheque媒体中心.
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突出的这一小部分空间叫做Mediatheque.
12:45
The Mediatheque媒体中心 has something like 16 stations
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Mediatheque 有一些东西像16号站
12:49
where the public上市 can get onto the server服务器
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公众可以登录到服务器上
12:51
and look at digital数字 artworks艺术品 or also curated策划 artworks艺术品 off the web卷筒纸.
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查看数字艺术或策划美术作品.
12:55
And this was really a kind of very important重要 part部分 of this building建造,
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这是整个建筑非常重要的一部分,
13:02
and here is a point where architecture建筑 --
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这是建筑学上的一点 --
13:04
this is like technology-free技术免费 -- architecture建筑 is only a framing取景 device设备,
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这像是不受科技所局限,建筑学仅仅是个框架,
13:08
it only edits编辑 the harbor港口 view视图, the industrial产业 harbor港口
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它仅能编辑港口视角,
13:12
just through通过 its walls墙壁, its floors地板 and its ceiling天花板,
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通过墙壁,地板和天花板看到的工业港
13:16
to only expose暴露 the water itself本身, the texture质地 of water,
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露出的水平和水纹.
13:22
much like a hypnotic催眠 effect影响 created创建 by electronic电子 snow
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很像催眠效果创造的电子雪景
13:26
or a lava岩浆 lamp or something like that.
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或是岩浆灯之类的东西.
13:29
And here is where we really felt that there was a great convergence收敛
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这里我们真的感到了,这是一个伟大的技术合成
13:33
of the technological技术性 and the natural自然 in the project项目.
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也是大自然的工程.
13:38
But there is just no information信息, it's just -- it's just hypnosis催眠.
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但那里没有信息, 它只是 -- 它只是催眠状态
13:45
Moving移动 along沿 to Lincoln林肯 Center中央.
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我们接着看林肯中心(Lincoln Center),
13:48
These are the guys that did the project项目 in the first place地点, 50 years年份 ago.
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这是完成这个工程的第一批工程师, 五十年前.
13:52
We're taking服用 over now, doing work that ranges范围 in scale规模
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我们正在接管,
13:55
from small-scale小型 repairs维修 to major重大的 renovations装修 and major重大的 facility设施 expansions扩展.
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从一些小维护到大整修以及设备的扩容.
14:01
But we're doing it with a lot less testosterone睾酮.
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但我们做的不是很有激情.
14:04
This is the extent程度 of the work that's to be completed完成 by 2010.
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这是将在2010年完成的扩展工作.
14:09
And for the purposes目的 of this talk,
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这次演讲的目的,
14:11
I wanted to isolate隔离 just a part部分 of a project项目 that's even a part部分 of a project项目
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我希望单独讲讲一个项目的一部分.
14:15
that touches触摸 a little bit on this theme主题 of architectural建筑的 special特别 effects效果,
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甚至这部分附带一点建筑特效的主题,
14:19
and it happens发生 to be our current当前 obsession困扰,
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并且它是我们现存的困扰,
14:23
and it plays播放 a little bit with the purging清洗 and adding加入 of distraction娱乐.
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分散了注意力.
14:29
It's Alice爱丽丝 Tully塔利 Hall大厅, and it's tucked under the Juilliard茱莉亚音乐学院 Building建造
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这是Alice Tully大会堂, 就在茱莉亚大厦下面
14:33
and descends下降 several一些 levels水平 under the street.
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并且在街道下面有几层.
14:37
So, this is the entrance入口 to Tully塔利 Hall大厅 as it used to be,
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这里, 是大会堂在整修之前的入口,
14:41
before the renovation装修, which哪一个 we just started开始.
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我们刚开始整修.
14:43
And we asked ourselves我们自己, why couldn't不能 it be exhibitionistic暴露性,
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我们会问自己,为什么不让它更拉风一点呢?
14:46
like the Met会见, or like some of the other buildings房屋 at Lincoln林肯 Center中央?
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像里兹大厦(the Met) 或者其它位于林肯中心的大厦?
14:49
And one of the things that we were asked to do
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我们被要求的一件事是
14:52
was give it a street identity身分, expand扩大 the lobbies大厅 and make it visually视觉 accessible无障碍.
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作为街道的标志性建筑,扩展大堂并让它在视觉上很拉风.
14:57
And this building建造, which哪一个 is just naturally自然 hermetic密闭, we stripped剥离.
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并且这座大厦, 是天然密封的.
15:01
We basically基本上 did a striptease脱衣舞, architectural建筑的 striptease脱衣舞,
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我们基本上搞了个脱衣舞, 建筑学脱衣舞,
15:04
where we're framing取景 with this kind of canopy华盖 --
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在这个被顶篷罩住的空间
15:09
the underside下侧 of three levels水平 of expansion扩张 of Juilliard茱莉亚音乐学院,
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背面是被茱莉亚大厦扩展出来的三个台阶,
15:12
about 45,000 square广场 feet -- cutting切割 it to the angle角度 of Broadway百老汇,
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大概有45,000平方英尺,与百老汇大街成一定弧度,
15:17
and then exposing曝光, using运用 that canopy华盖 to frame Tully塔利 Hall大厅.
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然后用Tully大会堂的顶篷.
15:22
Before and after shot射击. (Applause掌声)
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术前和术后对比照片.
15:26
Wait a minute分钟, it's just in that state, we have a long way to go.
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等一分钟,这只是个说明, 我们还有很多东西没说呢.
15:30
But what I wanted to do was take a couple一对 of seconds that I have left
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但我想做的是花几秒钟时间去
15:33
to just talk about the hall大厅 itself本身,
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谈谈大会堂本身,
15:35
which哪一个 is kind of where we're really doing a massive大规模的 amount of work.
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我们真在它上面花了大量的心血.
15:39
So, the hall大厅 is a multi-purpose多用途 hall大厅.
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这个大会堂是个多功能大厅.
15:42
The clients客户 have asked us to produce生产 a great chamber music音乐 hall大厅.
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客户要求我们设计一个顶级的室内音乐厅.
15:47
Now, that's really tough强硬 to do with a hall大厅 that has 1,100 seats.
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现在, 设计一个容纳1100座位的大厅是非常不容易的.
15:51
Chamber商会 and the notion概念 of chamber has to do with salons沙龙
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会所,沙龙和小规模的表演等概念一起.
15:54
and small-scale小型 performances演出. They asked us to bring带来 an intimacy亲密关系.
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他们要求我们把各部分都亲密接触起来.
15:57
How do you bring带来 an intimacy亲密关系 into a hall大厅?
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你如何让大会堂整体上亲密接触?
16:00
Intimacy亲密关系 for us means手段 a lot of different不同 things.
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亲密接触对我们意味着各种不同的东西.
16:02
It means手段 acoustic intimacy亲密关系 and it means手段 visual视觉 intimacy亲密关系.
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它意味着声觉上和视觉上的亲密接触.
16:06
One thing is that the subway地铁 is running赛跑 and rumbling隆隆 right under the hall大厅.
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一是地铁经常从大厅下面轰隆隆而过.
16:10
Another另一个 thing that could be fixed固定 is the shape形状 of the hall大厅.
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还有就是我们要改变大厅的形状.
16:12
It's like a coffin棺材, it basically基本上 sends发送 all the sound声音,
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它像一个棺材, 基本发送各种声音,
16:15
like a gutter-ball沟球 effect影响, down the aisles过道.
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像一个球掉进沟里的效果.
16:17
The walls墙壁 are made制作 of absorptive吸收 surface表面,
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墙壁的表面是吸收材料,
16:20
half absorptive吸收, half reflective反光,
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半吸收半反射型,
16:22
which哪一个 is not very good for concert音乐会 sound声音.
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对于音乐会的声音,效果不会太好.
16:25
This is Avery艾利 Fisher费舍尔 Hall大厅, but the notion概念 of junk破烂 -- visual视觉 junk破烂 --
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这是Avery Fisher音乐厅,但垃圾概念,视觉垃圾
16:29
was very, very important重要 to us, to get rid摆脱 of visual视觉 noise噪声.
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对我们非常非常重要, 摆脱掉视觉杂物.
16:33
Because we can't eliminate消除 a single seat座位,
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因为我们不能拆掉座位,
16:35
the architecture建筑 is restricted限制 to 18 inches英寸.
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建筑被限定为18英寸.
16:38
So it's a very, very thin architecture建筑.
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所以它是非常非常薄的建筑.
16:41
First we do a kind of partial局部 box and box separation分割,
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首先我们一个盒子一个盒子的分开,
16:45
to take away the distraction娱乐 of the subway地铁 noise噪声.
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用于消除地铁的噪音.
16:47
Next下一个 we wrap the entire整个 hall大厅 -- almost几乎 like this Olivetti好利 keyboard键盘 --
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然后将整个大厅包起来 -- 像极了Olivetti 键盘 --
16:52
with a material材料, with a wood material材料
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带一些材料,木质材料
16:55
that basically基本上 covers盖子 all the surfaces:
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基本覆盖所有的墙面:
16:57
wall, ceiling天花板, floor地板, stage阶段, steps脚步, everything, boxes盒子.
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脑子基本不转, 请检查之前翻译质量.
17:01
But it's acoustically声学 engineered工程 to focus焦点 the sound声音 into the house
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但是声学工程会关注房屋里的声音
17:05
and back to the stage阶段. And here's这里的 an acoustic shelf.
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以及返回舞台的声音,并且这是一个音响架.
17:08
Looking up the hall大厅. Just a section部分 of the stage阶段.
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看大厅的上方.只是舞台的一部分.
17:11
Just everything is lined, it incorporates合并 --
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只是把所有东西对齐,它包括 --
17:14
every一切 single thing that you could possibly或者 imagine想像
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你能想像到的任何一样东西
17:16
is tucked into this high-performance高性能 skin皮肤.
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都可以塞进高性能的外壳中.
17:18
But one more added添加 feature特征.
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但还有一个功能.
17:20
So now that we've我们已经 stripped剥离 the hall大厅 of all visual视觉 distraction娱乐,
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所以我们解除了大会堂所有的视觉分散点,
17:23
everything that prevents防止 this intimacy亲密关系
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任何影响"亲密接触"的东西,
17:26
which哪一个 is supposed应该 to connect the house, the audience听众,
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我们要把建筑,观众和表演者们连接起来,
17:29
with the performers表演者, we add one little detail详情,
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亲密接触,
17:33
one piece of architectural建筑的 excess过量, a special特别 effect影响: lighting灯光.
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建筑学的一种特效: 灯光.
17:37
We very strongly非常 believe that the theatrics戏剧 of a concert音乐会 hall大厅
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我们坚信,音乐厅的戏剧表演艺术
17:41
is as much in the space空间 of intermission幕间休息 and the space空间 of arrival到达
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跟中场休息时
17:45
as it is when the concert音乐会 starts启动.
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以及和音乐会开场时一样.
17:47
So what we wanted to do was produce生产 this effect影响,
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所以我们希望制造这些 -- 这种效果,
17:51
this lighting灯光 effect影响,
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灯光效果,
17:53
which哪一个 made制作 us have to bioengineer生物工程 the wood walls墙壁.
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我们有生物工程的木墙.
17:57
And what it entails限嗣继承 is the use of resin树脂, of this very thick resin树脂
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我们需要用到树脂,非常厚的树脂
18:03
with a veneer单板 of the same相同 kind of wood that's used throughout始终 the hall大厅,
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这些树脂外表像木头一样用于整个大会厅,
18:07
in a kind of seamless无缝 continuity连续性
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无缝的连接在一起
18:11
that wraps包装 the hall大厅 in light, like a belt of light: rather than separating分离,
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把大厅包转在光线上,像皮带一样的光线,而不是分开的,
18:16
like a proscenium前舞台 would separate分离 the audience听众 from performers表演者,
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像一个舞台区分观众和演员
18:20
it connects所连接 audience听众 with players玩家.
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它连接着听众和演奏者.
18:22
And this is a mockup小样 that is in Salt Lake City
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这是一个盐湖城的模型
18:28
that gives you a sense of what this is going to look like in full-scale全面.
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给你一个整个规模的概念.
18:33
And this is a guy from Salt Lake City,
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这是一个来自盐湖城的男孩,
18:36
this is what they look like out there.
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这是他们从外面看起来的样子.
18:38
(Laughter笑声)
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(笑声)
18:41
And for us, I mean it's really kind of a very strange奇怪 thing,
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对于我们,我认为这确实是怪异的东西,
18:44
but the moments瞬间 in the hall大厅 that the buzz蜂鸣器 kind of dies down
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可是在音乐厅听到嗡嗡声杂音变弱的时刻
18:50
when the audience听众 is waiting等候 for the performance性能 to begin开始,
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当观众们坐好期待着表演开始的时刻,
18:53
very similar类似 to the parting离别 of curtains窗帘 or the raising提高 of a chandelier吊灯,
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感觉特别像幕布掀开或烛台升起的时刻,
18:57
the walls墙壁 will just exude散发出 this glow辉光, temporarily暂时 stealing偷窃行为 attention注意 from the stage阶段.
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这面墙开始激情四溢的获取台下所有观众的注意力.
19:03
And this is Tully塔利 in construction施工 now.
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这就是现在Tully的建筑.
19:07
I have no ending结尾 to say, except that I'm a couple一对 of minutes分钟 over.
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由于我超时了,这就是我的结尾.
19:11
Thank you very much.
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非常感谢.
19:13
(Applause掌声)
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(掌声)
Translated by Xiaoyu Zhang
Reviewed by Chunlei Chang

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ABOUT THE SPEAKER
Liz Diller - Designer
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in architecture, urban design and art -- playing with new materials, tampering with space and spectacle in ways that make you look twice.

Why you should listen

Liz Diller's firm, Diller Scofidio & Renfro, might just be the first post-wall architects. From a mid-lake rotunda made of fog to a gallery that destroys itself with a robotic drill, her brainy takes on the essence of buildings are mind-bending and rebellious. DS+R partakes of criticism that goes past academic papers and into real structures -- buildings and art installations that seem to tease the squareness of their neighbors.

DS+R was the first architecture firm to receive a MacArthur "genius" grant -- and it also won an Obie for Jet Lag, a wildly creative piece of multimedia off-Broadway theater. A reputation for rampant repurposing of materials and tricksy tinkering with space -- on stage, on paper, on the waterfront -- have made DS+R a sought-after firm, winning accounts from the Juilliard School, Alice Tully Hall and the School of American Ballet, as part of the Lincoln Center overhaul; at Brown University; and on New York's revamp of Governer's Island. Their Institute for Comtemporary Art has opened up a new piece of Boston's waterfront, creating an elegant space that embraces the water.

Learn more about the Hirshhorn Museum >>

 

More profile about the speaker
Liz Diller | Speaker | TED.com

THE ORIGINAL VIDEO ON TED.COM