演讲题目：Why great architecture should tell a story

演讲简介：

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



中英文字幕

For much of the past century, architecture was under the spell of a famous doctrine.

过去的好几个世纪中，建筑物都被一条著名的魔咒所禁锢，

"Form follows function" had become modernity's ambitious manifesto and detrimental straitjacket, as it liberated architecture from the decorative,

“形致围绕功能”这个理论曾经一度成为当代的伟大宣言，同时又是个危险的紧箍咒，因为这句话虽让建筑物不再具有装饰性，

but condemned it to utilitarian rigor and restrained purpose.

但也同时宣判建筑物走向功利严谨且倍受约束的终点。

Of course, architecture is about function, but I want to remember a rewriting of this phrase by Bernard Tschumi,

当然，建筑物确实需要实现某些功能，但这让我想起了Bernard Tschumi 对这句话的改写，

and I want to propose a completely different quality.

并同时提出一个我个人完全不同的见解。

If form follows fiction, we could think of architecture and buildings as a space of stories -- stories of the people that live there,

如果是“形致围绕小说”，我们可以这样想，建筑设计与建筑物是布满故事的空间，有关居住在那里的人的故事，

of the people that work in these buildings.

有关在里面工作的人的故事。

And we could start to imagine the experiences our buildings create.

我们可以开始想像我们的建筑物创造出来的体验。

In this sense, I'm interested in fiction not as the implausible but as the real,

按这种方式来理解的话，我对小说感兴趣的原因，不是因为它的虚幻，而是它的真实，

as the reality of what architecture means for the people that live in it and with it.

就好比建筑风格对那些生活在里面的居民有什么意义那样的真实。

Our buildings are prototypes, ideas for how the space of living or how the space of working could be different,

我们的建筑物一开始是一些雏形、想法，让我们了解当今的生活或 工作空间可以有什么不同，

and what a space of culture or a space of media could look like today.

以及文化与媒体空间可以如何展现。

Our buildings are real; they're being built.

我们的建筑物是真实的； 它们会被建造出来，

They're an explicit engagement in physical reality and conceptual possibility.

建筑物是一种实体物质与想法概念的合约产物。

I think of our architecture as organizational structures.

我认为我们的建筑物是一种组织结构。

At their core is indeed structural thinking, like a system: How can we arrange things in both a functional and experiential way?

它们的核心，的确是一种 结构思想，像是一个系统: 我们要如何把事情安排的兼具功能性与体验性呢?

How can we create structures that generate a series of relationships and narratives?

我们要如何创造出可以引发一系列关系与故事剧本的结构?

And how can fictive stories of the inhabitants and users of our buildings script the architecture,

而我们在建筑物里面的居民及使用者的虚幻故事要如何在描绘建筑物的同时

while the architecture scripts those stories at the same time?

也能被建筑物描绘出来?

And here comes the second term into play, what I call "narrative hybrids"

而这当中就会产生出第二个词汇，我称之为“叙事混合体”——

-- structures of multiple simultaneous stories that unfold throughout the buildings we create.

多个同时进行的故事的结构完全通过我们创造出的建筑物展现了出来。

So we could think of architecture as complex systems of relationships,

所以我们可以想像建筑物是个呈现关联性的复杂系统，

both in a programmatic and functional way and in an experiential and emotive or social way.

既具备可程序化和功能性，又具备体验性和情绪性，或者社交性。

The idea was to bring together some of Britain's greatest institutions, some international ones, and to create a new system of synergies.

想法是把一些英国最伟大的机构、一些国际机构衔接在一起， 创造出一个新的协同效益系统。

Prince Albert, as yet, created Albertopolis in the 19th century, thought of showcasing all achievements of mankind,

当时Albert王子在19世纪建立的Albertopolis城，是想用来展示人类的所有成就，

bringing arts and science closer together.

让艺术和科学更紧密地结合在一起。

And he built Exhibition Road, a linear sequence of those institutions.

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，

But of course, today's society has moved on from there.

当然，现今社会已经比当时进步许多。

We no longer live in a world in which everything is as clearly delineated or separated from each other.

我们不再是活在一个每样东西都被界定或者分离得很清楚的世界。

We live in a world in which boundaries start to blur between the different domains,

我们活在一个不同领域的界限开始模糊的世界，

and in which collaboration and interaction becomes far more important than keeping separations.

一个彼此合作互动远比保持疏离还要重要的世界。

So we wanted to think of a giant culture machine, a building that would orchestrate and animate the various domains,

所以我们想建立一个大型的文化机器，一个会协调并赋予不同领域生命的建筑物，

but allow them to interact and collaborate.

但同时也可以让它们彼此互动与合作。

At the base of it is a very simple module, a ring module.

它的基座是个非常简单的模块，一个环形模块。

It can function as a double-loaded corridor, has daylight, has ventilation.

它有双走廊、有日照、通风很好。

It can be glazed over and turned into a giant exhibitional performance space.

它的结构十分通透，可以变成一个大型展览表演空间。

These modules were stacked together with the idea that almost any function could, over time, occupy any of these modules.

这些模組被堆叠起来，随着时间流逝，任何功能彼此都可能会占据其他功能。

So institutions could shrink or contract, as, of course, the future of culture is, in a way, the most uncertain of all.

所以机构可能缩小或浓缩，因为，文化的未来，在某种程度上，是最无法预测的。

This is how the building sits, adjacent to the Aquatics Centre, opposite the Olympic Stadium.

这栋建筑将坐落在邻近的水上运动中心旁边，正对奥林匹克运动场，

And you can see how its cantilevering volumes project out and engage the public space and how its courtyards animate the public inside.

你可以看到它的悬臂式空间如何伸出并融入开放空间，和它的中庭如何在公共空间里赋予生命。

The idea was to create a complex system in which institutional entities could maintain their own identity,

当时的想法是创造一个复杂的系统，让里面的机构实体可以维持它们本身的辨识性，

in which they would not be subsumed in a singular volume.

使它们不会被归类为单一的个体空间。

Here's a scale comparison to the Centre Pompidou in Paris.

这个是它与法国巴黎蓬皮杜艺术中心的比例对照图。

It both shows the enormous scale and potential of the project, but also the difference: here, it is a multiplicity of a heterogeneous structure,

两者都显示出其项目的庞大规模与潜力，但也有不一样的地方 :这里，它是一个多样型的结构的复合体，

in which different entities can interact without losing their own identity.

里面不同的机构彼此间可以互动，而不失去它们自身的辨识度。

And it was this thought:

想法是这样的：

to create an organizational structure that would allow for multiple narratives to be scripted -- for those in the educational parts that create and think culture;

要创造一个组织结构可以让不同的故事被描述出来——包含创造和思考文化的教育部分 ;

for those that present the visual arts, the dance; and for the public to be admitted into all of this with a series of possible trajectories,

包含视觉艺术、舞蹈；以及让大众可以获准进入这一系列可能的轨迹动向，

to script their own reading of these narratives and their own experience.

来阐述他们个人对这些故事叙述的理解与体验。

And I want to end on a project that is very small, in a way, very different: a floating cinema in the ocean of Thailand.

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 :一个在泰国的水上漂浮电影院。

Friends of mine had founded a film festival, and I thought, if we think of the stories and narratives of movies,

我的朋友创立了一个电影节，而我当时在想，如果，我们来思考电影的故事及剧本，

we should also think of the narratives of the people that watch them.

我们也需要思考观看这部电影的观众的剧本。

So I designed a small modular floating platform, based on the techniques of local fishermen, how they built their lobster and fish farms.

所以，我设计了一个小型模块式水上平台，主要技术来自当地渔民的龙虾田及鱼田建造技术，

We collaborated with the local community and built, out of recycled materials of their own,

我们与当地社团合作建造，用的全部是他们的回收材料，

this fantastical floating platform that gently moved in the ocean as we watched films from the British film archive, 1904 "Alice in Wonderland,"

这个令人惊艳的漂浮平台，慢慢地移向海里，比如这是大家在观看来自英国电影资料馆，1904年的“爱丽丝梦游仙境”。

for example.

比如

The most primordial experiences of the audience merged with the stories of the movies.

观众最原始的经历会与电影的故事情节相结合。

So I believe that architecture exceeds the domain of physical matter,of the built environment, but is really about how we want to live our lives,

所以我相信，建筑设计不仅超越了实体物质、建筑环境的范畴，而且真切地与我们想如何生活、

how we script our own stories and those of others.

如何阐述我们的故事及 其他人的故事息息相关。

Thank you.

谢谢各位。