你们好 我叫汤姆·法瑟斯 Hi my name is Tom Falders.
我是这里建筑系的老师 I teach in the architecture department here.
我很高兴也很荣幸为大家介绍 It's my pleasure and honor to introduce Bruce Tomb
今晚的讲座人布鲁斯·图姆 this evening for the lecture.
为了保持我们CCA建筑的传统 In keeping with our CCA architecture tradition for
一定要囊括进我们 including one of our faculty
这里的教职人员 in the public lecture series
这学期的公开课里有介绍布鲁斯的 This semester we are including the work of Bruce's.
布鲁斯家三代都是艺术家 Coming from a family of three generations of artists
获得了很多成就 奖励 and with a long list of accomplishments, awards
发表了很多东西 布鲁斯为自己赢得了 and publications, Bruce has both local and
当地和整个国家的尊敬 因为他参与进了一系列 national reputation for being involved in a wide array
创造性颠覆的活动来扩大了 of creatively subversive activities that push the
艺术和建筑定义的边界 boundaries defining the art and architecture
这对当代文化有非常直接的影响 that directly interface with contemporary culture.
(没有声音) (no sound)
和他们对建筑注入的新鲜血液 And their installation.
在1996年 在他和约翰·伦道夫以及汤姆·巴纳罗 Again in 1996, with John Randulph and in collaboration
的合作 他创造出了"日晷的指时针" With graphic designer Tom Banauro, he created Gnomon
在旧金山现代艺术博物馆 At the SFMOMA
在博物馆当时的 Commissioned for the museum by
馆长阿隆·贝斯基的委托下 the then SFMOMA curator Aaron Betsky
当然在今天下午的 Who, of course, some of you
讲座上应该见到他了 may have seen him at the lecture
他们创作出了巨大的 this afternoon.
房屋大小的二进制大型对象块 They made an enormous room-sized blob
通过真实空间的GPS反馈按照自己的意志运转 that wheeled around on its own volition via real-time
这里的一个颠覆性行为 GPS feeds. One of the subversive acts here
除了观众被这机器碾过的威胁之外 besides the threat of audience being run over by
就是受到巨大挑战的 the machine was that the significantly challenged
艺术馆关于收集的雕塑品的标准概念 museum's normative concept of the collectible piece of
是典型的由无生命材料制作的东西 sculptures which is typically a defined object made
而"日晷的指时针"的客观性 of inert materials. Instead, Gnomon's objectivity
不只是在于它博物馆墙上 resided not only its risin fabrication presented
展示的松香构造 within the museum's walls but included the network
也包括头顶的 of satellite positioning devices
卫星定位设备网络 floating overhead as well.
博物馆怎么可能收集到这个呢? How does the museum possibly collect that?
在德扬纪念博物馆1999年的远景展览中 And for the Vista Point exhibition of the DeYoung
布鲁斯从博物馆的收藏和很多组设计中 Memorial museum in 1999 Bruce took a number of
借鉴了很多前辈的画和小道具 old masters' paintings from the museum's
所以参观者可以 collection and design porps so that viewers could
花很多时间体会和看 spend as much time viewing and seeing the
这些画背后的神秘的历史 secret history found on the backs of the
买卖的历史以及 paintings. The lineage of buying and selling and
很多艺术品的权力斗争 power straggles of artwork which we generally
这些背后的故事都是我们 are not supposed to see and presented those
不应该看到的和它和作品本身都展示了出来 the back alongside the fronts.
也许这并不惊奇 布鲁斯·图姆 Perhaps it is no surprise that Bruce Tomb lives
住在废弃的警察局里就像这是 In a decommissioned police station as if the
最好的对抗权力的方式 Best way to confront the power to know it's
去了解它从内部开始做起 Working from within.
通过他对这个旧警察局的建筑正面 Through his artistic tuning at the former
的艺术调整 station's architectural facade.
之前大家认为的 What was previously considered a rigidly
和周围邻居毫无界限的地方 off-limits to his neighborhood has now
现在成了私密制裁的 真实的时间和空间 become a privately sanctioned, real time massage
向想要毁坏这建筑的 space, giving expression to anyone who wishes
所有人示威表达情感 to desecrate this building.
我知道他一定会在今晚的讲座中介绍 As I'm sure he'll describe in this lecture tonight
他也参与了很多具有煽动性的 Bruce is also at work on a number of provocative
建筑任务.他这个系统中的寻找 architecture commissions. Given his propensity
不同尝试的倾向和习惯 for finding cracks in the system for which he is
让他也特别能够胜任这样的探索 uniquely qualified to exploit,
他现在的工作就是挑战政府准许系统 His current work is challenging the governmental
为了他创造的建筑过程 approval system for tectonic process he has invented,
但目前还没有被城市准许机构意识到 that is not currently being recognized by
布鲁斯建筑的与世隔绝的作品 city permitting agencies. Bruce's architectural
这被广泛地发表并在 isolation work which is widely published
国家和世界范围内赫赫有名 nationally and internationally known.
他获得了非常多重要的奖项 And he has received numerous and prestige awards
从ID杂志 国家艺术资助 From ID Magazine, the National Endowment for the Arts
领先建筑和建筑界 Progressive Architecture and the Architecture League
还有很多其他的重要的奖项 of New York, amongst others.
除了刚刚我提到的展览场地 Besides the venues I've already mentioned, he has
他还在很多著名的美术馆和博物馆里有展览 exhibited at many prominent galleries and museums
包括纽约的威特尼 including the Whitney Museum of
美国艺术博物馆 American Art in New York
Wexner艺术中心 the Wexner Center for the Arts
和耶尔瓦布埃纳艺术中心等 and the Yerba Buena Center for the Arts.
作为一个多才多艺又跨多个学科的天才 As a true multifaceted and interdisciplinary intellect,
布鲁斯在我们CCA建筑的很多系 Bruce has his hand in a number
也有很繁忙的工作 of departments here
包括雕刻系 工业艺术设计系 at CCA, Including Sculpture, Industrial art design,
家具系和建筑系 Furniture and Architecture.
他是一个可以对很多话题 He is someone who has a lot to say about
滔滔不绝的人 我必须要坦白 a broad range of topics and I must confess
我经常带布鲁斯到我的工作室看 I've invited Bruce to my studio reviews
因为我是一个总是 as often as possible because I'm the one that
对学习新鲜事物很兴奋的人 always ends up learning something new.
所以请大家和我一起欢迎布鲁斯·图姆 So please join me and welcome Bruce Tomb.
好的 非常感谢.这是一个很完美的介绍啊 Well, thanks, it's quite a bit.
我觉得我已经不需要再多说什么了 I'm not sure I need to say much more.
我来为大家展示一些图片 I'll show some pictures
来解释刚刚那段话好了 to go along with the words.
我今晚要以超级工作室开始 So my talk this evening begins with the work
也许联系不是很明显 of Superstudio. Well perhaps the connection
超级工作室是幻想的全新的建筑 may not be apparent, Superstudio's visionary
并且对我的作品有很深远的影响 radical architecture which has had a profound
我在加利福尼亚工艺学校圣路易斯欧比斯勃市 influence on my work. My senior year at
的第二年是在弗洛伦斯读过的 Cal Poly San San Luis Obispo was spent in Florence,
就是和克里斯蒂亚诺 studying with Cristiano Teraldo di Francia
研究超级工作室 of Superstudio.
我学习大量文献和超级表面的同时 While learning of continuous monuments
我都是在忙自己的作品 and super surfaces, I was busy at work on my own,
我自己做的大量的记录 My own continuous monument of sorts
这是一整年学术总结出的一部文献记录草图 It was a single monumental drawing for essentially
一次又一次在精美的意大利牛皮纸上制作 an entire academic year. Drawn and redrawn on the
叫做卡他·卢卡的草图 exquisite Italian vellum called carta lucca,
我为一次次使用这座建筑和 I was fascinated with the use and reuse of buildings,
他们叫做spolio的部分而痴迷 and their parts they called it spolio.
当然超级工作室的工作是有问题的 Of course Superstudio's work was problematic
一方面提出了一个没有目标的生活 in one hand proposed a life without objects
没有质量保证就设计家具 and designing furniture without qualities
这是解释资本家制度的一种方式 as a way of unraveling some sort of capitalist system.
这也是构建我作品的 So it's a part of this interesting multi-scales that
有趣的多层次大规模的一部分 kind of framed my work as well.
例如 这是他们大约20世纪70年代的 So for example, this is some of their furniture from
一些家具 所以不管他们独特的作品里 circa 1970s, so whatever optimistic vision lingered in
透露出怎样乐观的气息 他们总有一种 their critical practice, they had in a sense reached
触碰到地面0层地感觉 例如我最喜欢的 ground zero, and for example one of my favorite
他们的家具的图像之一就是"春季大扫除" images of theirs is this Spring Cleaning, which
它和我期待那时期流行音乐文化产品 resonated well with my neolistic sensibility of the
的敏感度产生了共鸣 pop culture that I was anticipating at that time.
但确实那个时刻继续 But really the project that
向前的作品和与 carries forward at this point
今天共鸣的作品是他们的奇诺作品 and resonates to this day was their zenoproject.
这是一个关于意大利农民文化的研究作品 It was a research project into the peasant culture of
观察人们一步步从头开始 Italy and looking at the way that people started from
用自己的双手创造和建造世界 ground up with their hands, building and making
正是这种从文化约束中脱离的感觉 the world. And it was this sort of exit from the
让我们在70年代发现了很多他们的作品 cultural bind that a lot of their work found in mid 70s,
作为向前迈进的一种方式 as a way to essentially move forward.
当我从意大利回到美国 When I came back to United State from Italy,
我最终开始和马克·麦克还有 I end up starting work with Mark Mack,
贝蒂·麦克建筑师工作室一起合作 and Batey Mack Architects.
和麦克 贝蒂一起 实质上是 With Batey and Mack, essentially
我第一次的合作作品是 my first collaboration was with
和马克一起 在一些混凝土砖头家具上 Mark on some concrete block furniture.
混凝土家具看起来像一种完美的 And concrete block furniture seemed like the perfect
自然的对奇诺20世纪90年代作品的拓展 natural extension to the zenoproject in 1990s,
怎样从某种意义上开始一个新的作品 how to start to begin anew in a sense.
我怎么可能创造出建筑的东西 How could I build something architectural
用非常有限的方法 没有钱 with very limited means, with no money,
没有顾客 并且探索这些 no clients and yet explore these
最基本的建筑艺术和 fundamental acts of architecture and
建筑构成要素 architecture components. So it was the
所以这是一个混凝土的砖块的家具 我们创造出 concrete block furniture, we developed
一整条线的混凝土的砖块 a whole line of concrete blocks,
混凝土砖块的家具.例如 concrete block furniture. For example,
左边的那个模型是个隔热的 the model on the left would be a hot-mocked
混凝土砖块的椅子 右边是 concrete block chair, and on the right
再创造的混凝土砖块的椅子 would be a reconstructed concrete block chair.
随着家具的轮廓 And as with any good furniture line,
我们创造出了一个目录 we created the catalog.
这个目录里全都是图画 这些画填满了 The catalog was full of drawings illustrating all these
所有这些画的所有画面 critical sizes and dimensions of these pieces.
例如左边那幅 我们做了 On the left for example,
一个混凝土砖头的卫生间 we did a concrete block toilet
在右边 这是目录的 and on the right, say as
最后一页是空白的 the final page of catalog was an empty page
这一页有人可以自己设计 where someone could design their own.
从探索家具中看建筑的范畴中出来 And so moving from that territory of exploring
和约翰·伦道夫一起 architecture through furniture, and the creation of the
创造的临时建筑工作室 Interim Office of Architecture with John Randolph,
发展出了一整个系列的实验家具 a whole series of experimental furniture were developed
我觉得这些家具至少 and really these pieces of furniture in my mind
占据了这种文化沙漠 at least inhabited this cultural desert
你可以说是超级工作室版本的这个世界 you could say Superstudio's vision of the world.
这是他们营地的东西 Here, in their encampment were things
有些空荡荡的 that were a bit bare
这感觉是似乎需要一些其他的 It seemed that as though there was a need for
装备或者一些其它工具 some other accoutrements, some other tools,
这些都是要填满 fundamental to
这个空间很基础的工具 starting to occupy the space. So it began with the
所以它是以花岗岩炉灶面 granite cooktop that
开始的 在右边 外院的后面 you can see on the right
是浴缸 脸盆的左边 behind it a bath cart, to the left of a profane basin,
一张桌子在 a table that sneaking off of the
整个构图的边缘 edge of the frame there
前面是一个隐蔽的厕所 and the stealth toilet in the foreground.
所以这里有一系列的自动化家具 So there's a whole series of autonomous pieces
从某种意义上来说再次研究了 of furniture, in a sense reinvestigating
填满一个空间 让它焕然一新的意思 what it means to inhabit space, starting anew,
如果你可以将某些 and what does it mean if you can
东西固定在这里并且 take something that would normally
将它与它可能存在 be a fixure and disconnect it or detach it
的建筑风格分离开 from the fixities of architecture, and what kind of
意味着什么 possibilities of space that might occur.
所以之前就已经很清楚了 你可以用 So it's very clear early on that you can use
这些工具来开始研究 these tools as a way to start to investigate
建筑概念但并不一定要 architectural ideas without
真的把建筑物建出来 necessarily building buildings.
当然 作为家具 他们有很好的 Of course as furniture, they have the wonderful
开始起很多不同的作用的能力 ability to start to serve a number of different ways.
所以当很多建筑师在寻找顾客和工作的时候 So as young architects looking for clients and work,
家具确实是这些少数我们可以意识到 furniture was certainly one of the few things that
并且自己创造出来的东西之一 we could realize and build and do ourselves.
所以例如 左边的这个是第一个装置 So for example on the left is the first installation
安置在纽约的脸盆之一 of one of the basins installed in New York,
再次探索了和空间的 once again exploring this very tentative
这种不确定的关系 relationship with the space.
右边是目录里的一幅前面目录的图片 On the right would be a picture from the front catalog,
所以那是很大的家具用盆 so that is the infinite fitting basin and
是我今天尝试部分之一 that is part of my practice today,
所以某种程度上我还是和家具产品 so I'm still very closely involved with furniture
关系密切.回头看看 and product in that sense. Looking back, one of the
汤姆没有提到的 projects that Tom didn't mention was the
作品之一是黒德兰兹艺术中心 Headlands Center for the Arts done with
的我和约翰·伦道夫1987年的作品 John Randulph back in 1987.
这个作品是一个完美的范例 This project is a wonderful example of
很多物体积聚在一起 a number of agendas coming together.
一个就是考古学的敏感度 One would be this archeological sensibility,
追求基本的建筑学的行为 this desire for seeking out these fundamental acts
追求最根本的东西 这个地方的起源的冲动 of architecture, giving to the roots, the origins of
所以我们被要求将军用公共厕所 place, so we were asked to convert a military latrine
一个公共浴室 into a public bathroom that
男人和女人都可以在这里洗澡 you could use for both men and women.
我们就像艺术家入住进 and we came in as artists in residences on the
大卫·艾尔兰和 heels of David Ireland and
麦克·汤普森 Mark Thompson who enssentially
设定感觉和基调的空间里 set the spirit and the tone for the place.
我们把这种建筑敏感度带到了很多层次 This archeological sensibility we took to many levels.
其中之一就是表面 标志着大卫·艾尔兰的作品 One of them is something like the surfaces kind of
还有整个系统 a homepage to David Ireland's work
管道系统 but also the systems, and the plumbing
电路系统和隐私系统 systems, electrical systems and systems of privacy.
他们躺在那里 水不是 They laid there, the water was, instead of being
当你像通常那样压了阀门就向下流 mounted down low with the normal push valves
阀门被从上面吊了起来 它突出了 were drawn up from above, it's accentuating
每次冲马桶时人造能源线 the relationship between the supply water fed with
摆动来 aircraft fuel lines that wiggle each time
供水的关系 the toilets were washed.
但两个隔间是打开的 But two toilets were left open as kind of
就像是对这个空间之前用途的纪念 memory to the way the space used to be.In the military
在军队里是没有隐私的 originally there's no privacy.
所以这两个隔间是为了过去 So these two are for
也是为了非常需要的人留的 the old or the desperate.
这里你可以看到一吨半钢所给的隐私空间 Here you can see one of the ton and a half steel
比普通的地面到厕所边缘 privacy partition raised slightly higher than normal
的距离要高一点 above the floor just to the rim of the toilet,
这只比普通的低一些 and set just a little bit lower than normal
就是在推着这个空间 以某种方式来讲 kind of pushing the envelope and in some ways,
减少到我们认为的 reducing it down to what we thought could be
最小化暴露隐私的情况 the absolute bare minimum of exposed privacy.
当然 这儿的声音特别大 Of course the sound is quite remarkable here.
关门声啊 每次冲水 the slamming of the doors,the cacophony
和滴水的刺耳的回声啊 that resonates from every flush and drip.
汤姆提到了这个装置.新兰顿艺术中心 So Tomb mentioned the installation，Prima Facie
的"初步印象" 这是它的图片 at New Langton Arts, here's an image of it.
从录像里看有些放大了 It's a little bit blown up from a video still.
这个录像让我们看到这个美术馆 showing the gallery which is
在二楼俯瞰着整个街道 up on the second floor overlooking
南市场区的福尔松街 Folsom street, the south market area and
很多艺术馆 as with many galleries, all the windows
所有的窗户都是被墙 have been boarded over or walled over.
围起来的 街道的出现 The presence of the street,
和展示的作品格调非常不一致 is essentially at odds with the
包括噪音啊 shown work. Both the noise,
光啊和对墙的需要 the light, and the need
所以要让这个作品达到最好的效果 for wall space, so coming off
像在黒德兰兹那你有非常丰富的 of a project like the Headlands where you have very
背景可以利用 rich context to work from,
建起来的大楼 with the artifact of the building,
军事历史 这里 the history of the military,
作为一种艺术泡沫 here as a kind of the art bubble,
在二楼与它的背景分离 on the second floor disassociated from its context.
确实很有挑战性 因为它存在于一面很具体的墙 The challenge was really as site specific were,
这也是我们很感兴趣的东西 which is what we become very interested in.
怎样参与并开始创造出这个特殊地点的感觉 How to engage and start to construct the sense of site
所以我们将墙和窗户分开了 So we removed the walls from the windows.
实际上我们去掉了视觉碎片 Actually we moved the optical segments
从正面安装了很多镜子 installed these enormous mirrors from the facade.
前面的镜子会让人们的 The mirror in the foreground would
视线偏离出美术馆 deflect one's gazed out of the gallery
到地下的人行道旁边 Down to the sidewalk and the one
上面的会把视线折射到上面 beyond would deflect the gaze upwards.
所以一旦进来你就进入了 So once inside, you enter into this folcom point
这个在长长的管状 of chamber at the center of very
空间中心的房间 kind of long duct space.
从这里看向街道 你可以看到黑色的轮廓 looking here towards the street, you see the dark line
作为街道的一部分 走过人行道 as part of a road to go across the sidewalk to capture
来感受外面交通的脉搏 the impulse of the traffic outside.
右边这幅就是天空的样子 The image on the right is the sky above.
所以我们最终做的就是创造出了一个空间 So what we end up doing is creating this space.
我们的想法是要弄明白我们 The idea was to figure out the way that we could
在概念上尽可能地在一个空间创造 perceptually create the most extreme exaggerated
最极端最夸张的概念感的方法 sense of perception as possible in one space.
所以我们对光和声音都很感兴趣 So we were interested in light, sound on one end,
还有在另一个 and kind of the antithesis of that
黑暗深渊里的对立 on the other dark abyss.
所以这个前面的房间是一个大型扩音器 So this chamber on the front acted as a giant
从街上来的开车的声音 光线 megaphone, driving sound, light from the street
从这里进入艺术馆 它创造出了 came into the gallery and it was bisected creating
电视效果 用一面作为共鸣器的 this televisual effect with the sheet medal wall
金属墙达到了这样的效果.所以这个共鸣器 that acted as a resonator. So the resonator was
是由于外面的交通而起作用的 triggered by the traffic outside as well.
回头看这个空间 Looking back into the abyss.
我们有一段视频资料 There's a short video here.
(没有声音) (inaudible)
下一个装置是为了在旧金山现代艺术博物馆 The next installation which would be
做的一个装置 是和 the installation for SFMOMA that was
约翰·伦道夫和汤姆·巴纳洛 done with John Randulph and Tom Banauro.
创造的日晷的指时针 It's entitled Gnomon.
作为另一个建筑风格的开始 And as another architecture beginning, we were
我们非常好奇怎样呈现最基础的 very curious how to take on that fundamental
活跃的建筑风格 active architecture deep within
深埋于博物馆的内部 the bowels of the museum.
我们从阿隆·贝斯基得到一个空间 We were given a space from Aaron Betsky
这是一个和建筑设计区 a threshold space between architectural design
以及博物馆其它部分之间的临界空间 collection and the rest of the museum.
这个作品本来的想法是 So the initial idea of this piece is that
它起的作用是作为一个在 it would function as a threshold piece between
那些收集之中的一副临界作品 these collections but also would start to
也能开始让整个博物馆以不同的方式活跃起来 activate the museum in different ways.
我们看到了一个设备装置 So we had this vision of somehow an installation.
他们可以开始作为一个旋转门 They could start to function like a revolving door
或是旋转式栅门或是开始 or turnstile or could start to modulate
调节进入博物馆的人流量 the flow of people through the museum.
我们认为博物馆是一个 We understood the museum as an institution
专门用来引导 which was essentially designed to process
人们进入博物馆的速度是 People went through it at the rate of
每分钟5平方英尺 500 square feet per minute and so
不知道为什么我们对弄清楚人员流动 we were very interested in somehow unraveling
并且以某些方式降低人们的速度非常感兴趣 that flow and slowing people down in some way.
所以这幅作品在某种意义上来说被想象成 the piece was in a sense was envisioned as a blockage
是这个过渡空间的遮挡但我们非常感兴趣的是 to that transitional space but we were ultimately
一个这个场地这么大的工程 interested in a site-based work
却能容纳一个更大的世界 that engages a larger world
一些比博物馆的墙更大的东西 something beyond the walls of the museum.
所以这非常有挑战性 我们该怎么做呢? So the challenge was really How can we do that?
我们的位置不是特别好 We weren't in the position here
不像我们在"初次见面"一样 like we were, say,
我们可以开一扇窗或者墙 at Prima Facie where we could open up a window or wall
与街道相邻 that directly abutted a street.
所以我们开始想各种信息网络和东西 we started to think of various networks of information
我们能带给这个博物馆的东西 and things that could be brought into the museum via a
通过一个管道或是脐带 conduit or umbilical
一样的东西和外界联系起来 with the rest of the world.
在这幅作品里.这块二进制大型对象块 So with this piece the giant blob which was 18 feet
18英尺长 8.5英尺高 7.5英尺宽 long and 8 and a half feet tall and seven and a half
被带进这个小房间 feet wide, was introduced into this small room and
在左上方那个角落 然后被转移到 in the upper left hand corner, would be moving towards
从博物馆主楼梯到这个空间 the space from the main staircase of the museum.
这好像一只被囚禁的野兽 As a kind of caged beast.
这庞然大物占据了整个空间 This giant thing occupied the space in such a way that
让人很难看到另外一边 it was very difficult to see through to the other side
因此不知道你将走到哪里 to know where you were going.
所以不知道你在博物馆里的路线 So not knowing your way through the museum, you might
你会在想这就是终点了吧 assume this was a dead end or a terminus.
和汤姆·巴纳洛 一个平面设计师一起工作 And working with Tom Banauro as a graphic designer,
他那时对电影也很感兴趣 he was very much interested in film work at that time
所以这个庞大的二进制大型对象块也作为 so this giant blocb also served as a rear screen
一个宽大的幕布来投影东西 projection surface for these projections.
这整个东西被设定为一种程序 So this whole thing was set into motion
就像汤姆刚提到的 用GPS as Tom mentioned earlier with the GPS.
那时候 1996年 At that point of time, which was 1996
GPS还是军方控制的信号 GPS was still, as a signal controlled by military,
他们争夺信号 它就被曲解了 they scrambled the signal, it was skewed.
他们这样做是为了国家安全 The reason they did that was for national security
这样我们的信号就不会被盗用 so that the signal couldn't be pirated and used
去做出一些武器来对付美国 for say, guided weaponry against the United States.
所以这种歪斜是一个很让人着迷的东西 So this skew which is a fascinating principle
它需要卫星网络的时间阶段 takes the time phase of the network
并且稍稍改变一些 of satellites and shifts it slightly.
这里面有个曲折的过程 There's such a kind of a meander
当你询问GPS "我的具体位置是哪里" so you asked the GPS, "where am I?"
它会积极地告诉你你在不同的地方 Overtime, it will tell you that you are in
所以你得问这一刻我在哪里 different places, so you ask this moment,
我在这.下一刻我在那 I'm here. Next moment, I'm over there
20英尺之外 再下一刻我在那里 20 feet, and next moment I'm over there
100英尺之外 等等.所以这里是 100 feet and so forth. So there's a continual
持续不断的信号的旅程 对吧? meander of signal, Ok?
这也是日晷的指时针用来 And that's what the Gnomon was using for its
作为博物馆导航的地方 guidance in the museum.
GPS的整个过程是 The meander for the GPS was about,
那时候是100米 or at that point was about 100 meters.
艺术馆是26平方英尺 And so the gallery we had was about
所以它会不断地 26 feet square and so it would continually
试图到达从未到过的地方 be trying to get where it could never go.
所以是博物馆的墙 So it was the walls of the museum that somehow
不知怎的会采集它 captured it.
我们还有个精心制作的传感器系统 And there was an elaborate system of sensors that
被这个机器化的作品继续不断发展 were developed with this robotic piece.
你可以看到在任意一端 You can see at either end is kind of
是一个红外线传感器的感应系统 a neuro-system of infrared sensors to keep it from
来避免它让人撞到博物馆的墙 crushing people against the walls of the museum
另外 还有其它 and in addition to that were several other kind of
几个多余的安全系统 redundant safety systems.
这个东西有一吨半重 this thing weighed about a ton and an half
所以你可以想像这个东西在博物馆里 so you can imagine this thing moving throughout the
来回穿梭 确实是个让人很不安的景象 museum which was quite an uneasy scenario.
但这个装置最棒的是 But one of the things that was most wonderful
有了两边的这些红外线传感器 about the installation with these infrared sensors
这是从一个有录像设备的入口 in either end,this is the view looking through an
看到的 这里还有一些 access port and there is some
多媒体器械在前面 audio equipment in the foreground
是孩子是博物馆 is that children were the first
里第一个发现 in the museum to discover that
他们可以轻轻敲打这个日晷的指时针 they could start to spar with
可以和它一起跳舞 the Gnomon, in a sense dance with it
就以不同的方式站在它前面就好 By standing in front of it in various ways,
他们可以把它集合起来 they would corral it or get it
或者用其它方法让它动 to move in different ways.
当然 家长和博物馆的工作人员 Of course, the parents and the museum staff were
也总是很小心注意这个场景 always very watchful and intensive about the scenario.
这太棒了 It was a wonderful kind of unraveling
揭开常规的规定 of the normal protocol
距离 白色的线和 distance and white lines and
在博物馆里的其他一些东西 so forth that exist in a museum.
里面看到的景象展示出了一些技术 Interior view showing some of the technology,
录像在这个作品里发挥重要作用 audio was a big part of this piece,
似乎是黒德兰兹的不断进步 kind of carrying forward
从那的声音中借鉴的东西 from the Headlands.Lessons
小隔间里的东西 和 about sound there and in the stalls and the ability to
用钢来做共振器 "初次见面" use the steel as a resonator, the Prima Facie
是在处理听觉空间 working at the acoustic space and the difference
生动的空间或是无声的房间 between a very live space and kind of anechoic
或是声音停止的空间的区别 chamber or a sound-end space.
这里我们让二进制大型对象块的外表 Here we activated the actual skin of the
看起来活跃了起来 就是纤维玻璃单体横向表面 blob which is a fiberglass monocoque shell
用一系列声音驱动程式 with different arrays of acoustic drivers
所以不用为说话者准备了一个声道 so rather than having a sound track to play through
它表面本身就可以发出声音 speakers the skin itself emanated the sound kind of
让这个作品充满生机 brought the piece to life.
这里是这个系统的控制处和突出物 Here you can see the motion control and the projectures
还有视频投影仪和转盘中心 video projectors and the center of the turntable and
和镜子 还有约克在那儿进行检修 and the mirrors, and Yok Minov there troubleshooting.
这有另一段短视频 So this is another little video here to give you
让你们感受一下那个空间 a sense of that space.
我还是要说 很多空间的作品 Once again, a lot of these site-based pieces
都是处理声音和动态 that work with sound and movement overtime
经过很久之后是很难记录下来的 can be difficult to document.
(影片) (Video)
所以所有一切都不断的在运转 So everything was constantly in motion,
不管是视频 whether it be the video content itself,
内容本身 and the fact there were
转盘的三个投影仪 内部不停地旋转 three projectors on a turntable,
所以图像会出现在表面上 这个二进制大型 continuously rotating internally so that images
对象块自己在 would appear across the surface,
美术馆里穿梭 and then the blob itself moving across the gallery.
(影片) (Video)
继续 回到家具 Moving on from that, and back to furniture
也是我的作品典型地不断徘徊 which is typical in my practice going back and forth
在装置操作的家具 between installation work furniture,
和建筑之间 architecture as well.
这个作品叫"卧室" 它是一个很有趣的内部结构 This piece is called "bedroom", and it's a curious
日晷的指时针和这个笛卡尔的 intersection of say, Gnomon and this Cartesian
睡觉的方形小屋 为一对双胞胎结构 little sleeping cubical size to a twin mattress
作为这个大房间的一个小房间 serves as most tiny room within a larger room
也许是为客人准备的 perhaps for guests, the legs have
腿是聚四氟乙烯作为滑动装置 Teflon skids for their feet
所以可以很容易进行移动 so it can be scooted around easily.
这里是一些细节 纤维玻璃的表面突然膨胀 Detail here of the fibreglass shell bumping up against
碰到褪色的松木 the stained pinewood.
看到不同的材质 Looking at different material qualities here fibreglass
纤维玻璃有一种不断变化的流动的感觉 taking on a very liquidy quality ever changing.
有人受到日晷的指时针的外表 Somewhat inspired by Gnomon
被运动的图像激活的启发 where it was the skin activated by
这种有机的表面 moving images here, kind of
和灯光的演绎 organic surface and the play of light
利用那个想法 将它放进一个公共的空间 Taking that idea, moving it into a public realm,
这是耶尔瓦布埃纳 This is an installation for
艺术中心的一个作品 Yerba Buena center for the arts
这展示的系列作品叫做缓慢潜水 and for a performance art series called Slow Dive
这个设备是为了 and this installation was commissioned with the desire
让人们能身处表演的区域 to offer up seating in a performance space
为艺术馆和这个项目 for the gallery and for the programming
但同时它需要以雕塑的形象 but at the same time it needed to stand up for its own
自己矗立在艺术馆里 kind of sculpturally within this gallery.
作为展示的一系列作品 As a performance art series,
这个主体很大程度上在于主体 the subject in so many ways was at the body,
作为不同的建筑 so as a different kind of architecture that
从内向外看整个作品 looks outward typically for site, in this case
在这种情况下 这箱子座椅 the box seats look inward and
面向内 整个景都在里面 the site is held contained within.
人们透过这些失真的投影可以看到它 It's made visible through these anamorphic projections
从上面的阳台上一个 that are cut into boxes
特殊的角度被分割进盒子里 from a privileged perspective
你可以看到这个理想化的景象 from the balcony above. You can see this idealized view
是3D的主题扫描仪决定的 that was determined by a 3D body scan
所以在箱子外面有一些x光射线的切割 So those are kind of X-ray cuts back out of the box
同时来研究一个静止的主体 Exploring kind of a simultaneity of a static body,
和迈布里奇的作品形成对比 in contrast to something like Muybridge's work,
很长时间都是静止不运作的 which is freezing motion over time.
但也是在这个装置之中 它开始展示 But also with this installation, it starts to show my
出我对不确定性的兴趣 interest in indeterminacy which plays out in
这以各种方式在各个作品中展示出来 many many ways whether it's a situation in a
不管是在这样的艺术馆里的情况还是 gallery like this, whether it's a material usage or
它材料的其他用途或者一座建筑的生命 even a perhaps the life of a building.
所以你看到的这个从上而下理想的景象 So the idealized view from above that you can
很快就崩溃了 只要艺术馆 see becomes unraveled very quickly once the gallery
被使用起来 左边下面 starts to become used and then in the lower left
你可以再次看到一个还在编程的表演 here you can see once a performance in process.
好的.我们再来看看一些建筑作品 Ok. Moving into some architectural projects now.
这是最近的一个作品 和塔尼亚·平克 This is a recent project done with
在我的办公室里合作而成 Tanya Pink in my office.
这是一个纵向版本的很小的房间 It's a vertical edition for a very tiny cohousing
在奥西阿诺镇上海岸中心的一个作品 project in the central coast of Oceano (the town).
这个作品是为一个小男孩儿做的.这是他的卧室 And the project is for a teenage boy. It's his bedroom.
但他的房间太小了 我们找不到任何方法 But his house is so tiny that we couldn't find a way
将楼梯放入房间里 to fit stairs into the house.
所以事实上你要进房间 So you actually enter the bedroom
就要出去上楼梯 by going out stairs outside,
穿过桥进卧室 upstairs across the bridge and into the bedroom.
在桥的右边 是一个 So to the right of the bridge, that would be
盥洗室 所以这个小房间 a water closet and so the tiny bedroom has
有间盥洗室 水池其实是 a water closet and the sink is
在他的卧室里 actually in his bedroom.
它在鳄梨园里 在这能看到 It sits within an avocado orchard and has views
庇斯摩海滩 这是阳台 out towards Pismo Beach.This is the balcony looking,
对这南边和西边 facing towards the south and the west.
这是临时建筑工作室和 This is a project done with Interim Office
道格拉斯·伯纳姆合作的 of Architecture and Douglas Burnham,
他可能不在这但他在CCA教书 who may not be here, teaches at CCA.
这个作品经过很多年才完成 This project can bridge a number of years. Perhaps
这也许是我参与的历时最久的一个作品 one of the most protracted projects that I've been
以改造了已有 involved in, started off as
的房子开始 a remodel from existing house
这个已有的房子在那边展示出来 and the existing house is shown on the side
并且在这个工程期间 and through the course of the project,
主人要求它要节省一点 it was determined that it would be more cost-effective
因此要求重新建一座新的房子而不是 to build a building from the ground up rather than put
彻底改造这个房间 the house through a radical remodel and then
之后在建造中 它又受到原来 at some point during the construction it was determined
房子的限制 它是在太难看了 by the original house that it was so ugly that
我们必须要拆掉它 然后为我们的客户 we had to tear it down and
建起一个独立的监工的房间 build a separate caretaker's house for the client.
我想说的是 One thing I wanted to talk about here was
第一 为我自己在风景中的建筑 first, building in the landscape for myself and
那个时候临时工作室是一个机会 the Interim Office at that point was an opportunity to
让我们以从未有过的方式开始看待位置 start to look at site in a way that we never
所以这个特别的地方 had an opportunity to do before and so this particular site up
是在索诺马 在阿罗约塞科边上 in Sonoma, is along an Arroyo Seco that essentially
拥有很茂密的橡树 has a dense canopy of Oaks that run along it
这个地方的东边是葡萄园 and to the east of the site are vineyards
你可以看看右边的远方 you can see the far right hand site the view looking
透过葡萄园可以直接看到房子 across the vineyards towards the house.
对于这个地址 它的特点就是 For this site, it was characterized by the presence
水以一种很玄妙的方式出现了 of water in a profound way as you know Sonoma
你们知道索诺马夏天非常热 can get incredibly hot in summer and
因为高温和干燥的天气 because of the heat and dry conditions that exist.
人们会担心火灾发生 There are fires utmost concerned so there was
所以确保水的存在是必不可少的 a need to make sure that water
为了灭火 was present on the site for putting out fire.
所以我们建了一座游泳池 So we had to introduce a swimming pool
为这座艺术建筑汲水 for the art department to pump from
但这个地点的水 家庭用水 But also the water on the site, domestic
是从井里打出来的 water was drawn from a well.
井里的水是硬水 The well had incredibly hard water and
不能饮用 松树的硼 was not potable,pine boron content
所以不可能用这水浇灌植物 and so the use of the water for watering plants was
所以我们必须要 not possible so we had to introduce
引进一个水生植物 a water plant as well
这是个恶性循环. So that's the dark circle right there.
池子在那 他们从池子里取水 The pool was there and they get water from that pool.
这地方冬天是一个冲击平原 Well, the property in winter time is essentially
所以东边 a flood plain. So all of
所有的山 the hills to the east and across
穿过葡萄园大棚 穿过这片地 the vineyards shed across this lot,
就像占据了洪水的道路一样 as kind of occupying the flood way
这是个50年的冲积平原 there's a 50-year flood plain,
这是绿松石界线的状况 and that's the turquoise boundary condition
你可以看到在紫色上面 that you can see, beyond the purple colors.
所以建筑里的这个设计 And so this design for the project was developed
是很用心的 它以多种形式把水留在这里 very mindful of presenting water in so many ways
并且建立了与整个地区通过水 and kind of constructing a whole relationship
建立了联系.所以下面 with the site through water. So down below,
有一个大的集水地和堰 there's a large catchment and
是从溪水来的 a weir that was introduced
这个工程里南边儿的低地 out to the creek and the lower southern part
起着码头的作用 of the project function somewhat like a pier over
在冬天的洪水水域 the flooded waters in the winter
这是从近处看房子的样子 So this is the view approaching the house
这是一座两层楼的房子 楼上有两间房子 This is a two storey house with 2 bedrooms upstairs
这个是下面空间的图 open plan down below for living spaces
左边是葡萄园 vineyards to the left and a canopy
右边是一片树荫 of trees to the right.
坚固的工具箱材料 A robust palette materials, fire resistant
不用经常维修 防火 for low maintenance
前面的水池 Pool in foreground.
这是里面的样子.底下 Here is the interior. There's a bridge element
有桥的元素 你可以看到 是用半英寸的铝盘子 below there, you can see, made of half inch aluminum
下面是一个下沉的小岛一样 plate. Looking down below that is sink island
楼上深入房顶的树荫里 and then upstairs into the canopy of the roof,
楼梯似乎是分离的 the stairs kind of split.
再回来看这个装置 想想 So going back to installations, thinking the site
德扬博物馆的那个地点的设备 the installation at the DeYoung museum, a collaboration
是克里斯·福斯和杰恩·罗德里克合作的 of Kris Force and Jayne Roderick,
他们是声音设计师和音乐家 they are sound designers and musicians.
景色是最吸引我们的地方 We are most attracted to the landscape
他们有非常丰富的 They have a remarkable collection of
哈德森河派的画作收藏 Hudson River School paintings,
我们还是很感兴趣 We are interested in
对博物馆内部 想找个地方 once again inside the museum, thinking about site
在这个案例里 我们构造出了想象的风景 so in this case, we constructed an imaginary landscape
连续又破碎的地平线 continuous yet fragmented horizons between the
在不同的画作之间 创造想象的风景 various paintings to create this kind of imaginary site
这里对橱窗的使用和橱窗本身 The vitrines were used and the vitrines themselves
完美的让这些画和 beautifully double and multiply the paintings and
画里的层次加倍 甚至是原来的很多倍 layers on the paintings themselves.
这是这个设备的 There's once again another short
另一段小视频 video of that installation.
声音特别小 我都不敢相信 Here the sound is subtle. I can't believe.
(影片) （Video）
所以做为我练习的一部分 另一部分 So as part of my practice, another part,
另一个领域 很重要的就是 another dimension, very important is
和材料有关的调研 the research associated with materials.
很多年我都一直在研究纤维玻璃 For many years I've been working with
它从各个方面融入了我的血液 fibreglass. It's in my blood in many ways.
我父亲之前造过船 My father has been a boat builder
这些纤维玻璃合成物开始展示出 These fibreglass composites start to show
我关心的很多东西 a sambling of some of my concerns are
我对这些材料很感兴趣 interest in these materials.
左上角的那个是透明的轻木纤维玻璃 The upper left hand one is a translucent fibreglass in
研究了合成物 balsa exploring possibilities of translucency
融合透明性和结构两者的可能性 and structure together as a composite.
下面一个开始看到了不同的厚度 The one below starts to look at different densities,
固定集合中的不同的厚度 different thicknesses within a given assembly.
左下角的是对一个建筑的 The lower left hand corner is an exploration of
结构表面的研究 a facement of structural skin of a building.
例如 想想一个窗户 For example, consider a window that has no
没有准确的边缘.它没有打孔 precise edge. Rather than being aperture，
是个建筑表面很薄的大楼 it's a thinning of the structural skin of the building.
浅绿色的那个和它下面的那个 The aqua colored one and the one below
从同样的合成物一面到另一面 are looking at the relationship from one side to
看它们的关系 another of the same composite
它怎样将自己以不同的方式展示出来 How it might present itself differently to be the
哪里是外部哪里是内部 还是对 exterior and the interior, once again very interested
透明的东西感兴趣 in translucency here.
下面那块的另一种变化 上面 Another variation of that below, going up
右边有标签的那个 to the right with the tags, that would
这是这个工程的一个合成样本 be a composite sample for a project
现在在我办公室里 that is currently in my office
我之后会给你们看 探究的是 which I'll show you next. Exploring that kind of
有流动感的有机表面 下面那个是 liquity organic surface and below would be the
它的内部 就像一个帘子 interior of that as a certain
乳白色透明的特质 opalescent and translucent quality
再下面那个是 The one below that would be looking into the
看那个逐渐变弱的区域 板面逐渐 tapered section, a panel that essentially tapers
变成一个边缘 这让它变得完全透明了 Down to an edge, which becomes completely
另外的几块都在 translucent. And then the others are looking at
从不同的透明的景色 various other translucent scenarios
寻找分隔物和屏障 for partitions and screens.
这个我办公室里的作品现在是 This project in the office currently is a vertical
50年代现代房子的纵向版本 edition to a 50s modern house, it's attributed to
归功于建筑家亨利·希尔 the architect Henry Hill
所以作为这个作品的纵向版本 so for this project as a vertical edition, it
它可能是卧室套间 will be a master bedroom suite,
图书馆和孩子的卧室 a library and a children's bedroom
想法是 The idea is to add vertically here
纵向添加 and as a building that
成为一个设计精美的建筑 is essentially quite beautifully designed to begin with
这是我第一次机会 this is the first time I had the opportunity to
在圣弗朗西斯科的 work with adding on to a
一座现代建筑上添加东西 modern building in San Francisco.
这算是一种款待吧.但要突出 So it's kind of a treat. But working with the ideas of
原有的体积 extruding the existing volumes up with
通过对现有建筑的分析 kind of analysis of the existing building and
并一定程度上让它复活 resurrecting to certain degree, some of the original
一些原本的设计想法 毫无疑问的 design intent of the building which was no doubt
原本是一种垂直滑动式的设计 originally clad and read with vertical siding there.
所以从建筑的西边看到的样子 So another view here from the other western
下面是角楼 end of the building with the turret below
你可以看到模糊的东西 You can start to see something vaguely like
像日晷的指时针被用进了这个卧室 "Gnomon" engaged with the master bedroom.
这是浴室 And this is the master bathroom or bath pot.
作为浴室 作品的这个部分 As a bath pod, this part of the project is essentially
占据了转弯处的中心 occupying the center turn of a switchback
在圣弗朗西斯科的弗里斯山旁边 in Forest Hill neighborhood in San Francisco.
这个建筑的理念 The idea of the project is essentially
是浴室开始 that the pot starts
变成了这个建筑的很多力的集合 to become a collector for any number of
你可以从这里看到 forces on the site. As you can see here,
差不多在回转处的中心 it's more or less located at the center of the turn
但最重要的是占据了非常棒的空间 but most importantly it occupies this wonderful
松树荫下搭建的这个建筑 space that's created by the canopy of pine trees
对城市的房子来说这是个很独特的景色 So it's a very unique scenario for an urban house
在圣弗朗西斯科.所以这个作品最初的灵感 in San Francisco. And so the initial inspiration
是包裹住这个空间 for the project was a kind of a cup for the space
关注于直接向上 that was focusing straight upwards.
当然关注于直接从下而上解决了 Of course this focusing straight upwards solves
这个地点的其它一些问题 some of the other issues on the site,
例如街道拐角处的不隐私性 such as publicness of the turn of the road as an
就像圆形的露天广场 在这个最隐蔽的场所 amphitheater almost in this most private space
但所有这些房子 But also there are all these houses that start
开始组成一个管械乐队的作为 to form a kind of orchestra seating
这最隐私的空间 for this most private space.
右边角落里 So you can see on the right side corner is a
是一个很大的练习模型作品 large study model of the project and so one
最让我着迷的是 of the things I'm very fascinated with is this whole
这制作整个系统的过程 是吧? System of making, right?
并且它通过所有这些家具 And it shows up through all the furniture and
和所有材料研究中展示出来.它继续向前 all the material research. It carries forward,
对于这样的东西 家具的规模 and for something like this, where the scale
开始变得有建筑气息 of furniture starts to become architectural
就会有很多复杂的问题出现 There are lots and lots of very complex issues.
一边儿是这个设计的过程 So on one end there's this design process that
包含了一个相互影响的场景中徘徊 engages very much an interactive scenario going
从做实际模型 back and forth from working with physical
到做电子模型 model going to digital model here, working
做出确定的参数 out certain parameters, whether it's various
不管它是产生的不同的固有密码参数 code parameters internally generated or
还是外部策划的编码 external planning codes.
但这里我们有这种紧密的内在的 But here we've got a kind of an intimate interior
全景.所以这个浴室部分 landscape. So this bath pod is a kind of
是圆形或是一个圆环 a toroid in form, or a donut,
有一个烟囱从壁炉向下 with the chimney from the fireplace down below
穿过中心 passing up through the center,
或者是整个圆环 or the whole in the donut.
所以作为一个原型 像 So as a prototype, which is certainly not unlike
之前我给你们看的家具作品 some of the early furniture projects that
每一个部分都需要设计 were shown, every aspect of this needs to
没有前路可以借鉴 be designed. There's no roadmap for the project
这个作品是第一个由纤维玻璃合成品制作的 This will be the first use of fibreglass composites
在圣弗朗西斯科 所以会有很多测试 in San Francisco and so there's lots of testing that
还会计算怎样才能 will be involved as well as just figuring how to
以最省钱的方式建成它 build something like this in a cost-effective way.
就像你们知道的 合成物用来 Composites, as you may know, are a very expensive
建房子是很贵的 也没有那么必要 way to go about building and there may not seem to
一定要用合成物来作为 be much need to pursue composites as an
建筑的材料.很多合成物 architectural component. Most of composites are used
都是用于宇宙飞船 汽车和船 for aircrafts, cars and boats,
这里重量 机制和运作都很重要 where weight, dynamism and motion are key issues.
在建筑里 我们是静态的对象 Here with architecture, we have a static object
所以静态物体为什么要 so what is it about a static object that begs
用合成物建造呢.如果你从 to be made out of composites? If you start with the
洗澡间开始 当然基本原理就是 idea of a bathroom, certainly there's a rationale
就要要用防水的东西在表面上 对不对? for this kind of waterproof impervious surface, right?
我们都用过纤维玻璃的淋雨和浴缸 We've all been in fibreglass showers and bathtubs
但最重要的是 这座建筑和 But most importantly, there was a challenge with
玻璃角楼非常有挑战性 非常精致的角楼 this building and the glass turret, the delicate turret
它需要停在那里 It wants to hover over and
我们需要一个设计策略 we needed to pursue a structural
要很轻 strategy that would be very lightweight
不能让建筑这一端 and not trigger a sizing upgrade for
的体积再上升 that end of the building.
在这过程中 这个表格开始 And so as part of this process, what this diagram
体现出详细的模型系统 starts to show is a very elaborate system of molds
和设计这个工程的模型系统 and designing the mold work for a project like this
和设计这个工程本身同样重要 is as important as the piece itself.
要减少支出 模型制作 As a way to cut costs, mold making for those who
对于那些制作过它的人 have done it, especially in my classes
尤其是再我班里提到铸造的时候 when addressing casting,
我们都知道模型是最贵的 molds are the most expensive part of anything you do
它变得非常困难 It becomes extremely difficult to pursue
来制做这样一个工程 就像我们的原型 a project like this as one-off prototype
不解决或是承担模型的费用 without tackling or taking on the molding costs
所以这几乎是个专利程序 So there's this kind of nearly proprietary
在这里为了这个作品最新发展出的 process that's been developed here for the project.
我们从内部全景开始 And we start off with this interior landscape
内部是由泡沫橡胶做的 我会请一位 which will be made of foam, and I will provide
造船师 它会在 to a boat builder, and it will
上面放一层玻璃纤维 have one or two coats of fibreglass
在运输的时候尽量让它稳固 on it to stabilize it enough for it to be transported.
这个造船师会为剩余的部分 The boat builder will provide
提供最基础的栓塞模型 a primary plug mold for the remainder
内部景色会突然翻转 The landscape will be flipped over taken off
从吊架上拿下来 放在栓塞模型顶部 its cradle, set on top of the master mold plug.
会有一层纤维 There will be a coat of initial
玻璃在栓塞上 fibreglass done on the plug that knits
将两个内在便表面结合在一起 the two interior surfaces together.
合成泡沫橡胶 纤维玻璃之后会被 Composite foam and fibreglass will then be
用在外表面 built up on exterior of that
最后一层是纤维玻璃 The final coat, fibreglass.
整个作品就会恢复 The entire pieces would be righted,
正常 内部陈设 interior fittings would
就会向右移动.我们会放一个圆柱和 be off to the right. There's columns and
光源在那儿. light diffuser that would be placed in.
这种情况下 It's at that point
类似水龙头的东西就进入了工程里 things like faucet coming into the project.
这里圆柱被放在透明的 Here the columns are placed in the translucent
房顶的组成部分.这实际是天花板的组成部分 ceiling components. This is actually the ceiling
被单独制作的 components which are made separately, so there
所以还有另一套模型 is another set of molds that actually
是适应这种过程的 feed into that sequence
这可能很麻烦 但是我们 This would be subtle but the
有透明的天花板在这里 translucent ceiling is on here
这里我们有另一个 here we have another translucent roof
透明的房顶放在它上面 component that then goes on top of that
所以这差不多是个完整的吊舱了 So that's more or less the completed pod.
这里所有的程序都开始了 So here it starts the whole process.
其中一个难题是 One of the things that's a dilemma with the
程序制作 设计过程 model making and design process is kind of
关注于整体 和环境改造方面 attention to the body, and the ergonomic aspects.
你怎么知道这好还是不好 How do you know that something is good or not?
这样的一个作品尤其是还和我一样 A project like this especially having ability like I do
有制作东西的能力 我们开始修改 As far as making things, we can start to refine
环境方面 就像我猜的修改参数 the ergonomic aspects as I guess in certain parameters
整个项目的蓝图 the are outlined through the overall project and so
这是我们开始的泡沫橡胶管 this is the foam tub that we've started here
这整个过程都是在客人意愿 And it's in the process of being modified
的基础上修改的 based on client's desires
你会注意到不像日晷的指时针 and you'll notice that not like "Gnomon", actually
实际上就像是瓶子里的船一样 it's a kind of ship the bottle, this is inside my
这是在我的工作室 汤姆说到的 workshop and as Tom mentioned, it used
它之前是个警察局 to be a former police station.
这不是理想的工作室环境 So it's not an ideal workshop condition
空间很有限 所以它需要另一种维度 Space is limited and so it begs a whole another
的创造力.我确实花了很多 dimension of creativity here. I certainly spend
时间在监狱的房间里 a lot of time in the cells.
监狱太让人难忘了.墙上的乱涂乱画和 The cells are remarkable. There's graffiti
抓痕到处都有 scratched in every surface practically
大多都是和犯罪团伙有关 most of it is gang-related.
这是另一个记录这座 So this is the beginning of another project
建筑的作品的开始 documenting the building and this is a
是一个非常棒的周边环境 kind of a wonderful perimeter condition
乱涂乱写几乎处处都是 where the density of the graffiti is quite intense.
从投影里很难清除的看到 it's perhaps hard to see with projection.
当然 这是已经存在的建筑 And of course, there's the existing building
现在也没有很多人知道 Now not many people necessarily know what's
墙的另一边是什么 on the other side of the wall there.
很多年来 我一直在培养 And for many many years, I've been cultivating
从某种程度上 这是个实际存在的艺术作品 this, in a sense, de facto public art project.
这似乎是某种匿名的和 It's a kind of an anonymous collaboration with
圣弗朗西斯科社区的合作 the San Francisco community and it began
它开始减少墙上那些涂涂画画的东西 as a strategy for graffiti abatement on the building
你可以想象这座建筑 The building you can imagine when the police moved out
在20世纪40年代警察走了之后 有很多污点 about in 1940s, there was a lot of stigma associated
和这个区域有关.这里因为 with this precinct.It was notorious
滥用公民权利臭名昭著 for civil rights abuses.
当然作为50年代现代机构的建筑 And certainly as a 50s modern institutional building
一个警察局 我认为它浓缩了 A police station, it epitomizes, as I think, what
很多人不喜欢的现代建筑的东西 a lot of people don't like about modern architecture.
所以这座建筑长期保持着恶意 And so the building sustained a
破坏公物和乱涂乱画的行为 lot of vandalism and graffiti
这一直持续着直到 And that carried forward well after
我们占领这个地方 we took possession of the building.
这个挑战的一部分是这个建筑本身 So part of the challenge is with a building like this.
作为设计者 这就在于你怎样 This is, as a designer, how do you start to corral
集中这些力量 这些比自己本身还大的力量? these forces which are much greater than oneself?
作为设计者 你可以一定程度上 As a designer, you can assert your
坚定自己的主张 will to a certain degree
但特定的某个时间你开始理解 But at a certain point you start to understand
我们之上的那些力量 there are forces beyond ourselves wheather the force of
是否社区的力量 自然的力量 a community, the force of nature and so this
把这变成了一个非常棒的活实验室 becomes a wonderful living laboratory of
关于这个继续保留墙上的图画的策略 是吧? this strategy of taking on graffiti, OK?
我开始努力画下这些乱涂乱画的东西 I began by diligently painting out the graffiti
但很清楚之前这几乎是 But it was pretty clear early on that was a nearly
不可能的任务现在变成了全职的工作 impossible task. It became a full time job.
在大概1998年的时候 我开始了一个新的绘画策略 So at a certain point, about 1998, I began a strategy
记录下这些墙上的图画 of painting bits of graffiti,
就像在检验版上的一样 as in a checkerboard pattern
这种检验版样式早就不用了 that checkerboard pattern is long gone I never bothered
我从没发愁过该怎么记录它.我没有想太多 to document it. I wasn't thinking much about it
这就是周末做的 It was just kind of a trial of something
某些实验的事儿而已 to do on the weekend.
但很快这种检验版样式 But very quickly that this kind of checkerboard pattern
你们可以想象 又开始一层层被乱涂乱画覆盖 as you can imagine, starts to layer with graffiti again
这是新兴的非常棒的书法质量的作品 So it's a wonderful calligraphic quality that emerges
涌现的地方 它要有标签 where it takes the tags and starts
开始以一种审美的角度看它们 to aetheticize them, at least
至少对我自己来说我我可以开始 for myself in such a way that I can start to
以不同的方式来欣赏它们 appreciate them in a different way.
更重要的是 突然有一刻 Most importantly, at a certain point, the community
社区开始了解墙上发生了某些事情 starts to understand there's something going on
它和其它墙不一样了 on with this wall. It's not like other walls.
也开始出现海报了.它们不只是传单 And posters start to appear. They aren't just handbills
为寻找丢失的宠物贴的启示 它们是艺术品 or flyers for lost pets. They are artist made, one of
一种海报.所以这种非常棒的拼贴画 a kind of posters. So there's this wonderful collage
开始出现了.当然最棒的海报 that starts to appear. Of course the best posters
还是最早贴的 earliest are always wheat-pasted on and it builds this
它建造了这种紧密的拼贴画 wonderful dense collage between
在我们贴的海报 the wheat-pasted posters we pasted
和不同的涂涂画画的标签之间 and the various graffiti tagging and
之后更棒的是 then even better is things
这些细节的东西.人们开始在墙上写东西了 like the details. People start to write on the wall.
所以我从1998年开始记录这些 So I've been documenting this since 1998,
第一批照片 这照片 the first pictures and this picture
是今天早上拍的 is from this morning.
墙的细节和一层层的覆盖 A detail of the wall and the layers build.
这是几年前 This is an example of the wall from
的这面墙 a couple of years ago
你可以开始感觉到这些变化 So you can start to get a sense of the changes
在发生着.最后一张图 that's going through. And then this last image,
从某种意义上可以叫做我的数字考古学 is called my digital archeology in a sense or
或者建筑绘画的拼贴画.这是一种工具 arche-graphic collage and so this is kind of a tool
我将我们记录的不同天的墙都输入进去 that starts to take the various days that the wall
它让人们可以以电子的形式 has been documented and allows one to kind of
及时记录我们建这面墙从之前到现在 digitally go through in time and recompose the wall
重组这面墙然后探索不同的内容 时间 这特殊的 exploring different content, days and this particular
的一段经历差不多是在9.11事件前后 episode is more or less centered around 9.11.
之前和之后 接下来的 The days before and then the following
9个月 我觉得. 9 months I think it is.
好的 我可以回答任何问题.提问吧 I'll take questions at this point.
我能在网上看到这个么? Can I find this on line?
不是以这样的形式. Not in this dynamic form.
你可以看到静止的图片 There are some static images up.
我还没发到网上 I haven't taken that next step yet,
但这确实是我的目标 but that's a goal for sure.
您提到了这个福瑞斯山 You mentioned some technical aspects of
工程的技术部分 the Forest Hill project.it seems like the
最大的障碍似乎是邻居们 greatest obstacle would be the neighbors(INAUDIBLE).
观察的很细致.是的 That's a very astute observation. Yes,
正在进行的一个记录(听不清楚) a monumental undertaking ...(INAUDIBLE)...
在我非常棒的客户的坚持下 through amazing clients who help me
我才走到这一步 他们非常 be here that are very tenacious, trusting and
信任我 在别的其他情况下 unbelievable faith that they have in me,
这都是无法想象的 I couldn't expect it from happening in other situations
实际上邻居是被这个 Actually the immediate neighbors that were most
工程影响最大的但他们没什么 affected by the project actually don't
特别的意见 have specific issues.
倒是社区组织 It was the neighborhood organization.
我不说他们的名字了 免得引起麻烦 I won't say their names to cause trouble here.
是的 这非常困难 So yes, that was extremely difficult,
尤其是在圣弗朗西斯科 especially San Francisco.
布鲁斯 你能跟我们说说用单体横造系统 So Bruce, could you talk about the other issues
和防火等级等等的其他一些问题呢? in using this monocoque system and
在把这些新技术运用 the fire rating and everything that came through just
进建筑中的时候 to mound this new technology into construction?
你们知道 这和我给你们看的 Well, you know, it relates to the samples that
样本有关 材料和研究 I showed you, the materials and research.
纤维玻璃其实没有被用在结构中过 fibreglass typically has not been used structurally
所以没有任何建筑规律存在 And so there's really not a building code that exists
为我们提供建筑结构用的材料 for the building structural-used material
对于检查这个蓝图的人来说 这栋楼的房间 For a plan checker in the building department to
他都要检查要信任我们. proceed with some sort of trust.
这不会倒塌的 This is not gonna collapse.
他们做了很多检测 They did a number of tests that
不同程度的检测 are required on a number of different levels.
一个就是结构上的 So one would be structural.So there'll be some tests
也会在建造过程中检测一些东西 happening at the time of construction
我们要做平行的组建 We'll have to do parallel fabrications that has to be
需要在结构上做检测 知道拆的时候 确定 tested until destruction to verify the materials that
他们做的材料和检测吻合等等 are being fabricated match the test and so forth
也会有火和烟的测试 and then there will be fire and smoke tests and
他们也会检测样本 they all have to be done in the samples as well.
因为最低火险等级的 Because of certain minimum fire rating
基本的需要 that is required, it's non-rated
它不分等级的 construction as a free-standing building
随意建的楼可以 which is wonderful
是在偶然的条件下 serendipitous condition
在圣弗朗西斯科这块地建造的 with that lot in San Francisco
因为典型的是零地线的环境 because typically you have zero lot lines conditions
这就说明了很多问题 which dictate a lot, with one of our
我们的防火等级 fire ratings and whatnot.
所以我们很幸运 我们不用评等级 So we are very lucky we have a non-rating condition
尽管我们用了塑料建楼 Nonetheless the use of plastics for the building
他们有一整套的火和烟 they have the whole set of fire and smoke
的数字来指挥整个表演 numbers that dictatethe performance
也许这不是很有趣 Perhaps it's maybe not so interesting but
尤其是当你让它进入透明 when you start pushing into the realm of translucent
松香和洁水松香里 例如 resins and water clear resins, for example,
你们肯定对Kalwall都很熟悉 You all might be familiar with Kalwall as a kind of
是一种纤维玻璃作表面的系统.所以当然 fibreglass skin system. So that was certainly used
会投入使用 and has a fire rating. And the resins
用的松香都是私有的 that are used for that
不是普通人都能得到的材料 are proprietary, not publicly available or
或者出钱可以买到的. commercially available.
所以有得到它的办法很安全的 So there's a very secure route
寻找这些材料就行 that has to be pursued and actually just to source
它不像找一个售楼处 these materials. It's not
那么简单 as easy as going to a building supply place
所以每一点前进 就像我说的 so every bit along the way is, like I said
没有这个工程的图纸. There's no map for the project
所以很耗时 in that sense. So it's very consuming
但我对这些建这些原型的 but the passion that I have for
实践的热情是有的 practices for some of these prototypes.
你提到这是圣弗朗西斯科 You mentioned that this was the first project
第一个这样的工程对么? in San Francisco, isn't it?
没有别的地方有过用 Is there a history of projects
纤维玻璃建这样工程的历史么? with fibreglass elsewhere?
是 这是个好问题.我不知道 Yes, that's a good question. I don't know.
我在这点上没有做那么多 I haven't done that much research at
调查研究 应该有的 this point.There may well be
我知道有人在 I know there are other people that
做这样的项目 have been working on projects that
可能还没有被人意识到 may or may not be realized and
我知道一些建筑项目 I know there are some architectural
在阿姆斯特丹 projects in Amsterdam
一些学生公寓用来控制纤维玻璃 some student housing was done to modulate
系统.这可以做一个专题论文了 fiberglass system. It's a whole kind of dissertation.
你从水池开始今天的讲座 You started the lecture with sinks
还有很多移动的完全 and very movable objects that are very
不同类型的空间的作品 different types of spaces. Now you've ended
现在你以纤维玻璃浴室结束 with this fibreglass bathroom pod.
这两者之间的关系是什么 What is the relationship between the two?
您能定义一下纤维玻璃建筑么? Could you end up modifying this fibreglass architecture
它有弹性么? Can it be flexible?
现在还不行.它是个静止的东西 At this point no, it's a static object.
纤维玻璃非常棒的一点就是 One of the things that's wonderful about
它是一种材料 fibreglass as a material and one of the things
也是我这么多年一直使用 that I keep coming back to it over
它的原因 它很容易改变 the years for is that it's infinitely mutable,
其他材料都不行 in a way that other materials aren't.
你很容就可以切开它. You can splice onto it very easily.
所以这样来说 它是很容易改变的 So in that sense, it is changeable
概念上来说这个工程不会旋转环绕它 the project conceptually doesn't revolve around that
这就像一个巨大的固定物 It's like a giant fixture essentially.
所以在之前的所有作品中 固定的东西都 Of all the early work, the fixtures were all
是关于自主的 这种持续的和基础设施的关系 about this autonomy, this continuous relationship
那显然有个 to infrastructure. There's clearly
清晰地转变 a shift that is engaged here.
这个机制可能开始的时候就是形式上的特性 That dynamism starts to take perhaps a formal
而不是真实的特性 qualities rather than literal qualities.
你认为纤维玻璃的作品有可能 Do you think fibreglass work have the possibility of
变得完美和光滑么?之后会有很多东西 being entirely perfect and smooth.Then there's a lot of
都有褶皱的改变 work that has the patina of change,
不同和微妙之处 and difference and nuance
所以我对浴室很好奇 So i'm curious with that bathroom,
你是在寻找光滑的 are you looking for something
流线型的和完美 that is very smooth streamlined and
的东西呢还是 perfect or is this going to
日晷的指时针更多 be a little bit more of that Gnomon
膨胀和变形呢? with bulges and deformations？
内在空间和外在空间是有非常明显的区别的 There's a genuine difference between interior space
作为模型制作步骤的一部分 and exterior space. As part of the mold making process,
也是我一直在研究的部分 that's part of what I've been working on
内表面会被变成模型 The interior surfaces will be molded
会变得光滑和原始的状态 and will be smooth and pristine
因为他们想 As they would want to be in a bathroom
在洗漱室打扫 for cleaning purposes
所以会有一个很棒的表面 And so there would be a wonderful surface although
尽管它不会像自动的一样完美 it may not be as perfect as automotive.
因为这不是我的感觉 但真的 Because that's just not my sensibility, but really it's
通过我设计的过程 through that process that I mapped out, you know
这有很多议程 it's a kind of a multiple agendas
在进行中 that are going on and partly it's just
一定程度上它只是为了钱和预算 制作一个 for money and budget, to figure out a process
最经济的系统.但它也意味着 that is cost-effective. But it also necessarily means
我们已经将模型缩减到几乎空白的最小的东西 that we've reduced the mold down to a bare minimum
这是内部表面你的模型 There's an interior molded surface.
但外部表面不是 是建起来的 But the exterior is not, it;s built up.
它有点儿像船一样 里面翻到外面 So it's almost like a boat, inside out.
其实不是外在表面被设计过 So that's the exterior surface that is actually
它很复杂很粗笨 not a designed surface.It would be convoluted and lumpy
是内景发生变化 as a product of whatever is going on
之后的产物 with the interior landscape
通过整个过程的 modified through all this process by adding
添加泡沫橡胶 添加沉淀物 foam, by adding deposits and ultimately this
最后是这层松香表面 surface of the resins.
所以它会有某些类似流动性的特征 so it will have some of that liquity quality.
所以我们很快就开始 So we immediately start to address some of
处理不确定的这种特别的褶皱的变化 the indetermined qualities patina or change.
日本人在高楼大厦里 The Japanese use a molded bathroom
用模型的洗漱间 for their high rise buildings
但他们不是很有创造力 And they are not very creative
但他们很单调没有效率 but they are rather mundane but effective.
您想过让这种模型用在 Have you thought about making this mold
其他建筑商或是房间里 available to other builders or apartment houses
或其他多种用途么? or other forms of multiple usage?
当然我当然想过 Certainly I've thought about it.
现在这个工程就是一个原型 At this point, this project is clearly a prototype
就在期待成品 它是受到限制呢 With an eye towards production whether
还是大规模的 某种意义上 it is limited or mass, in a sense
这是另一个作品 that's another project.
就是现在建好所有东西 Just to get anything built at this point is
这是很重要的一步 在我小的尝试里 such a profound step from my small practice.
要把作品上升一个层次的 A kind of a capital and resource that
资本和材料是很重要的 it would take for that next level
我们再次回到 is quite significant. Once again, going back to
设计系统.这是在这个规模做这种工作 designing that system. That's one of the things
最重要的东西 that's key for doing work at this scale.
如果你再建一个更大规模的 If you work at a larger scale, something
有些东西就要大规模生产或者批量生产 would be mass produced or batch-produced
为一个大型的工程生产 你买到很多自由 for a large project you buy a lot more freedom,
只要我们进入标准化 as far as entering into say,
或是传统的生产景象 to normative or conventional production
所以这些都是对它用途的扩展 scenarios. But those are extensive,
处理它的唯一方法是 and the only way for it to be dealt with is
宣传前期的模型费用 to advertise the up front molding cost.
如果你要将这个模型分裂成小部分 If you were to break that mold up into components,
有另一种更省钱的方式么? would that be another cost effective option?
和单一的投入 Versus the mono-casting?
当然它是审美和设计的细化 Obviously it's aesthetic and design specific,
但这能改变情况么? but does that change the conditions?
是的.我的意思是任何时候当你引进 Well, it does. I mean anytime you introduce
一个联接和一个轮缘 之后它不得不被 a joint or a flange, then that has to be somehow
用紧固件加固 它永远都是一个问题 reinforced with fasteners, which are always an issue.
这是个很有趣的设计难题 It's a curious design dilemma working with
是建筑部分和合成部分设计师共同完成的 the base building engineer and composite
每个人对于这些 engineer. That point where the two touch,
都有很多顾虑 everybody has a lot of concerns like
例如一个人负责的部分的开始和结束是哪儿 Where does one's territory begin and end.
还有另一个很有趣的临界景象 That's another curious threshold scenario.
联接是一个问题 他们需要更多的结构上的东西 So joints are a problem, they create the need for more
现在这种情况下 structure. At this point, the overall shell
整个外壳的厚度都在于穿过入口 thickness is about through entrance.
所以结构上来说它只需要一英寸 So structurally it only needs to be about an inch
另外两英寸是为了保暖的隔离层 the other two inches are for thermal insulation
你对接下来会发生 Do you have any expectation of
什么会有期待 what will happen over time
随着这个结构 as this structure is exposed to
暴露在紫外线 阳光 ultraviolet light, sunlight
花粉和粉尘? 尤其是它的透明性 pollen and dust? Especially with the translucency of it
纤维玻璃投入使用 Fibreglass has been in use for
已经50多年了 很流行 50 some odd years, it's very popular
所以有很多更好的松香可以使用 So there are lots of very advanced resins
用紫外线抑制剂 available with UV inhibitors
像船和车子一样 经常用的就是 As with a boat or car,what is typically used
涂料层 干净的涂料层 有抑制剂的 are coats, clear coats that have these inhibitors
纤维玻璃是一种很耐用的材料 While fibreglass itself is a very durable material and
不需要太多维护 and low maintenance, there are certainly coatings
也有你想要定时为车涂的 which are to be put over and renewed
或者翻新 as you would with paint on a car or
的涂料层 something periodically.
例如 透明的房顶 For example, the roof which is translucent
把这个也放在上面 would a coat put on it as well
听到这些关于我们工程的问题 It's really interesting to
我觉得很有趣 hear all these questions about the project
因为它已经在进行了 Because it's obviously starting,
也很有趣 it's a fascinating thing.
我觉得大体上来说 实际上这很让人惊奇 I think generally, in practice, that is amazing.
(听不清楚) (inaudible)
人们对这个有很多疑问 There are a lot of issues bound up there
合作是我时间 Collaboration has characterized
从开始到 my practice from the beginning
现在的特点.这是很正确的 Even to this day, yesterday. This is correctly said.
泰德作为一名摄影师有很多关于 Ted has been quite quite a bit on the documentation of
监狱房顶的记录. the ceiling of the jail cells as a photographer and so
蜜雪儿·璐帮了很多忙 Michelle Lu has helped quite a bit
制作浴缸的模型 with the modeling of the bath pod
所以当承担工作的时候 So when taking on work which is with so many different
有很多不同的利益 interests you can't know it all
你不可能都知道 and it's necessary to work
和别人合作是必要的.我觉得这是建筑的天性 with others. I think that's the nature of architecture
所以我不知道 那就是 and so I don't know, especially that is.
但我从工作中得到了很多快乐 But I derive a lot of pleasure and I think the
我觉得工作的力量通过合作 strength of the work is much higher
才更好地体现出来 through collaboration.
(听不清楚) (inaudible)
我继续问这个合作的问题 I'm going on that collaboration question.
我对大屏幕上展示 I'm wondering about the wall
的墙很好奇 that is being displayed on the screen.
你知道有人在这 Do you know any of the people who
墙上贴图画的么? post graffiti on this wall?
如果是.它改变了这面墙么 If so, has that changed the wall at all,
之后他还回来过么? are there people that come back?
很多年我都不知道 Well, for several years I didn't have a clue
有一天我出门散步 Inadvertently one day i was out,
在一个大楼前面 in front of the building
我注意到一个65岁左右的女士 and I noticed an older woman about 65 years old
在用尺子丈量房子的前院 with a tape measuring front of her building.
显然它引起了一些好奇 And obviously that was a cause for some concern
那发生了什么事 我漫不经心地 what's going on there and I nonchalantly struck up
和她谈起来 她很自我保护 a conversation and she was very guarded
之后她承认她在为前墙 and at certain point, she confessed that she was
设计一个项目 我说 planning a project for the front of the wall.
恩 很有趣. I said, this is interesting.
我一直没有告诉她 The whole time I never let on to her that
我和她的房子有关 I had anything to do with her building.
她是我遇到的 And so she was the
第一个人 没想到她是个 first person that I've ever met and it turns out
公谊会激进教徒.她计划着 that she was a Quaker activist. And she was planning to
要贴些反战的海报.之后我只遇到过 put up some anti-war posters. And since then I've met
都是我没有 only a handful of people and
兴趣合作的 I have no particular interest
人 从某种意义上来说 in meeting these collaborators in a sense.
我对作这面墙的看守很开心. I'm happy with my role as a curator custodian
我觉得我不需要 of the wall. I don't feel that
有合作的人 I need to have a sense of partnership.
我对相互作用和 I'm fascinated with the interactivity and
墙就是社区的广告牌 the walls is a community billboard, public
公共艺术馆 公共广场和交流平台 gallery, public square, forum.
所以 是的 和网络相比 So, yeah,compared to something like the internet
大多都是在不同规模上的相互作用 which is so much about interactivity,
关系网和团体 networks and community on different scales
这面墙让人很高兴的是 There's something delightful about the wall that
它有同样的功能 但某种程度上来说 does a lot of the same things but in a sense
这非常重要 我认为 作为一个地点 it's so much more vital and I think as a site,
我发现它在很多方面更容易被更多人看到 it's in many ways more visible to a larger community
和通过网络 than what i've found by going
看相比 through the internet where
网上你要自己寻找目的地 you have to seek out the destinations,
是吧?内容 right? The content.
(听不清楚) (inaudible)
区别很重要但 The distinctions are important but with that said
我觉得没什么差别 in my mind, there's really not a difference.
我的思维工作的方式 所有的作品都一样 The way my mind works, all the projects are
这因为我并不真的 kind of the same. It's because I don't necessarily
认为这个建筑作品不一样 think differently about an architectural project
就像我对一个艺术设备做的一样 as I do about an art installation.
手头的问题完全不同 The issues at hand completely
重要的东西都不一样 different. What matters is often very different.
这些工程变得不一样 So the projects necessarily become different
因为解决这些问题 because of tackling those problems and
并且呈现出来是以最真诚的方式 taking them on in the most sincere, convicted way.
很长时间 我曾经与 Over time, I used to fight the idea
这个分类想法斗争 of categorization, pigeonholing
我做的事情就是所有这些 Everything I do is to spite all of that in a sense,
从某种程度上来说开始的时候 In the beginning, there was
都会隐去一些东西 a certain omission perhaps,
通过这些活动来 to the activities that we strove
努力拓展它的界线 to push those boundaries.
1984年的时候这很重要 In 1984, that mattered.
我觉得现在时代不同了 I think we are in a very different time right now.
我觉得我们都明白现在事情变好 I think we all understand the way things work
这是对学派的检验 a lot better. It's a testament to the school.
但差异很重要.这是个很复杂的 But the differences matter. It's a complex subject.
课题 现在要说又会说太多了 It's too much to start now.
(听不清楚) (inaudible)