大家晚上好 Good evening everybody.
我叫伊拉伯尔曼 是建筑学系的主任 I'm Ila Berman, the director of architecture
现在很高兴 and it's with great pleasure
能介绍大卫 吉森 that I'm able to introduce David Gissen,
他是我们建筑系的教员之一 one of our own architecture faculty
作为今晚的讲师和 as our lecturer for this evening and
外面中央广场上的展览的负责人 as the curator for the exhibition outside in the nave,
"焦虑的气候"也在今晚开放 "Anxious Climate" that is also opening tonight.
大卫的演讲过后会有一个接待会 And there will be a reception after David's lecture
在外面的广场上 还有签书会 out in the nave as well as a book signing.
大卫 吉森是一位 David Gissen is a historian
建筑与城市规划的历史学家和理论学家 and theorist of architecture and urbanism.
并且我还想说他是一位研究自然地著名学者 And I might add also a prominent scholar of nature,
这个自然是以小写n开头 而不是大写 that is nature with a small rather than a capital 'n'.
在大卫最近的书里 In David's recent book
"次自然: 建筑学的另类环境" "Subnature: Architecture's Other Environments"
由普林斯顿建筑出版社出版 published by Princeton Architectural Press,
他尤其关注 he specifically focuses on developing
用建筑学的思想来建立一个观念 a concept of nature in architectural thought
对由古典建筑神话提出的 that challenges both the idealized versions of nature
理想化自然状态提出了质疑 presented by classical architectural mythologies.
我和楼上得竞争了 I have some competition upstairs.
比如劳里埃的原始棚屋里所刻画的那些 Such as those portrayed by Laugier's primitive hut
还有更当代的 as well as more contemporary versions
绿色建筑 of green architectures,
并与科技生态系统结合 integrated techno-ecological systems
这个系统会继续把一个受同化的自然工具化 that continue to instrumentalize an acculturate nature
根据现代发展的 according to the albeit revised dictums
所修改过的权威意见 of modern progress.
大卫真正地为我们揭露了 David literally unearths for us
藏在太阳光下的自然的另一面 that other side of nature hidden below the sunlight air
还有柯布西耶乌托邦的绿色植物 and greenery of Le Corbusier's utopia,
阴潮 肮脏 多尘 还有垃圾 the dank, filthy, dusty and debris
充满了泥土 烟雾 ridden world of mud, smoke,
杂草 昆虫 鸽子的世界 weeds, insects and pigeons.
这粘稠的东西和密集的真实的自然 This thick matter and swarming real nature
代表着现代主义的漂浮着的 represents the world of modernism's floating,
白色墙体的抽象建筑作品的世界 white walled architectural abstractions
而我们却有意地避开 we're intentionally distanced from,
这是个文化上压抑过的 a signifier of the culturally repressed
现在重新变为 that has now returned to become the focus
最近实验性实践的焦点的一个标志 of more recent experimental practices
在大卫的书和展览中都有展示 presented in David's book and in his exhibition.
"次自然"对于日益增长的学术体来说 "Subnature" is a critical contribution
是个很重要的贡献 to the growing body of scholarship
并且当然是个具有重要意义的话题 and certainly a significant topic
鉴于我们与自然地复杂关系 given that our complex relationship with nature
将会成为最主要的主题之一 will be one of the most dominant themes
引领着建筑 leading the future of architectural
与城市建设的未来 and urban practices.
大卫现在是CCA院的 David is currently an assistant professor
一名建筑系副教授 of architecture on the CCA faculty
并获得伦敦大学的博士学位 and holds a PhD from The University of London
还有耶鲁大学的建筑学硕士学位 and a Master's of Architecture from Yale.
他是AD杂志即将发行的一期的编辑 He's an editor of the forthcoming issue of AD Magazine
名叫"领地" 还是一本书的编辑 entitled "Territory" and the editor of the book
书名是 "宏伟 绿色 面向" "Big and Green towards
21世纪的可持续建筑" Sustainable Architecture in the 21st Century".
大卫的作品很多 David is a prolific writer
他的文章也在 and his essays have been included
很多期刊和书里出现过 in numerous journals and books
包括杂志落格 书卷 格雷屋 including Log, Volume, Gray Room,
AA 文档 构筑 模型与绘画 AA Files, Constructs, Models and Drawings,
叙写城市化和设计生态学 Writing Urbanism and Design Ecologies.
他是两次格雷厄姆基金资助的获得者 He's the recipient of two Graham Foundation grants,
有理查德 卡莱尔的讲师职称 the Richard Carroll Lectureship
在约翰斯·霍普金大学 at Johns Hopkins University
并在最近 获得CCA的查尔斯蒂奖 and most recently, the Chalsty Awarrd at CCA
这帮助了这本书的完成 that helped support the completion of this book.
请让我们一起欢迎大卫 吉森 Please join me in welcoming David Gissen.
谢谢 Thank you.
谢谢伊拉 这是个非常棒的介绍 Thanks Ila that was a great introduction
并且也是这本书最好的概要之一 and one of the best synopses of the book.
事实上 我希望我能亲自写那段话 In fact, I wish I had written that myself,
那真的很精彩 谢谢 that was pretty amazing. Thanks for that.
我想感谢伊拉帮忙 I want to thank Ila for being instrumental
把"焦虑的气候"展提及给CCA in bringing the exhibition of "Anxious Climate" to CCA.
并且我也需要感谢一些其他的人 And I also need to thank a few other people
在我跟你们分享我关于 before I share some thoughts with you
这个展览和书"次自然"之前 about the exhibition and this book "Subnature".
安德鲁 卡得勒斯在筹备资金 Andrew Kudless was key in arranging for funding
去支付展览品运送费当中起了关键作用 to pay for the shipping of the exhibition
它以前的场地 from its previous venue
是在明尼苏达州的明尼阿波利斯大学 at The University of Minneapolis in Minnesota.
托马斯 兰德里协调了今晚展览中 Thomas Landry coordinated so many different
很多不同情况 aspects of the exhibition in the evening.
我非常感谢他 I owe him a great deal of gratitude.
还有贾斯丁 梅森 是我以前的一个学生 And Justin Mason, a former student of mine
他帮我一起置办这个展览 who helped install the exhibition with me,
进展很成功 并作出了最基本的模型 which was excellent, and made the model bases.
还有最后 伊拉提及了查尔斯蒂美学 And then finally, Ila mentioned the Chalsty Aesthetic
哲学倡议新方案 所以"次自然"这本书 and Philosophy Initiative and the book "Subnature"
要是没有他们提供的资金来 really wouldn't be possible without the money
付图像版权费的话是不可能出版的 they provided to pay for the image rights
对于一个有超过125个插图的书来说 which were considerable for a book
这资金是相当多的 that had over 125 illustrations.
所以我非常感谢CCA支持这种 So I'm very grateful that CCA supports this kind of,
更倾向于实验性的 more experimental type
历史性建筑学作品 of architectural historical work.
所以今晚我要讲一点 So this evening I'm going to talk a bit
关于展览的事 还有一点关于这本书 about the exhibition, a little bit more about the book.
但我想要两个 But I thought I would provide
都给你们介绍一下 something of an introduction to both
通过观看在这儿的这个图像 by having us all look at this image here,
1979年 一个人正看着洛杉矶的烟雾 a man looking at smog in LA in 1979.
我喜欢这个图像的一点是 And what I like about this image,
和以往许多我们见过的 which is different than many of the images
环境破坏图像不同 we see of environmental denigration,
你们都是建筑师 and you are all architects
所以你们也听过好多 and so you have seen a lot of lectures
环境学家和建筑师的讲座 by environmentalist architects
并且我也肯定你们已经见过好多 and I'm sure you've seen a lot of images
环境破坏的图像 of environmental denigration,
但我喜欢这个图像的一点就是 but what I like about this image is
我们可以看出自己的身影 that we see someone much like ourself,
考虑到环境破坏这个事情 considering environmental denigration.
对我来说 看这个图像能让我 For me, looking at this image enables me
退后一步思考并意识到我们生活在这样一个 to step back and realize we live in a time
时代 对环境的反思 in which the reflection upon an environment
虽在我们周围环境在被摧毁 that appears to be collapsing around us
这种反思占我们这特殊时代的 is a large aspect of the consciousness
意识的大部分 of our particular time.
这是一种主流思想 It's one of the key types of thought
我可以说这种思想 that I would say circulates
在现代的报纸 博客 in contemporary newspapers, blogs,
还有讲座 在媒体范围内广为流传 within lectures as well, within media,
这种环境破坏的担忧 this consideration of environmental denigration.
这个图像也让我们退后一步思考 The image also lets us step back
并考虑到那种不安 就是我们中间许多人 and consider the unease that many of us experience
见证这些当代转型产物时所体会的不安 when we witness these contemporary transformations.
我能给你们展示更多的你们看过的图像 I could show you so many more images
融化的冰川 that you've all seen, melting ice,
游泳的北极熊 不幸地住在 swimming polar bears, children unfortunately
布满垃圾的环境里的孩子 living in trash-strewn environments,
我们已看过这些图像数多次 we've seen all these things many times.
但这图像里有一种东西 But there's something about this image
也对于在这间屋子里的我们 also that for us, in this room,
向我们这些建筑学家 建筑领域的思索者 we're architects and architectural thinkers
还有作者提出了挑战 and writers presents other challenges.
如果我们想象这个人是建筑师 If we imagine this person as an architect,
我们也许会想他在这时代是怎样找寻自我的 we might consider how he's found himself in a time
在这样一个时代中 对环境破坏的 in which the architectural response to
建筑性的回应会在 environmental denigration will soon be discussed
几乎在所有的专业学术领域中探讨 in almost every professional and academic setting.
在过去的25年当中 自从有这个图像起 In the past 25 years, since the time of this image,
我们一直在困惑我们这行应该 we've wondered how our profession
对这种工业型后现代世界作出怎样的反应 should respond to this industrial later-modern world.
我们应该建造什么 怎样建 What should we build, how should we build
或者是说到底我们应不应该建造 or should we build at all?
环境上的讨论真的涉及 The environmental discussion really reaches in
最近我们所想和所做的一切事情 to just about everything we think and do these days.
现在 当代环境型观念的 Now, one of the key features
主要特点之一就是 of contemporary environmental thought
我们已经进入到一个新的阶段 is the idea that we've entered a new phase,
这种感性 这种世界观 that this sense, this viewing of this world
还有我们所做出的回应或多或少已经给我们 and our response to it have somehow given us
提供了一种新的心理活动 新的指令 a new type of, a new psychology, a new mandate
来处理有关后现代工业化的事物 in dealing with late-modern industrialization.
但我认为这里有一些东西 But I think there's something about this
事实上是不真实的 that's not actually true.
当我们考虑给当代环境施加的 When we consider the contemporary pressures
压力时 我们是真的在考虑 on the environment, we're really engaging in
建筑思想中 one of the key features
主要的一个特点 of modern architectural thought.
然后我要给你们展示一些历史性的图像 And if I just show you a few historical images,
我渐渐意识到的一件事情就是 one of the things I've come to realize
对腐朽坍塌的 is that the reflection on an environment
环境的反思 that is in decay and collapse
是在现代建筑学当中 is really one of the key concepts
确实是个主要观念 within modern architecture,
就像我们理解现代建筑学 just as we understand modern architecture
和现代建筑师一样 and the modern architect,
现代建筑理论学家 the modern architectural theorist
是个考虑空间 结构 形态等 is someone who considers ideas such as
理念的人 space, structure or form.
我在研究中发现的一个东西就是 One of the things that I found in my research
一个现代建筑师也是个 is that a modern architect is also someone
会考虑这种景貌的人 who considers this type of landscape.
并且这种对环境破坏的担忧 And this consideration of environmental denigration is,
我想 用最好的方法形容就是 I think, the best way to describe it,
和现代工业化和 begins with modern industrialization
现代建筑一起发展的 and modern architecture itself.
这就是图像 在英格兰乡村烟雾弥漫的 This is an image, a caricature of the smoky midlands
内陆的讽刺画 of the English countryside
这些乡村是在19世纪中叶首批 which were some of the first towns
进入工业化的小镇 to industrialize in the mid-19th century.
并且如果你看看一些我们认为 And if you look at some of the individuals we think of
是现代建筑学的主要思想创导人的人 as key philosophers of a modern architecture,
像欣克尔 拉斯金 皮金 people like Schinkel or Ruskin or Pugin,
他们都在思考同一个事情 all of them were thinking about this.
在这种背景下建筑有什么意义 What does it mean to work in this context,
在这个被烟气还有这些环境威胁环绕的 in this world that's surrounded by smoke,
世界当中又有什么意义? by these types of environmental dangers?
那么这个实际上是"次自然"中的一个图像 And so this was an image that's actually
城市上空的神马 in "Subnature" of Pegasus above the city
由卡尔 弗里德里克 欣克尔提供 by Karl Friedrich Schinkel,
早期德国现代主义建筑师 the early German modernist architect,
非常早的现代建筑师 very early modern architect.
在1836年 他游历了 And in 1836 he went on a tour
英格兰乡村去视察 of the English countryside to look at
那个国家的工业化情况 the conditions of industrialization in that country
作为一种 用现在的话就是 as a type of, in contemporary terms,
几乎是一种工业间谍一样的行为 almost as an act of industrial espionage
把关于工厂生产活动的观念 to bring back ideas about factory work
带回德国 and factory production to Germany.
随后他爱上的一个东西就是 And so one of the things that he fell in love with
那里的现代建筑 was the modern architecture there.
但另一个非常困扰他的事情就是 But another thing that he was very troubled by
在这些小镇里所见到的转型产物 was the transformations that he saw in these towns.
然后他写关于煤灰 变得乌黑的小镇 And he wrote of the grime, the blackened towns,
高耸的无数个烟囱 the endless smokestacks that rise above the spires
并且他深受这些困惑 and he was very troubled by these things
但当他制作这幅画 but when he made this image
作为一种对这次旅行的反思的时候 as a type of reflection on his trip,
他还画了神马的形象 奔跑着 he also drew this image of Pegasus, riding,
左手拿着一个工业 holding an industrially produced object
产品 所以这是个可做多种解释的图像 in his left hand. And so it's an ambiguous image.
一方面 这是个谈及 On the one hand, it's an image that talks about
现代化发展的图像 另一方面 the progress of modernity and on the other hand
这也是个关于污染的图像 it's an image that talks about its pollution.
现在 在这儿的各位都比较熟悉的一幅画就是 Now, an image that's probably much more well-known
A W N 皮金的画了 to many of you in here is by A.W.N. Pugin,
他的一个英国工业镇的画 his drawing of an industrial town in England.
并且皮金也被他所见到的事物所困扰 And Pugin was also very troubled by what he saw as,
那种烟雾还有工业什么的 of the type of smoke and the industry
并且这种景象在吞噬英国中部的地区 and the way this was taking over the English midlands.
但他也被 But he was also troubled by
更广泛意义上的环境的陈腐所困扰 the more general banality of the environment
那种工业化和资本主义制度 that industrialization and capitalism brought about
给英国乡村带来的环境腐朽 in the English countryside.
看这儿 我们不仅看到工厂和烟 See here we not only see factories and smoke,
还看到环形监狱 but we also see a panopticon prison
还有这个正衰败的哥特式教堂 and this decaying gothic church
这对于他的心灵很珍贵 that is dear to his heart.
皮金是一名虔诚的基督徒 Now Pugin was a devout Catholic.
他也是反资本主义制度者 He was also something of an anti-capitalist
他也肯定最反对工业化了 and he was most definitely against industrialization.
在他的画里 他画出了这种对比效果 And in this drawing, this contrast that he made,
他认为与其在这个现代化世界里生活 he thought rather than this modern world here,
还不如回到这个现代化之前的世界 he wanted to go back to this pre-modern world here.
中世纪生活 工业化之前的世界 A world of medieval life, of pre-industry,
有着社区和农业气息的世界 a world of community and agrarian sentiments.
所以 这个图虽然看起来有点久远 And so, while this image might seem a bit distanced,
对我们来说久远 但这个图里的好多思想 distant to us, many of the ideas within this image
好几百年都流传了下来 carry through hundreds of years later
现在演变成弗兰克 劳埃德 莱特发展的观点 into ideas that Frank Lloyd Wright developed
就关于逃避工业化 in terms of considering an escape from industry
回到某种接近自然地简单的状态 and a return to some type of organic totality
逃脱了城市 他认为文化上 that was out of the cities, that he too thought
氛围上都很污秽的城市 were vile both in terms of their culture
并且很有可能 and in terms of their atmosphere. And very much,
我认为 有些前现代的感情色彩 I think, some of these pre-modern sentiments
持续到了现在 continue to the present.
那现在当我们讨论当今 Now when we talk about the present
讨论这种对比时 and we talk about this type of contrast,
在我们这个时代也有种新的对比 we have new types of contrast in our age.
这是威廉 麦克多诺的画 And this is an image by William McDonough,
一位当代建筑师 a contemporary architect,
不比皮金的对比效果差 that's no less of a contrast than Pugin's.
但皮金想回到的是中世纪的生活 But where Pugin wanted to go back to medieval life,
而威廉 麦克多诺想让我们 William McDonough wants us
回到自然本身 to go back to nature itself.
所以我想这个图 And so this is an image that, I imagine,
是委托他办公室里的某个人或 someone in his office or an illustrator
插图画家来画的 was commissioned to produce
用来详细说明他扩展和创新 that details his plans for the expansion
在密西根迪尔伯恩的鲁直河的 and renovation of the Ford River Rouge Complex
福特企业 in Dearborn, Michigan.
它是世界上最大的工业设施之一 It's one of the largest, if not the largest,
要不是最大的话 industrial facility in the world.
那么现在我们看到的图像 And so here we see an image
是工厂里覆盖着绿色植物 in which factories become covered with greenery,
在那里风车和太阳能板 in which windmills and solar cells
正积极有效地产出能量 are actively generating energy.
威廉 麦克多诺畅谈到 William McDonough speaks about
这个工厂的车间是怎样净化空气的 how the plants at this factory will clean the air,
将会怎样净化土壤 will clean the soil, this is a world
这是个污染不再是威胁的世界 对吗? in which pollution itself is no more, right?
这是个污染被自然 This is a world in which pollution
所替代了的世界 has been replaced by nature.
并且如果你注意到这个图像的话 And if you notice this image,
还有一些非常微妙的东西在里头 there's also some very other subtle things about this.
如今工业和工厂的运作 Now the works of industry and these factories
安顿在自然本身当中 are nestled within the heart of nature itself.
工厂的周围环境 The surroundings of this factory
可以用森林式和伊甸园式的特征来代表了 are represented in very sylvan and Edenic qualities.
现在这个项目是个大师之作了 Now this project is something of a masterwork,
有人可能会说是绿色思想和 a masterpiece, one might argue,
绿色设计的杰作 of green thought and green design.
它是 事实上它的理念 技术 It is, in fact its concepts and its technologies
真的在某种意义上无可争议得恰当 are really inarguably decent in the sense
谁能在这样的景象面前反驳呢 对吧? that who can argue against a vision like this, alright?
我今晚的重点不是要抨击它 And my point tonight is not to tear this down
不是要说绿色建筑不好 and say that green architecture is bad,
这不是重点 that's not the point here.
我认为在这里有些事情是 There are things here that I think
无法争论的 are a bit beyond debate
就某些技术种类 in terms of certain types of technologies
和某些要求的种类而言 and certain types of desires.
但我所想的 我已经想了很多了 But what I do think, and I have thought about a lot,
在7 8年前的"宏伟绿色"项目中 having written about work like this
已经写过关于这样的作品的文章了 7 or 8 years ago in projects such as "Big and Green".
我想过的是我们怎样才能超越这个作品 What I have, what I do think is how can we exceed this.
并且更重要的是 And also, more importantly,
鉴于我给你们的历史上的例子 in light of the historical examples that I gave you,
我们怎样才能做出 how can we make work that acknowledges the fact
承认对环境毁灭的反思本身就是 that the reflection itself on environmental collapse
我们时代的主要特征的这样的工作 is a key feature of our age.
怎样才能把这个融进建筑学中? How can that be built into architecture?
我对一些事情感到不解 Some of the things that I wonder about
当我看着这个图像并试图超越它时 when looking at this image and trying to exceed it,
我们能把比较自然的建筑概念 can we incorporate the concepts
纳入我们所说的 of more natural architecture into something
一种更批判性的 自我反省式的 we might term a more critical
建筑吗 换句话说 and self-reflective architecture. In other words,
我们怎样才能做出这个项目所做的东西? how can we do what this project does?
我们能怎样去重新调节环境恶化 How can we remediate environmental degradation
同时了解历史上的 while understanding the historical
还有当代的错综复杂的 and contemporary complexities of our own efforts
我们自己造成的结果? and of the sites within we work?
所以 最后 我所希望的就是 And then, so ultimately, what I hope for,
我们怎样能推出一个建筑学领域的理论? is how can we develop an architectural theory
这个理论认可我们现代人的 that acknowledges one of the key feature
那种意识的特点 of our consciousness as modern subjects that
就是我们思考探究环境毁灭的意识 we think and we ponder about environmental collapse?
如果总结今晚我要 And if I was to sum up the two projects
给你们描述的两个项目 that I want to describe to you tonight,
就是"焦虑的气候"和"次自然" "Anxious Climate" and "Subnature",
我觉得就符合我上述的那个理论的要求 I would think that's it.
我正寻求一种理论或途径 I'm looking for a theory or an approach
让建筑师们都认可 in which the architect acknowledges that
这就是现代人会做的事情 this is something we do as modern people,
我们认为 尤其在我们这个时代 that we think, particularly in our age,
我们所想的环境 that we think about an environment
都显得无法控制 that appears to be out of control.
并且我们怎样在那种精神层面上 And how do we engage with people
与人们交流 at that mental level.
我真的很欣赏麦克多诺的作品 I really appreciate McDonough's work
但我会说 but I would argue,
他把我们带到变化代谢的层面上 where he engages with us metabolically,
他想净化空气 he wants to clean the air,
他想净化土壤 对吧? he wants to clean our soil, right?
我们怎样能通过环境主义 How can we engage, through environmentalism,
与作为思维主体的人们交流? with people as intellectual subjects as well?
所以 今晚我要讲的两个项目 So, two projects that I'll talk about this evening,
"焦虑的气候"和"次自然" "Anxious Climate" and "Subnature"
刚开始会提供一些框架 begin to provide some framework
在这里头我们会考虑这些可能性 within which we might consider these possibilities.
现在 我不会夸夸其谈 Now, I'm not going to be bombastic and say
说这些就是问题的答案 that these are the answer to these issues
因为这些都是巨大的问题和议题 because these are huge problems and huge issues.
但我认为 But I think there's something
从现代作品"焦虑的气候"中我能看出 that I can see in the contemporary work
一些东西 还有关于 of "Anxious Climate" and there's something
历史项目"次自然"的一些东西 about the historical project of "Subnature",
虽然是现代作品 though it's contemporary work,
但能提供一些线索或可能性 that offers some clues and possibilities.
那么 这个展览是我2005年负责的 Now, this exhibition I curated in 2005
当时我在宾夕法尼亚州大学教书 while I was teaching at Penn State University.
我所关心的是 And what I was interested in
聚集一些 was gathering some architects
我认为在做关于环境的有趣并有批判性质的 I thought were doing very interesting critical work
作品的建筑师 马德里的希洛·奈恩 on the environment. Cero Nine from Madrid,
巴黎洛桑的菲利普 拉姆 还有RSIE Philippe Rahm from Lausanne in Paris and R&Sie,
在法文读作厄尔西 从巴黎来 in French it's pronounced 'ersie', from Paris
都在自然方面做着非凡的工作 who are all doing very unusual work with nature,
用非凡的方式与自然打着交道 working with nature in unusual ways
但也提供一些我们认为 but also offered some possibilities
是绿色设计框架以外的 that seemed outside the framework
可能性 of what we consider green design.
他们都非常复杂地 Now, all of them deal with the environment
看待环境 with a great deal of complexity.
我就给你们看2或3个项目 I'll show you just 2 or 3 projects
让你们体会他们的方法 to give you some sense of their approach.
当然这都是国外的 And of course it's all outside so
所以没必要深究 there's no reason to get into it too much in depth.
这是给埃姆斯的项目 在爱荷华州 This is a project for Ames, Iowa
由希洛·奈恩负责 叫作"魔法山" by the firm Cero Nine called "The Magic Mountain".
那么这是个什么项目呢? Now what is this project?
2004年 他们参加了一个竞赛 In 2004 they entered a competition
要给在爱荷华州的埃姆斯市的发电厂建个表面 to create a fa?ade for a power plant in Ames, Iowa,
一个非常大的发电厂设备 a large power plant facility,
不像我们在 not unlike the kind of building
鲁直河上看到的那种建筑 好吧 that we saw at River Rouge, ok?
所以他们被要求为它做一种表面 So they're asked to make some type of fa?ade for it
帮助这个工厂 to help bring this thing
融进这个镇的风格 into the character of the town,
这可能是无法完成的任务了 which is probably something of an impossible task.
所以他们没有做出一个 So rather than develop a fa?ade
能覆盖这个工厂 that would somehow mask the plant
或可以说视觉上减轻工厂的效果的表面 or mitigate the plant visually, so to speak,
他们决定给工厂加入自然因素 they decided to bring nature into this power plant,
但这种方式的自然会让我们思考 but nature in such a way that makes us think about
污染是什么 自然是什么 what pollution is, what nature is
还有他们在我们这个时代的含混意义 and their ambiguity in our day and age.
老实说 自然是一种 Let's be honest, nature is something
自我愈合的东西 在鲁直河的 that can heal in the sense of that image
那个图像而言 但我们生活的时代 of River Rouge. But we live in an era
使我们不得不处理 in which we have to deal with things
像海藻泛滥或其他形式的 like algae blooms and other forms of nature
表现为污染体本身的自然现象 that appear as pollutants themselves
所以自然的积极作用不是完全的清楚 so nature's role as the good is not entirely clear.
所以在他们的提案中 So in their proposal,
他们提出这个金属网一样的东西 they developed this wire mesh mass,
这是这个项目的模型 this is a maquette of the project,
其中他们提出要积聚 in which they proposed to gather up
整个面的金属网 the entire facade of wire mesh
这将包围整个发电厂 that would surround the power plant,
一串串野草还有金银花玫瑰等植物 a series of weeds and honeysuckle rose plants
会爬满整个工厂设施 that would climb up the entire facility,
一个灌溉系统会负责整个的供水 be watered through an irrigation system and would,
所以在某种意义上会把这个怪物 in a sense, turn this monstrosity,
这个城市的发电厂 this power plant in the city,
转变成另一种奇型怪状的东西 into another kind of monstrosity,
但这是个自然的怪物 好吧? but a monstrosity that was a natural monstrosity, ok?
所以 我是说想象这个东西 在某种意义上 So, I mean imagine this thing, in a sense,
生长开花 as it grows and as it flowers,
并能驱赶小镇周围的污染 that it will scatter pollution
并在某种意义上 in the surrounding townscape and in a sense
它用自然污染代替了 it replaces the pollution of smoke
烟雾的污染 with the pollution of nature.
这是气味宜人的污染 它很美丽 This is pollution that smells good, it's beautiful.
并且我们还会观赏到花像玫瑰还有昆虫和鸟 And we'll watch flowers, roses, insects, birds.
但这让我们质疑这时代的污染是什么 But it makes us question what pollution is in our time.
我们可想而知 当然这是个非常难的项目 It's a difficult project as one imagines of course
如果真的被建成 那么 that if this was built, well,
当然会相当地有争议 it would be quite controversial of course.
不管怎样 还是很有趣的 Anyway, but interesting nonetheless
并且真正地让我质疑 and really makes me question these lines
自然与我们说的污染之间的界限 between nature and something we might term pollution.
现在 有点更令人不安 Now, somewhat more disturbing
但我认为同样值得思考的项目 but I think equally thoughtful project
如果你能真正看到里面活动的东西的话 if you can really see what's afoot in it
就是由RSIE在泰国曼谷设计的 is the BMU'd or tower or the dusty relief tower
BMUd 或防尘塔 by R&Sie in Bangkok, Thailand.
我知道现在在座的有一些 Now I know several of you in this room
知道这个项目 但我想解释一下 know this project but I'd like to explain it
用一种我认为与你们以前听过的 in a way that I think might be a little different
不一样的方式 than how you've heard it explained before.
所以这是给一个艺术画廊的提案 So this is a proposal for an art gallery café,
我想是4或5层的楼 I think a 4 or 5 story building,
我得看幻灯片确认一下 I'd have to look at the slides to be quite sure.
但在他们的提案里 他们把这个建筑物 But in their proposal, they made this building
建在泰国被污染的市区的背景下 in the polluted context of downtown Bangkok, Thailand.
并且他们提出要制造一个 And they proposed to make a building
把曼谷的污染物 that will draw the pollution of Bangkok
吸到建筑物表层的建筑 to the skin of the building,
让这个建筑引起关注 并在某种意义上 drawing attention to the building and, in a sense,
把它变成另一种怪物 turning this thing into another kind of monster,
一个完全被污染覆盖的建筑 a building that is completely coated with pollution
但建筑物的内部 but which on the interiors of the building
是完全没有污染的 are completely pollution free.
在这儿 你看到建筑物的横切面 And so here you see a section of the building,
这些就是画廊 these are the galleries.
这是个学习式模型 有人怀疑它看起来像 This is a study model, one doubts that it would really
"亚当家庭"里的表兄"它" look like cousin 'it' from "The Addams Family".
但在这儿你能看到这个建筑物 But here you can see the building here.
所以这个塔保护居民但 So the tower protects the inhabitants but it draws
它会在表层吸收污染 对吧 pollution into the exterior of the building, right?
所以 在表面上这个建筑物净化曼谷的空气 Now, ostensibly this building cleans the air of Bangkok
因为它会把污染物吸到表层 because it's drawing pollution to the outside.
但事实上 只是部分地净化曼谷的空气 It is, in effect, partially cleaning the air of Bangkok
并且建筑师RSIE也承认这一点 and the architects R&Sie acknowledge as much.
但我认为这个建筑所诉说的 But I think what this building is really all about,
就是这个在污染的背景下的艺术画廊 this art gallery in this polluted context,
我认为它使我们理解博物馆 I think it enables us to understand how museums,
在这些城市中博物馆占据的空间 办公大楼 how museum spaces, how office towers,
还有商城 how shopping malls in these kinds of cities
是怎样提供相对于外界环境的 offer ironic means of protection
有讽刺意味的保护 from their surrounding environments.
他们在污染环境中有种奇异的功能 They have a curious role in a polluted context.
并且当我们看这个 And when we look at an image like this,
一个在艺术画廊的西方女人 of this western woman in this art gallery,
凝望窗外的污染的图像时 gazing out of this window at this pollution,
我认为这是个很令人不安的图像 对吧? I thought this was a very disturbing image, right?
并且我想为什么曼谷的图像 And I thought why is this image in Bangkok filled with,
在他的作品中 总是 in his renderings, why is it always
有那么多的西方人? 我认为也许 filled with these westerners? And I thought maybe
它让我们思考这种讽刺 it enables us to consider the irony
在曼谷观赏艺术 of going to look at art in Bangkok,
在这个环境上极其受控 in the extremely environmentally controlled
在这个充满严重污染的城市里 and modulated and moderated environment
像艺术画廊这种受控制的 of a space of an art gallery within a city
环境空间 that has such horrible pollution.
这使我们理解其中的称这个项目的讽刺意味 It makes us understand the very ironies
这种建筑物 of calling this program, this type of building
伫立在这种环境下 所以也让我们思索 into being in this site. And so it makes us think.
并且我喜欢这个图像的地方 And so also what I like about this image,
如果我们回想到起初我展示的图像 if we think back to the very first image
它其实也在讲述 I showed you, it also talks about
反思的概念 how that's concept of reflection,
对环境毁灭担忧的概念 of consideration of environmental collapse
能造成建筑物 can be built into architecture even as
即使我们想用建筑 we engage in architecture
在技术层面上解决 that attempts to deal with that environmental collapse
环境破坏 on a technical level.
现在 "焦虑的气候"中我要展示的 Now, the last project from "Anxious Climate"
最后一个项目是 that I want to show you is a project
我刚刚带进展览的项目 I just brought into the exhibition
为了这次的展览 for this showing of the exhibition.
只是个非常有趣的展览 This is a very funny exhibition.
它是在2005年完成的 It was curated in 2005,
但每次这个展览 but every time this exhibition
去一个学校展出的时候 goes to a school to be exhibited,
似乎总是揽上新的活儿 it always seems to be taking on new work.
不是人们发邮件给我 那些建筑师们 Either people email me, the architects,
问能否展出一个项目 asking if they can show a project,
展示的学校也想展示个项目 the school that's showing it wants to show a project.
所以展览那样就有点意思了 So it's kind of a fun exhibition that way,
它有 它自力更生了 it has a, it's taking on a life of its own.
并且我确信到下一步时 And I'm sure as it travels to the next place
就会有更多的作品了 it'll have ever more work.
所以 在这个项目里 带着有些自负的名字 So, in this project, with a somewhat pretentious name,
"非地方化的地方" "Deterritorialized Territory",
菲利普 拉姆提出要建一个 Philippe Rahm proposes to make a room
展现前现代世界的生产的屋子 that comments on the production of a pre-modern world,
是的 工业化之前的世界 ok, a world before industry.
所以他的观点就是在20世纪早期 So his idea is that within the early 20th century,
这是电影中的剪切 these are clips from a movie
所以我对它的分辨率表示歉意 so I have to apologize for the resolution.
顺便说一下 电影已经放映了 And by the way, the movie is outside.
所以他的观点就是在20世纪早期的巴黎 So his argument is that in the early 20th century,
一个人能大概了解屋子以外的环境 in Paris, one could roughly understand the environment
或者我们说楼 outside of a room or let's say a flat,
一个巴黎的公寓楼 an apartment building in Paris.
一个人能大概了解 One could roughly understand
那一部分 那个区域 自然点儿就是 that part, that area, to be natural, that is,
有蓝天 有太阳等等 it has sky, it has sun, et cetera.
没有像现在的空气一样 It hasn't been completely carbonized
完全碳化 like the air is today.
一个人能理解屋子的内部 One could understand the interior of that room
在某种意义上是人造的 它可能会被加温 to be artificial in the sense that it would be heated,
30年后就有空调 30 years later it would be air-conditioned,
好的 它可以点亮 用电或天然气 ok, it would be lit, electrically lit or gas lit.
但他说今天 切尔诺贝利和二氧化碳的时代 But he says today, in an era of Chernobyl, of CO2,
我意识到这不是很令人高兴的事情 this isn't very cheery stuff, I realize,
我们必须知道 that we need to understand
巴黎的这些建筑物以外的空间 that the space outside of the buildings in Paris,
真的在哪里都是人工的 or really anywhere, are artificial as well.
空气已经完全变成人类的产物 对吧? The air has become a completely human construct, right?
建筑物内的空气 The air inside the building
也已经完全变成人类产物了 has become a completely human construct.
所以在他的提案中 他说道 So, in his proposal he argues,
要是我把建筑物内部也变得自然些会怎么样呢 what if I make the interior of the building natural?
我怎样能做到呢? 那有可能吗? How could I do that? Is that even possible?
当然 在技术上 Well, technically it's impossible
从严格的哲学观点上来说是不可能的 from a strictly philosophical point of view
因为他仍要处在 because he's still going to be engaged in
某种在里面的人 some form of producing air, design,
制造出来的空气或设计里 of human generation there inside.
然而 他的观点就是要在这个屋子的内部 But nonetheless, his idea is to make inside this room,
制造出一天的气氛 the atmosphere of a day,
1832年巴黎5月的一天 a late May day in Paris in 1832.
在这儿 视图有点混乱 And here, sort of crummy illustrations
但我只想解释一些观点 but I just want to explain some of the ideas.
他的观点不是要用 His idea is not to fill this room
1832年巴黎的动情的图像来填满这个屋子 with sentimental imagery from Paris in 1832,
1832年在巴黎五月下旬的一天 我要 a late May day in Paris, 1832. I'll explain
在一分钟内解释那一天的重要性 the importance of that date in just a minute.
他的观点就是要填充氛围 His idea is to fill the atmosphere.
氛围是历史性的 The atmosphere is historical
但整个空间给人一种充满现代设计的特点 but the space is filled with modern features of design.
他有三把椅子 你可以体验 He has these chairs that you can experience
在三个不同高度的屋子里 the different smells that would be
那时代不同的气味 at the different heights of a room during that age.
他在屋子里有非常精致的被动制冷 He has very highly sophisticated passive cooling
和制热设备 and heating equipment in this room.
然后在这儿他有个很奇特的设备 And then he has this curious device here,
真的能再制造出曾经在巴黎郊外的 to literally reproduce the smell of wafting wood
森林树木的那种飘香 from the forest that once existed outside of Paris,
由于自然随周围环境做出调整 the winds that have been changed
改变了的风 because of the adjustments to the surrounding nature.
为什么是巴黎?为什么是1832年的五月? And so why Paris? Why May? Why 1832?
这个项目含有一些 There's something very sad and monumental
悲伤的纪念意义上的东西 about this project
因为创造这个屋子后的那一天 because the day after this room is created,
第一个发电厂 不是第一个 the first power plant, not the first power plant,
是第一个在巴黎的火力发电厂将会启动 the first coal-fired plant in Paris will be fired.
所以在1832年的五月下旬 第一个煤炭工厂 So in late May in 1832, the first coal factory
在巴黎建立 所以这是 is built in Paris and so it's a world
巴黎烧煤炭之前的世界 before the burning of coal in Paris.
有一些东西 它是个纪念碑 And there's some things, it's a monument,
这是关于这个项目 which is something that is really
相当浩大并触动人心的部分 quite tremendous about this project.
他是个有里程碑意义的氛围 It's a monumental atmosphere
让我们思考过去与未来 that makes us think about the past and the future
很不幸的是 这不是很容易就能获得 which unfortunately cannot so easily be regained.
所以 在这些项目中我最后看到的是 So, what I ultimately saw in these projects
这种批判性的反思 was this type of critical reflection
这是我一直渴求的 that I was always craving.
我的一个 我真的没有时间 One of my, I don't really have time
来解释"宏伟和绿色"这个项目 to explain the "Big and Green" project
但在很久以前 你们中有一些也许知道 but it was a long time ago and some of you may know it.
但它基本上是一个对可持续的概述 But it was basically an overview of sustainable
绿色的摩天大楼和大片的建筑物的一个 and green skyscrapers and large-scale buildings.
这个项目中 And one of the things
让人沮丧的一点 that was so frustrating about that project
就是很少有 was that there was so little,
批判性的建筑出现 type of critical architecture
为主题 所以我记得 engaged with that subject. And so I remember
跟一个我以前的教授说 talking to a former professor of mine
你有想过 and I said, "Do you ever think
我们会有批判性的环境主题的建筑吗? we'll have critical environmental architecture?"
8年之前 他说不 Like 8 years ago, he said no,
这不可能 不可能 it's not possible, not possible.
但我不认为那是真实的 But I don't think that's true.
看完这些项目后 And having seen these projects
我想还是有一些希望的 I think there is some hope for that.
所以"次自然"延续着 So "Subnature" continues many of the ideas
"焦虑的气候"中的很多观点 within "Anxious Climate".
但它更深地涉及到 But it engages more deeply
挖掘建筑上的 with excavating the architectural,
当代建筑尤其在 contemporary architechtual exploration
环境破坏上的探究 of corrupted environments in particular.
并且它也提供 不像一个展览 And it also offers, unlike an exhibition,
它提供一个历史上和理论上的 it offers a historical and theoretical type
评论 现在这本 of commentary as well. Now the book,
就在上星期发表的书 which was just published last week,
分析了许多建筑师们 examines many of the ways architects have identified,
定位 想象 表述这个事实的方式 visualized and contended with the matter,
或者是围绕这个事实的诸多观点 or the ideas circulating around the matter
这事实包括被污染的建筑环境 that constitutes denigrated architectural environments.
所以我的观点就是物质进入了 So my argument is that matter enters
次自然的划分领域 the category of the subnatural
当它被视为对居民和材料构成 when it's envisioned as potentially threatening
还有建筑型观念有 to the inhabitants or to the material formations
潜在的威胁时 or ideas that constitutes architecture.
所以次自然既是一个事物 So subnature is both a thing,
也是个态度的事情 and it's both an attitude thing
并且是对物质的态度 and it's attitudes attached to a thing.
次自然以自然状态存在 Subnature is of those forms of nature,
大致来说是社会自然 混合自然 roughly speaking, or socionature, hybrid nature,
这些都被看作肮脏的 触目惊心的 that are deemed filthy, fearsome,
无法控制的或原始的 这是个图像 uncontrollable or primitive. So this is an image,
这个图像的来源 this is actually quite interesting
其实相当有趣 where this is taken from.
抱歉这不在图片说明上 Sorry it's not on the caption,
这是在1953年的纽约 但他们站在 it's in New York City in 1953. But they're standing
洛克菲勒中心的观望塔上 at the observation tower of Rockefeller Center
看着烟雾 looking at the smog and smoke
和当时的城市景观 and the view of the city at that time.
所以这本书追溯 So the book traces the history
12个曾经存在的次自然的历史 of 12 ever-present subnatures
在建筑领域内 within architectural thought.
刚开始讨论像潮湿的环境 It begins with atmospheres such as dankness,
我待一会儿会详述这一块的 which I'll talk about a little bit more at length.
烟 气 尾气 Smoke, gas and exhaust.
这是 关于这本书我要提的一点就是 This is, one thing I should mention about the book,
这本书不是一本科技型的书 the book is not a technical book.
它不会给你们展示 It's not going to show you
怎样才能制造无烟的环境 how to make a smoke-free environment.
这本书 我是说 我不是想笑 The book is, I mean, I don't mean to laugh,
我是在减弱它的重要性 I'm diminishing the importance of it.
但这本书是关于 But the book is about engaging
这些形式的视觉生活 with the visual life of these forms,
这些次自然的形式 these subnatural forms
在历史的背景下 in the history of our discipline.
这个漂亮的图像 And so this is a really fascinating image
是丹尼尔 伯纳姆设计的芝加哥城的信赖大厦 of the Reliance Building in Chicago by Daniel Burnham.
这只花了这幢楼建好之后的 It was taken just 13 years
13年的时间 after the building was built.
这是个全白色的 玻璃砖的 This was an all-white, terra cotta,
有着玻璃表面的建筑 vitreous skin building
这个建筑应该抵挡 that was supposed to be resistant
建筑师们所讲的芝加哥恶质汤 to what the architects called the vile soup of Chicago.
在这儿它完全被烟灰弄黑了 And here it is completely blackened by soot.
然而这个建筑可以被清理 但它所表现的是 Nevertheless it can be cleaned but it shows
摩天大楼怎样被视为 how skyscrapers were envisioned
排斥他们对外的环境 as somewhat resistant to their environments.
这本书的第二部分讲的是 The second section of this book examines
物质的次自然形式 subnatural forms of matter
比如说水坑 泥巴 灰尘还有残片 such as puddles, mud, dust and debris.
这真是 And this is a really,
选取这个图像也是真的 this image also is really taken with,
这是个非常有趣的书 this was a really fun book to, you know,
接这个项目真的很棒 it's a great project to undertake.
这实际上是从一本建筑历史书上截取的 This is actually from an architectural history book,
这本书也许有一些在座的 a book that probably some of you in the room read
当建筑系学生时读过 when you were architecture students
但没人会真正地再读这本书了 but nobody really reads as much anymore,
里昂那多 贝纳沃洛的"建筑学历史" Leonardo Benevolo's "History of Architecture".
所以在这本书里他所做的一件事情就是 And so one of the things that he did in this book,
我认为真的非常棒 which I think is really great,
就是他拜访现代大师们的 s that he went to many of the sites
作品中的地点场所 of the modern masters, of their work,
例如这位大师的房子 such as this master's house and
还有在德绍的包浩斯 Bauhaus at the Bauhaus in Dessau.
然后他重新把这些建筑物拍下来 And he re-photographed the buildings
以他们现在的样子对比于他们 as they are now versus how they were represented
建造是的样子 when they were built.
然后他发现这些建筑物 And so what he discovered was the way that they're,
首先 他们在 A, they're sort of lost
现在社区内的精神疯狂地生活上有点迷茫 in the mental lives of their current communities,
还有就是他们被 but also the way that they're overrun
各种野草和坑洼所覆盖的样子 with weeds and puddles.
他的观点不是要展示 And his point was not to show,
要说现代的建筑是不好的 to say that modern architecture was bad,
但他想要展示这些现代建筑是怎样 but he wanted to show how these modern buildings had
和周围环境有着某种联系的 a certain kind of relationship with their surroundings.
并且还想提供某种现实主义 And also provide a certain kind of realism
所以他们 把他们展示在 so that they, what's interesting about showing them
废墟的背景下的有趣之处就是他们事实上 in a state of decay is they actually
在我们的头脑里作为物体是非常清新的 are very fresh in our minds as objects
相对于这个冰冷的 versus this frozen architectural image
带有20年代末期或30年代末期的 with a perfect sky from,
天空的建筑图像 let's say the late 20's, early 30's.
所以这本书里有许多当代的项目 So there's many contemporary projects in the book
为了往前面快点赶一些 and just to fast forward, to move forward quite quickly
但这些的代表性 but that are no less
是毋庸置疑的 dealing with representational issues.
这本书的最后一部分 The final section of the book,
我认为在某种程度上 which I think was in some ways
对我来说最复杂了 the most complicated for me,
它分析我视为次自然生活的事物 examines things which I regard as subnatural life,
多样化都市 还有农业的 害虫 various urban, but also agricultural, nuisances
像野草 昆虫 鸽子 and pests such as weeds, insects, pigeons.
所以这是 事实上鸽子 And so this is, actually the pigeons
是个非常有趣的想法 were quite an interesting idea.
这个是阿兰达 拉希的图像 This is a image from Aranda/Lasch,
经常被视为一群密集的 which is often seen, this image of a swarm,
成群移动的 飞翔的 swarming, peeling, flying,
城市中的鸽子图像 我认为非常 a map of pigeons in the city is a very, I think,
我不知道重要这个词能否准确地表述它 I don't know if the word 'important' quite captures it
因为他们是年轻的建筑师 because they're such young architects but
但这是在好多代的 it is an influential image in a lot of generative and
活力论者的当代建筑思想中非常有影响力的 vitalist contemporary architectural forms of thinking.
我还认为看到阿兰达 拉希的 What I also think is important to see
一些早期作品 in some of Aranda/Lasch's early projects
与一些毁坏的自然现象 is their constant engagement with forms of nature
不断产生联系是很重要的 that are somewhat lesser or denigrated.
所以在这儿他们捕捉鸽子这一图像 And so here they're capturing the pigeons is
是非常严肃的一个研究话题 something that might be a serious object of study.
但也同时评论他们在城市中的普遍存在性 But also commenting on their ubiquity in the city
也为他们美丽的图案模式而惊奇 and marveling at their beautiful patterns.
并且如果你看这本书的话 And if you look at the book you realize
你会明白这完全是现代主义的比喻 this is a complete trope of modernism,
建筑师们和艺术家们完全 the architects and artists are completely fascinated
被城市中的鸽子吸引住因为他们代表 by pigeons in cities because they represent
在整个自然中完全的自由 a completely free in cosmopolitan nature.
他么没有被捕食 没被抓起来利用 They're not eaten, they're not put to use,
他们只是生活的表述 they're just expression of life.
所以 其中一个 And so, so one of the other,
最后一章讲的是人群 the very last chapter deals with the crowds
各种建筑师 工程师 and the ways that various architects, engineers and
建筑型学者已经预示 architectural thinkers have envisioned the exhalations,
用一个19世纪的词就是 to use a 19th century word,
人群呼出的气体有潜在的威胁 of crowds as potentially threatening.
所以我看了好多图像 And so I've looked at so many images of,
好所奇怪的照片 pictures of, just bizarre images of people
人们试图要把从嘴里吐出来的东西吸进去 trying to draw what comes out of our mouths
就像我们从19世纪开始呼吸一样 as we breathe from the 19th century.
我真的对这些怪异的东西很感兴趣 I'm really fascinated by creepy stuff.
这是奥马·克汗的作品 This is by Omar Khan, who,
这是他开放的专栏项目 this is his open columns projects, project,
他想象出这是个拥挤的大堂 that he imagines for a sort of crowded hall
我想他还是在延续着他的传统 in which he's continuing this tradition, I would say.
然后他在玩弄这些二氧化碳漩涡 And he's playing with these swirls of carbon dioxide
他想象着这些是 that he's imagined are created
由人群创造的 by aggregations of people
然后试着把人群组合成这个样子 and trying to pool people in such a way
以便他能取消这些东西 that he can diminish these things.
不管怎样 这是目录 Anyway, so here's the table of contents
如果你在5年前问我 and if you asked me five years ago
是否用鸽子 野草 灰尘 水坑 if I would ever write a table of contents
来组织我的目录 with pigeons, weeds, dust and puddles in it
我会认为你是疯子 I would have thought you were nuts.
我会 我们前些天看着这个目录 I would, we were just looking at this the other day
就想着它很想 and thinking this looks like
一个失败的建筑的视察员的报告 对吧? a failed building inspector's report, right?
当然这就是重点 Which, of course, is the point.
所以每个章节提供 And so each of the chapters provides
一段建筑学与这些事物的 a history of the complex ways
复杂关系的历史 architecture engages with these things.
但表面上 这些观点的处理上 But physically, as with ideas,
每一章总结了 each chapter concludes with an overview of
这些事物是怎样出现在现代作品当中的概况 how these things appear in the most contemporary work.
再一次 这本书被诠释 And again, the book is illustrated
要给你们展示这些事物 to give you a sense of the visual life
在我们这一行的视觉生活 of these things in our discipline.
所以我想 在我有的时间内 And so I thought, just with the time that I have,
我只想给你们介绍 I would introduce you just
这些章节的一些观点 to a few of the ideas in the chapters.
看一下 现在是差一刻8点 I'm looking, it's quarter to 8.
也许我就给你们展示一个章节 Maybe I'll just show you one of the chapters
这研究起来很有趣的 which was really enjoyable to research.
这是潮阴那章节的 This is the first image
第一个图 好吧? 为什么是潮阴? from the chapter on dankness, ok? Why dankness?
并且这也是这本书的第一章 And this is also the very first chapter in the book.
等一下 如果你读 如果你是学生 One second. If you read, if you're a student,
像我和许多我的同事们 like I and many of my colleagues
是搞建筑型理论的一样 你就会意识到 are of architectural theory, you realize that
潮阴是一种原始的污染体 对吧? dankness is sort of the primordial pollutant, ok?
如果你读 我不用背这些名字 If you read, well I don't need to recite the names,
但如果你读各种 but if you read a variety of
早期现代建筑思想的话 early modern architectural thought,
有很多关于洞穴或洞穴环境是怎样 there's a great deal of reflection on
成为建筑物要替代的 how caves and the environment of caves,
劣等环境的反思 尤其是潮阴 particularly their dankness, they're cold
他们很凉 不冷不热 or tepid, dark, humid environments are somehow
是黑暗 潮湿的环境 an inferior atmosphere that architecture will replace.
建筑活动本身会让社会 The building activity itself will bring society
逃离它所给予的洞穴的居住方式 out of its given means of habitation of caves
并提供一个更适宜 and provide a more suitable atmosphere
人类社会和生活的环境 好吧? for human society and life, ok?
现在 你可以看到 Now, you can see this
用好多不同形式写的版本 in so many different forms of writing
那是一个环境腐朽的形式 that's a denigrated form of environment.
那么这个图像有趣的一点就是 Now what's interesting about this image
这个图像由菲利伯特 达 里欧美 法国人 by Philibert De L'Orme, a French,
一位早期的法国古典建筑师 early French classical architect,
他创造出这个洞穴的寓言 is that he makes an allegory of the cave
作为一种一个人必须从这儿出来 as both a kind of nature that, or a subnature,
去创造建筑物的自然或是次自然 that one must emerge from to have architecture,
还有建筑学本身作为一个专业 but also that architecture is a profession itself
包括离开洞穴的那部分历史 that involves leaving the cave.
他的思想根基在某种柏拉图式思想上 It has its roots in certain kinds of Platonic thought.
但你所看到的建筑师向往的 But what you see the architect go towards,
建筑师摒弃的 the architect leaves
洞穴的腐朽的环境 the denigrated atmosphere of the cave
为的是知识 对吧? for the palm of knowledge, ok?
所以在这儿 他写道 洞穴 And so here, in his writing, caves,
像许多其他古典作家说的一样是 like many of the other classical authors are something,
被给予的居住方式 the given means of habitation that architecture,
而建筑 作为建筑体显然不是洞穴 as a built construct that's obviously not a cave,
物理上被人们建造 that's physically made by people
会提供一些休憩场所 will offer some respite from.
但也是一个寓言式的东西 But also here it's an allegorical thing.
这里奇怪的一点就是 Now what's curious about this is
菲利伯特 达 里欧美工作的时期 that Philibert De L'Orme was working at a time
建筑师们 也许要叫 in which architects and what we might call
早期城市规划者们被要求 early forms of urbanists were being asked
重新考虑欧洲城市的洞穴般的地下 to reconsider the cave-like undergrounds
并且他在巴黎工作 of European cities. And he was operating in Paris.
这是意大利下水道的图 This is an image of an Italian sewer
但他在巴黎工作 but he was operating in Paris.
有一件事 And one of the things
菲利伯特 达 里欧美被要求做的是 Philibert De L'Orme was asked to do,
有点 应该是电视上看到的最脏的活儿了 which was sort of, should be on dirtiest jobs on TV,
法国国王亨利二世要求他 he was asked to explore the sewers of Paris
探究巴黎的下隧道 by the French King, Henry the Second.
这是现代最早 This is one of the first modern
探究下水道的图之一 explorations of the sewers
这是为了找出合理化的方法 to figure out a way to rationalize them.
并且维克多雨果 And there's a great passage
在他的悲惨世界中写了一段非常著名的篇章 in Victor Hugo's Les Miserables when he fictionalizes
当他想象在里欧美那里应该是什么样子时 what this must have been like for L'Orme.
并且他写道黏泥的丑陋特性 And he writes about the disgusting nature of
并且他们是怎样前行了快300米 and the slime and how they went forward 300 yards
但他们被这些恶心的东西击败 but were repulsed by the disgust
不得不离开下水道 任务没有完成 and had to leave the sewers, the job undone.
好多年后 And so many years later,
建筑师们开始探究下水道 architects began to explore the sewers
并想出整修他们的方法 and to figure out a way to rationalize them,
在这个背景下意味着 which in this context means
缓和潮湿的环境 to mitigate their dank atmosphere.
所以只是一个 事实上就是 And so this is one of, it is in fact
第一个街道横截图来展示房屋 下水道 the first street section showing houses, a sewer,
从房屋到下水道的水管 wastewater going from houses into sewers.
从建筑思想上来讲这是个相当著名的图 It's a rather famous image from architectural thought
但也展示地下城市是怎样 but also shows how the undergrounds of cities
被合理化的 还有潮阴 were being rationalized and how dankness,
现在也存在但或多或少尝试过 always present was somehow trying,
建筑师们是怎样试图寻找一个减缓它的方法的 architects were trying to find a way to mitigate it,
把城市跟更健康的未来联系起来的方法 to engage with the city with a more healthful future.
所以在这儿 指出几个要点 And so here, just to point out a few things,
你能在这儿看到下水道 here you see the sewer.
显然这个图是有关各种各样的城市流水线 Obviously this image is about types of urban flow
搭配着弯曲的街道 with its curved streets,
开放着以便空气和阳光照到下水道 open to let air and light into the sewer space.
当然所有的这些事实上就会让我们明白 Of course all of this will actually be realized
当乔治 豪斯曼和他的队员 when George Haussmann and his crews
完全重修巴黎的地下 will completely rebuild both the underground
和地上建筑时 and aboveground of Paris.
所以现在你可以参观巴黎的下水道 And to this day you can tour the sewers of Paris
去看看完成合理化 and to see the work that was done
这些东西的工程 to rationalize these things,
把阳光和空气带到潮湿的地方 bring light and air to these dank spaces.
所以在建筑性思想中 合适的 And so within architectural thought, proper,
我们还可以看见另一种 we also see another kind of
地下的合理化过程 rationalization of the underground.
这是一个部分 两个部分 可以说是一个动画 This is a section, two sections, a cartoon, as it is,
柯布西耶画的 that was drawn by Le Corbusier,
显示了一种传统的砖瓦建筑系统 which shows a traditional masonry construction system
还有这个现代的混凝土结构系统 and this modern concrete structural system here.
他写的一个事情就是 And one of the things he wrote about
传统建筑形式 was the mediocrity of the spaces of
空间的平庸性 traditional forms of construction,
在巴黎和乡村 both in Paris and the countryside.
尤其是地下室 And particularly he said the basement.
地下室在那个环境中是最平庸二流的空间了 The basement is the most mediocre of spaces
总是这么说 with its atmosphere. So it was all this talk.
它是潮的 冷的 黑的 It's wet, it's cold, it's dark.
所以他用开放的植物 And so he replaces these things with open vegetation,
流动的空气 屋顶上的植物 阳光和空气 open air, vegetation on the roof, light and air,
来替代这些 他自豪地说 有我的建筑系统 and he says, like proudly,with my construction system,
我让地面不受损伤或干扰 I leave the ground intact,
所以不要触碰建筑 so not to touch architecture.
所以当然我们知道现代化 So, of course we know that modernity brought us,
在建筑学上 给我们带来了这些精彩的观念 in architecture, brings us all these wonderful concepts
还有空间上的看法和形式结构上的看法 and spatial ideas and ideas about form and structure,
等等 但我们还得承认 et cetera. But we also have to acknowledge
现代化有时候也 that modernity also has, in some cases,
导致环境本身的平庸化 resulted in a banalization of the environment itself.
所以 在战后建筑思想中 And so, within post-war architectural thought
甚至在空间哲学 加斯顿 巴舍拉尔 and even spatial philosophy, Gaston Bachelard
还想起他的书"空间诗学" and his "Poetics of Space" book comes to mind,
在某种意义上出现了 there's in a sense a kind of recovery
这种地下空间的复苏 of this underground space.
我们怎么能重新思考现代化带来的损失? How can we re-think what we've lost with modernity?
我们失去了一些东西 We've lost some things.
我们失去了某种传统和群体感 We lose a certain sense of tradition and community.
但随着建筑物的合理化 But there's certain types of atmospheres
我们丢失了某种氛围 that get lost with the rationalization of buildings.
我们怎样才能把潮阴带回来? How can we bring dankness back?
好像那就是项目本身一样 对吧? As if that is a project within itself, ok?
如果你读过"空间诗学" And if you've read "The Poetics of Space",
我认为是一本 which is one of those books I think
我们再也不会推荐给学生的书 we don't give to students anymore,
其实有几章节写得很好 it actually has some terrific chapters
就是谈论地下室环境和 that talk about the atmosphere of basements
他们有多么有趣的那一章 and how interesting they are.
所以有一位在"焦虑的气候" So one of the architects who was in "Anxious Climate"
跟我们一起工作的建筑师 who is working with this
试图复苏这个潮阴的环境 and trying to recover this dankness
潮阴其实既是一个失去的体验 is both a thing that is an experience
也是个历史存在 that's lost and is a historical entity,
是菲利普 拉姆 这些是他为 is Philippe Rahm. These are his underground houses
一个法国乡村设计的地下房屋 that are designed for a French countryside,
我想在向南离巴黎100公里处 I think about 60 miles south of Paris,
向南离巴黎160公里的哇沙维尔城 100 miles south of Paris in Vassiviere.
他提出的 按他说的 And what he proposes is what he calls,
这是他的引用 "一个 this is his quote, "a building that is
与土壤有着深奥关系的建筑" in profound relationship to its soil."
所以他提出要在地里安置 And so what he proposes is nestling
一个小的 供一个家庭住的房子 a small, single-family house into the earth,
他在选址上设计了大概12或15个这样的房子 he designed like 12 or 15 of these for this site,
里面有一个大的地下寝室 in which there's a large underground chamber,
这里整个房子就是地下室 好吧 in which the entire house is almost basement, ok.
然后他说他在房子里开启了一个 And he says he opens up this strange new zone
奇异新地带 所以他想象着 in the house. And so he imagines
在这个空间 土壤里 taking this space and this earth,
他还说这种土壤的芳香融进嘴里 and he says this earthy taste will be in your mouth,
并且渗进屋子里 对吧? and bringing it into the rooms of the home, right?
所以如果你曾去过乡村里的房子 And so if you've ever been in a country house
你也许体验过这种东西 you've probably experienced these things.
所以这不仅是个项目 And so it's both a project that,
如果我需要提一下的话 if I need to mention that it's about
它是关于某种被动制冷和通风 a certain kind of passive cooling, passive ventilation,
但在这儿那不是重要的 but that's not what's important here.
重要的是 What's important here
它是一种历史重现 is the kind of historical recovery
他一直试图与这个项目联系起来 he's trying to engage with this project.
在这儿你能看到这些非常有气氛的 Here you see this atmospheric image of these things
坐落在乡村的图像 set along the countryside.
在这儿你看到一个技术示意图 Here you see a technical diagram
解释了这空间是怎样被制冷制热的 explaining how the space could be warmed or cooled
还有空气流动的方式 还有这儿 and the way the air flows through it. And then here,
我认为很有趣的图像 this image that I think is really interesting,
我们看到地下空间本身 we see this underground space itself
作为一种带回来的体验 as a kind of experience that's been brought back.
现在 由于时间原因 Now, in the interest of time,
因为我很想8点的时候出去 because I do want to get out there at 8 o'clock
那时候肉馅卷饼和开胃菜都到了 对吧 when our empanadas and appetizers arrive, ok,
我也许跳过一点 I just, maybe I'll skip forward a bit
只给你们解释 并稍微总结一下 and just explain to you, and to sort of wrap,
给你们解释书的封皮本身吧 and to explain to you the cover of the book itself
并回到反思这个观点上来 and go back to this idea of reflection.
现在这就是那个 Now this is the image
用在书封皮上的图像 that was used for the cover of the book.
这是什么? What is this, right?
这个奇怪的 看着很怪异的东西 对吧 It's this strange, creepy looking stuff, ok.
这来自乔治 戴罗 佩里噢的项目 This is from a project by Jorge Otero-Pailos
叫做"灰尘的伦理" called "The Ethics of Dust"
是在意大利波沙诺市完成的 that was done in Bolzano, Italy.
我会解释这是什么 And, I'll explain what this is.
在这个屋子里你们中的一些 Some of you who, in this room,
知道这个项目但许多人也许不知道 know this project but many of you probably don't.
所以 在2008年 乔治被要求清理 So, in 2008, Jorge was asked to clean
意大利波沙诺城的一个工厂的内部 the interior of this factory in Bolzano, Italy
以便能被用作 so that it could be used
艺术展览台 对吧? for the staging of art, alright?
所以这空间是个旧工厂 And so this is an old factory space
像在鲁直河的那种 like River Rouge, well,
只是这个不在运作中 except that it's not in operation,
那正北转换成一种 that's being turned into a sort of space
适合后工业企业的空间 for a post-industrial company.
所以他被要求清理这个地方 And so he's asked to clean this space.
所以他提议清理这个空间但 So he proposed to clean this space but to
要把灰尘变成一种新的生命体 bring the dust into a new type of life of its own.
所以我喜欢 And so one of the things
这个项目的一点就是 that I really love about this project was that
乔治在这个项目的点子上 Jorge was inspired by the idea for this project
是通过读约翰 卢斯科受到启发的 by reading John Ruskin.
约翰 卢斯科写道 And John Ruskin wrote that as much as
卢斯科有多讨厌 Ruskin hated the kind of industrialization
发生在英格兰中部的工业化 that was happening in the midlands of England,
他就有多讨厌清理建筑物的想法 好吧 he really hated the idea of cleaning buildings, ok?
所以在这儿有人就和烟雾背道而驰 So here's someone who's railing against smoke
像皮金或辛克尔 他憎恶烟熏熏的环境 like Pugin or Schinkel, he hates the smoke environment
但他想 他要去除它 but he wants, he thinks to remove it,
完全清除它 to completely erase it
否认曾经再那里发生过的历史 to deny the history of the things that happened there
对19世纪中叶来说 which is a pretty tremendous thought
是相当巨大的想法了 for the mid-19th century.
所以乔治使用了这个保存方法 So Jorge used this preservation,
这种技术使用在历史物品的保存上 this technique that's used in historical preservation
就是把胶乳涂在墙面上 in which latex is painted on the surface of walls
然后撕下来 and then it's ripped off.
这就像很糟糕的建筑物的 It's like a really bad bikini waxing
比基尼脱毛或者什么 or something of a building.
所以总的来说这些东西被扔掉 好吧 And so generally these things are thrown away, ok?
恰好相反 他决定把他们挂起来 And so instead he decides to hang them
挂在他用来清理的 on the very scaffold itself
建筑架本身上 that he was using to do the cleaning.
所以人们回来看这些污染 And so the people will come, look at this pollution
思考这个地方的过去 and think about the past of this space.
我觉得这个项目很成功的一点就是 And what I think is pretty great about this project
许多人 许多城市学家们 is that many people, many urban thinkers
书写并哀悼工业空间丢失给 write about and lament the loss of industrial spaces
后工业化时代或失去记忆 to post-industrialization or losing memories
失去历史 也失去工作 对吧 where we lose history, we are losing work, ok.
并且我认为这个地方的好处就是 And what I think is great about this space
他使你思考 is that he makes you think about the very labor
在这个地方出现过的劳动形式 that used to occur in this space
现在艺术品被吊挂起来 并让你想 where art is being hung and he makes you think
人们以前在那儿工作 这就是这个空间 that people used to work there and this was a space
有着某种环境 气氛 that had a certain kind of environment, atmosphere,
他像保留的工业环境 environment of industry that he's maintained to keep.
所以把它放在封面 And so it was really great to,
是很有心并深思熟虑过的 and very consciously thought
真的觉得很棒 to put that on the cover of the book
因为我认为它能真正地总结 because I think that really sums up
这本书的观念和这本书所要讲的东西 the concepts of this book and what it's all about.
所以我们怎么保存这个东西 So how do we retain this stuff,
我们怎样反思 how do we reflect on it,
但我们怎样 but how do we do so in a way
用不荒唐并负责任的方式来这么做 对吧? that's not ridiculous and irresponsible, right?
它不是关于某种 It's not about some sort of
后启示论的世界观 post-apocalyptic vision of the world.
它包括一些像清理 It's about engaging in things like cleaning,
补救之类的东西 但它关于 like remediation. But it's about
保存这些东西的历史 maintaining the history of these things
随着我们着手努力 as we go about that effort.
所以不管怎样 给你们大概 So anyway, that gives you a snapshot
快速浏览了这本书和展览 of the book and the exhibition.
所以我想伊拉也想让我提一下 And so I think Ila also wanted me to mention
在我们要问问题之前 before we do a few questions that we're going to have,
再一次提醒你们 to re-remind you that
外面提供一些吃的 we'll have some food served outside,
开放的展览还有签书会 an exhibition opening and book signings.
所以 非常感谢 And so, thank you very much.