about the last 30 years of architectural history.

關於近３０年來建築學的歷史

That's a lot to pack into 18 minutes.

要把很多內容放進１８分鐘裡

It's a complex topic,

這是個複雜的議題

so we're just going to dive right in at a complex place:

所以我們就深入一個複雜的地方

New Jersey.

紐澤西

Because 30 years ago, I'm from Jersey,

因為３０年前　－我從紐澤西來－

and I was six, and I lived there in my parents' house

我六歲時，我住在父母的房子裡

in a town called Livingston,

在一個名為利文斯頓的小鎮

and this was my childhood bedroom.

這是我童年的臥房

Around the corner from my bedroom

就在臥房的角落

was the bathroom that I used to share with my sister.

是姐姐跟我共用的浴室

And in between my bedroom and the bathroom

在我的臥房和浴室中間

was a balcony that overlooked the family room.

是可以看到客廳的陽台

And that's where everyone would hang out and watch TV,

那是大家閒聊和看電視的地方

so that every time that I walked from my bedroom to the bathroom,

每當我從臥房走到浴室

everyone would see me,

大家都看得到我

and every time I took a shower and would come back in a towel,

每當我沖完澡，批著浴巾走回臥室

everyone would see me.

大家都看得到我

And I looked like this.

而我看起還像這樣

I was awkward,

好尷尬

insecure, and I hated it.

沒安全感，我討厭這樣

I hated that walk, I hated that balcony,

我討厭這段路，我討厭這個陽台

I hated that room, and I hated that house.

我討厭那個房間，我討厭那間房子

And that's architecture.

而，那就是建築

(Laughter)

（笑聲）

Done.

好

That feeling, those emotions that I felt,

我感覺到

that's the power of architecture,

建築的力量

because architecture is not about math and it's not about zoning,

因為建築無關數學，無關空間

it's about those visceral, emotional connections

這關乎內心與情緒的連結

that we feel to the places that we occupy.

我們對於自身所處空間的感受

And it's no surprise that we feel that way,

我們的感受不令人意外

because according to the EPA,

因為根據環保署

Americans spend 90 percent of their time indoors.

美國人有９０％的時間在室內

That's 90 percent of our time surrounded by architecture.

有９０％的時間被建築物圍繞

That's huge.

很可觀

That means that architecture is shaping us in ways that we didn't even realize.

那代表建築正以我們沒有察覺的方式 形塑我們

That makes us a little bit gullible and very, very predictable.

那使我們有些僵化， 非常非常容易預測

It means that when I show you a building like this,

這意味著，當我展示這樣的建物時

I know what you think:

我知道你們的想法

You think "power" and "stability" and "democracy."

你們想到力量，穩定，和民主

And I know you think that because it's based on a building

我知道你們這麼想是因為這個建築物

that was build 2,500 years ago by the Greeks.

２５００年前由希臘人所建築的

This is a trick.

這是個技巧

This is a trigger that architects use

這是建築用來刺激你

to get you to create an emotional connection

創造一種情緒的連結

to the forms that we build our buildings out of.

連結到我們建築的形式

It's a predictable emotional connection,

這是個可預期的情緒連結

and we've been using this trick for a long, long time.

而我們以使用這個技巧，很久很久了

We used it [200] years ago to build banks.

我們用這個技巧在２００年前蓋了銀行

We used it in the 19th century to build art museums.

在１９世紀蓋了博物館

And in the 20th century in America,

而在２０世紀的美國

we used it to build houses.

我們用它來蓋房屋

And look at these solid, stable little soldiers

看看這些穩固的小戰士們

facing the ocean and keeping away the elements.

面對大海，遠離基本要素

This is really, really useful,

這真的很有用

because building things is terrifying.

因為蓋東西是很可怕的

It's expensive, it takes a long time, and it's very complicated.

昂貴，耗時，又很複雜

And the people that build things --

蓋東西的人　－

developers and governments --

開發者和政府　－

they're naturally afraid of innovation,

他們在本質上害怕創新

and they'd rather just use those forms that they know you'll respond to.

他們寧願用這些 他們知道你會如何回應的形式

That's how we end up with buildings like this.

結果是我們造出這類房子

This is a nice building.

這是一個好的建築物

This is the Livingston Public Library

這是利文斯頓圖書館

that was completed in 2004 in my hometown,

２００４年在我的家鄉完工

and, you know, it's got a dome

它有個圓頂

and it's got this round thing and columns, red brick,

圓弧狀、圓柱和紅磚

and you can kind of guess what Livingston is trying to say with this building:

你可以猜想到立文斯頓 試著透過它說話

children, property values and history.

孩童、財富價值以及歷史

But it doesn't have much to do with what a library actually does today.

但它跟現在的圖書館沒甚麼關聯

That same year, in 2004, on the other side of the country,

同樣一年，２００４， 在這個國家的另一邊

another library was completed,

另一個圖書館完工了

and it looks like this.

看起來像這樣

It's in Seattle.

這在西雅圖

This library is about how we consume media in a digital age.

這圖書館是關於 我們如何在數位時代消化媒體

It's about a new kind of public amenity for the city,

它是這個城市公共設施的新型態

a place to gather and read and share.

一個可以累積、閱讀和分享的地方

So how is it possible

這如何做得到？

that in the same year, in the same country,

在同一年，同一個國家

two buildings, both called libraries,

兩棟都被稱為圖書館的建築物

look so completely different?

看起來卻完全不同？

And the answer is that architecture works on the principle of a pendulum.

答案是建築學是依照鐘擺理論運作的

On the one side is innovation,

一邊是創新

and architects are constantly pushing, pushing for new technologies,

建築師持續推動新科技

new typologies, new solutions for the way that we live today.

新類型學、新方案用於今日的居住形式

And we push and we push and we push

我們不斷地推動、推動、再推動

until we completely alienate all of you.

直到我們完全與世隔絕

We wear all black, we get very depressed,

我們身著華服

you think we're adorable,

你們認為我們是值得尊敬的

we're dead inside because we've got no choice.

我們內心是一片死寂， 因為我們別無選擇

We have to go to the other side

我們必須去到另一邊

and reengage those symbols that we know you love.

再次琢磨那些你們所愛的經典

So we do that, and you're happy,

我們這麼做，而你們會開心

we feel like sellouts,

我們自覺像叫賣

so we start experimenting again

所以我們又再次開始實驗

and we push the pendulum back and back and forth and back and forth

我們把鐘擺推向後方， 後方、前方、後方、前方

we've gone for the last 300 years,

我們已經這麼做了，在最近３００年

and certainly for the last 30 years.

當然也包括最近３０年

Okay, 30 years ago we were coming out of the '70s.

３０年前，正是７０年代

Architects had been busy experimenting with something called brutalism.

建築師正忙著試驗 一種稱為粗獷主義的東西

It's about concrete.

就是混凝土

(Laughter)

（笑聲）

You can guess this.

你可以猜猜看

Small windows, dehumanizing scale.

小窗戶，不合乎人體尺寸的比例尺

This is really tough stuff.

這真是很粗野的東西

So as we get closer to the '80s,

所以當我們靠近８０年代

we start to reengage those symbols.

我們開始鑽研那些經典

We push the pendulum back into the other direction.

我們把鐘擺拉回到另一個方向

We take these forms that we know you love

我們採用你們會喜歡的形式

and we update them.

作一些更新

We add neon

我們增加了氖燈

and we add pastels

增加些粉嫩的顏色

and we use new materials.

使用些新材料

And you love it.

然後你們就會愛上它

And we can't give you enough of it.

我們不能夠給你們足夠的東西時

We take Chippendale armoires

我們拿了齊本德爾式櫥櫃

and we turned those into skyscrapers,

把它轉化為摩天大樓

and skyscrapers can be medieval castles made out of glass.

而摩天大樓可以是 玻璃做的中世紀城堡

Forms got big,

形式巨大化

forms got bold and colorful.

形式凸顯、又富有色彩

Dwarves became columns.

小矮人變梁柱

(Laughter)

（笑聲）

Swans grew to the size of buildings.

天鵝長得像房子一樣大

It was crazy.

真瘋狂！

But it's the '80s, it's cool.

但那是８０年代，那很酷！

(Laughter)

（笑聲）

We're all hanging out in malls

我們都在購物中心逛街

and we're all moving to the suburbs,

我們向郊區遷徙

and out there, out in the suburbs,

就在郊區

we can create our own architectural fantasies.

我們可以創造自我的建築夢幻作品

And those fantasies,

那些夢幻作品

they can be Mediterranean

可以是地中海風格

or French

法國風格

or Italian.

或是義大利風格

(Laughter)

（笑聲）

Possibly with endless breadsticks.

也許帶著數不盡的長棍麵包

This is the thing about postmodernism.

這是後現代主義

This is the thing about symbols.

這關乎經典

They're easy, they're cheap,

簡單又便宜

because instead of making places,

因為無關建築

we're making memories of places.

我們在創造建築的回憶

Because I know, and I know all of you know,

因為我知道， 我知道你們都知道

this isn't Tuscany.

這不是托斯卡尼

This is Ohio.

這是俄亥俄州

(Laughter)

（笑聲）

So architects get frustrated,

所以建築師很挫折

and we start pushing the pendulum back into the other direction.

我們開始把鐘擺推向另一邊

In the late '80s and early '90s,

在８０年代後期、９０年代初期

we start experimenting with something called deconstructivism.

我們開始實驗某個稱為解構主義的玩意

We throw out historical symbols,

丟棄歷史的經典

we rely on new, computer-aided design techniques,

我們仰賴新的、電腦輔助的設計技巧

and we come up with new compositions,

我們有了新的組成

forms crashing into forms.

從破壞中創造新的形式

This is academic and heady stuff,

這是學院派與新潮派的產物

it's super unpopular,

超級不普及

we totally alienate you.

我們完全與世隔絕

Ordinarily, the pendulum would just swing back into the other direction.

一般來說， 鐘擺只會擺盪到另一個方向

And then, something amazing happened.

然後，令人驚喜的事情發生了

In 1997, this building opened.

在１９９７年，這棟建築物開幕了

This is the Guggenheim Bilbao, by Frank Gehry.

這是畢爾包古根漢美術館， 出自法蘭克·蓋瑞之手

And this building

而這個建築物

fundamentally changes the world's relationship to architecture.

從根本上改變世界與建築的關係

Paul Goldberger said that Bilbao was one of those rare moments

保羅·戈德伯格說畢爾包是極少見的

when critics, academics, and the general public

能夠將話題、學術與普羅大眾

were completely united around a building.

完美結合在一起的建築

The New York Times called this building a miracle.

紐約時報稱之為奇蹟

Tourism in Bilbao increased 2,500 percent

畢爾包的遊客增加了２５００％

after this building was completed.

在這個建築物完工之後

So all of a sudden, everybody wants one of these buildings:

轉瞬間， 所有人都想要一個這樣的建築物

L.A.,

洛杉磯

Seattle,

西雅圖

Chicago,

芝加哥

New York,

紐約

Cleveland,

克里夫蘭

Springfield.

斯普林菲爾德

(Laughter)

（笑聲）

Everybody wants one, and Gehry is everywhere.

大家都想要一個， 蓋瑞的作品到處都有

He is our very first starchitect.

他是第一個超級明星建築師

Now, how is it possible that these forms --

這些形式是如何能夠　－－

they're wild and radical --

狂野又前衛　－－

how is it possible that they become so ubiquitous throughout the world?

它如何能夠在全世界變得普及呢？

And it happened because media so successfully galvanized around them

它的成功來自媒體成功的鍍金

that they quickly taught us that these forms mean culture and tourism.

媒體很快地教會我們， 這些風格代表文化與觀光

We created an emotional reaction to these forms.

我們創造了這種風格的情緒反應

So did every mayor in the world.

每個市長也如此

So every mayor knew that if they had these forms,

每個市長知道，如果他有擁有這些

they had culture and tourism.

他們就擁有文化和觀光

This phenomenon at the turn of the new millennium

這個現象在新的千禧年之際

happened to a few other starchitects.

發生在某些其他超級明星建築師身上

It happened to Zaha

發生在札哈身上（札哈·哈蒂， 伊拉克裔英國建築師）

and it happened to Libeskind,

發生在里伯斯金身上 （波蘭、猶太裔美國建築師）

and what happened to these elite few architects

發生在這些菁英建築師的事

at the turn of the new millennium

在新千禧年來臨之際

could actually start to happen to the entire field of architecture,

可以開始發生在整個建築領域

as digital media starts to increase the speed

正當數位媒體

with which we consume information.

開始加速我們消化資訊的速度

Because think about how you consume architecture.

因為想想你如何消化建築

A thousand years ago,

千年以前

you would have had to have walked to the village next door to see a building.

你必須要走過一個村莊 才能看到你要的建築

Transportation speeds up:

交通加速發展

You can take a boat, you can take a plane, you can be a tourist.

你可以搭船、搭飛機、 可以是個旅行者

Technology speeds up: You can see it in a newspaper, on TV,

科技加速發展， 你可以在報紙、電視看到

until finally, we are all architectural photographers,

最終，我們都是建築攝影師

and the building has become disembodied from the site.

而建築已從固定的地方解放出來

Architecture is everywhere now,

建築現在到處可見

and that means that the speed of communication

這意謂著，傳播的速度

has finally caught up to the speed of architecture.

終於趕上建築的速度

Because architecture actually moves quite quickly.

因為建築事實上移動得相當快速

It doesn't take long to think about a building.

不需要花費太多時間 來構思一個建築物

It takes a long time to build a building,

需要花很多時間建造一個建築物

three or four years,

三或四年

and in the interim, an architect will design two or eight

在這期間，建築師會設計２或８個

or a hundred other buildings

或是１００個其他建築物

before they know if that building that they designed four years ago

在他們知道

was a success or not.

４年前設計的作品成功與否之前

That's because there's never been a good feedback loop in architecture.

那是因為未曾有好的回饋 圍繞在建築旁

That's how we end up with buildings like this.

那就是我們呈現這類建物的方式

Brutalism wasn't a two-year movement,

粗獷主義不是兩年期的活動

it was a 20-year movement.

它是２０年期的活動

For 20 years, we were producing buildings like this

２０年來，我們持續蓋出這樣的建築

because we had no idea how much you hated it.

因為我們不知道你們多討厭它。

It's never going to happen again,

這將不再發生

I think,

就我的認知而言；

because we are living on the verge of the greatest revolution in architecture

因為我們正處於 最偉大建築革命的邊緣

since the invention of concrete,

自混凝土、

of steel, or of the elevator,

鋼結構或電梯問世以來

and it's a media revolution.

而現在是媒體革命

So my theory is that when you apply media to this pendulum,

我的理論是：在鐘擺上應用媒體時

it starts swinging faster and faster,

它開始擺盪的越來越快

until it's at both extremes nearly simultaneously,

直到幾乎同時到達兩個極端

and that effectively blurs the difference between innovation and symbol,

這有效地模糊了前衛與經典的差異

between us, the architects, and you, the public.

就在我們、建築師、你們與群眾之間

Now we can make nearly instantaneous, emotionally charged symbols

現在我們可以幾乎一瞬間 創造富有情感的經典

out of something that's brand new.

從全新的事物上

Let me show you how this plays out

讓我來說明這如何運作

in a project that my firm recently completed.

就在我公司最近完成的一個專案中

We were hired to replace this building, which burned down.

我們受聘換掉這棟失火過的建築

This is the center of a town called the Pines

這是稱作派恩斯的小鎮的中心

in Fire Island in New York State.

在紐約州的火島

It's a vacation community.

它是個度假勝地

We proposed a building that was audacious,

我們提議了一個大膽的建築

that was different than any of the forms that the community was used to,

那是當地未曾出現過的形式

and we were scared and our client was scared

我們很害怕，客戶也很害怕

and the community was scared,

當地社區也很害怕

so we created a series of photorealistic renderings

所以我們創造了一系列的圖像式呈現

that we put onto Facebook

放上Facebook