What I mean by that is that it's time for architecture

今天我來和大家聊聊建築事務所。

to do things again, not just represent things.

這裏的“建築”是指建築再現的過程，

This is a construction helmet that I received two years ago

而不是簡簡單單的視覺表現。

at the groundbreaking of the largest project

這是兩年前我在我和事務所參加的有史以來

I, and my firm, have ever been involved in.

最具開拓性的項目中

I was thrilled to get it. I was thrilled to be the only person

得到的一隻建築頭盔。

standing on the stage with a shiny silver helmet.

當時得到它我興奮極了。能成為唯一一個頭戴銀光閃閃的頭盔

I thought it represented the importance of the architect.

站上舞臺的人，實在讓我激動不已。

I stayed thrilled until I got home,

我覺得它就代表了那座建築的重要性。

threw the helmet onto my bed,

直到回到家裏，我還激動得不行

fell down onto my bed and realized inside

我把頭盔扔到床上，

there was an inscription.

在床上躺下，這才發現頭盔裏還刻了字。

(Laughter)

（警告：這個特製的鍍銀頭盔只能作裝飾用途，無實際保護功能）

Now, I think that this is a great metaphor

（笑）

for the state of architecture and architects today.

現在，我覺得這是一個深刻的隱喻

We are for decorative purposes only.

正傳達了當今建築師與建築的情況。

(Laughter)

我們都只是裝飾品而已。

Now, who do we have to blame?

（笑）

We can only blame ourselves. Over the last 50 years

那麼，這都怪誰呢？

the design and construction industry has gotten much more complex

只能怪我們自己。過去的這五十年來，

and has gotten much more litigious.

設計和營造業變得如此複雜

And we architects are cowards.

如此爭強好勝。

So, as we have faced liability,

而我們建築師卻成了膽小鬼。

we have stepped back and back,

當我們面對責任，

and unfortunately, where there is liability, guess what there is:

就步步後退

power.

但不幸的是，哪里有責任，

So, eventually we have found ourselves

哪里就有權力。

in a totally marginalized position, way over here.

結果就是，我們最終發現自己

Now, what did we do? We're cowards,

已經完全退到了最邊緣的地方。

but we're smart cowards.

現在，我們又該怎麼辦呢？我們確實是膽小鬼，

And so we redefined this marginalized position as the place of architecture.

但又是其中最聰明的。

And we announced, "Hey, architecture, it's over here,

所以我們得將這塊邊緣地帶重新設定成建築的存在空間。

in this autonomous language

我們大聲招呼，「嗨，建築，看這兒！

we're going to seed control of processes."

只有這種獨立宣言才能

And we were going to do something that was horrible for the profession.

讓我們掌握整個過程。」

We actually created an artificial schism

然後我們要對這個職業進行駭人的改造

between creation and execution,

我們實際上人為地讓創造和執行

as if you could actually create without knowing how to execute

分立為二，

and as if you could actually execute

在創意的時候完全不用考慮執行的問題

without knowing how to create.

在執行的時候也不需要

Now, something else happened.

知道該如何創新。

And that's when we began to sell the world

現在情況發生了變化。

that architecture was created by individuals

以前我們告訴世界

creating genius sketches.

建築是由描繪出的天才的草圖的建築師

And that the incredible amount of effort to deliver those sketches

創造出來的。

for years and years and years is not only something

許多年來，為了實現這些草圖

to be derided,

所付出難以想像的努力

but we would merely write it off as

不僅僅被嘲笑作白費力氣

merely execution.

而且我們來說，這只是

Now I'd argue that that is as absurd as stating

執行問題而已。

that 30 minutes of copulation is the creative act,

但是這幾乎和把三十分鐘的交媾稱作創造，

and nine months of gestation,

將十月懷胎過程

and, God forbid, 24 hours of child labor

以及二十四小時的生產過程

is merely execution.

僅僅作為執行過程

So, what do we architects need to do? We need to stitch back

一樣荒謬。

creation and execution.

所以我們建築師到底要做些什麼？我們要將

And we need to start authoring processes again

創造和執行一步步地重新縫合。

instead of authoring objects.

我們要掌控整個過程，

Now, if we do this, I believe we can go back 50 years

而不是零碎的部件。

and start reinjecting agency,

如果我們能做到這些，我相信就能回到五十年前

social engineering, back into architecture.

將事務所和社會工程

Now, there are all kinds of things that we architects need to learn how to do,

重新注入建築過程。

like managing contracts, learning how to write contracts,

現在，建築師們有太多東西需要學了

understanding procurement processes,

比如說管理契約，寫契約

understanding the time value of money and cost estimation.

甚至要搞清採購流程

But I'm going to reduce this to the beginning of the process,

知道時間就是金錢，還要懂得成本估算。

into three very pedantic statements.

但我要把這些“重任”都卸去，回到整個過程的原點，

The first is: Take core positions with your client.

三條不得不遵循的規則。

I know it's shocking, right, that architecture would actually say that.

首先，要在與客戶的接觸中占核心地位。

The second position is: Actually take positions.

我知道，這聽來不是很妥當，但這正是“建築”需要的。

Take joint positions with your client.

第二條，堅定立場，並且

This is the moment in which you as the architect

要和客戶達成一致

and your client can begin to inject

這個時候作為建築師，

vision and agency.

就可以和客戶一同注入各自的

But it has to be done together.

創想和作用。

And then only after this is done

這必須由你們共同參與完成。

are you allowed to do this, begin to put forward

只有在這一步完成之後，

architectural manifestations

你才能開始拿出你的

that manifest those positions.

建築設計

And both owner and architect alike

來展現你的立場。

are empowered to critique those manifestations

建築師和客戶雙方

based on the positions that you've taken.

都可以在你們達成的共識的基礎上

Now, I believe that one really amazing thing will happen if you do this.

對設計進行評價。

I'd like to call it the lost art of productively losing control.

現在，我敢說你如果按我說的做，一定會達到意想不到的效果

You do not know what the end result is.

我傾向於把它稱作一門幾近失傳的用鬆散管理來提高效率的藝術

But I promise you, with enough brain power

你不知道結果會怎樣

and enough passion and enough commitment,

但我保證，只要彙集足夠的智慧，

you will arrive at conclusions

足夠的熱情和決心

that will transcend convention,

就能得到超越傳統

and will simply be something

的最終方案

that you could not have initially

那絕對是

or individually conceived of.

在專案開始時

Alright, now I'm going to reduce all of this to a series

每個人都無法想像的成功。

of simple dumb sketches.

好了，我現在就用一些簡單的圖畫

This is the modus operandi that we have today.

來說明以上的過程。

We roll 120-foot Spartan,

這是我們現在慣用的伎倆。

i.e. our vision, up to our clients' gates of Troy.

我們推出一個一百二十英尺高的斯巴達人

And we don't understand why they won't let us in. Right?

現在，我們的目標就是打開顧客的特洛伊城門

Well, how about instead of doing that,

我們還不曉得為什麼他們不給我們開門，對吧？

we roll up to the gates something they want.

那為什麼不這樣，

Now this is a little bit of a dangerous metaphor,

我們給他們送上他們想要的東西

because of course we all know that inside

這就是有點危險性的偽裝了

of the Trojan Horse were a bunch of people with spears.

因為我們都知道特洛伊木馬裏面

So, we can change the metaphor. Let's call the Trojan Horse

有一干拿了長矛的戰士

the vessel by which

那麼，我們就改變原來容易識破的偽裝。

you get through the gate,

讓我們把特洛伊木馬稱做

get through the constraints of a project.

讓你攻克大門的容器

At which point, you and your client

攻克一個項目的種種限制。

have the ability to start considering what

這時候，你和你的客戶

you're going to put inside that vessel,

就可以開始考慮在這個容器中

the agency, the vision.

要放些什麼

And if you do that, you do that responsibly,

事務所的作用，還有你們的創想

I believe that instead of delivering Spartans,

如果你那麼做，盡職盡責地進行

you can deliver maidens.

我相信你完全可以將斯巴達人換成創想

And if I could summarize that all up into one single sketch it would be this.

傳遞給客戶。

If we are so good at our craft

要把剛才說的都總結一下，變成一張圖，就會使這樣。

shouldn't we be able to conceive

如果我們都那麼心靈手巧

of an architectural manifestation

為什麼就不能讓我們的建築構思

that slides seamlessly through

天衣無縫地

the project's and the client's constraints?

契合上專案和客戶

Now, with that in mind, I'm going to show a project

的種種要求呢？

that's very dear to many people in this room--

有了這些鋪墊，我準備向你們展示一個

well, maybe not dear, but certainly close to many people in this room.

對很多在做觀眾都很親切熟悉的項目

And that's a project that is just about to open next week,

可能不那麼親切，但至少它就在你們身邊。

the new home for the Dallas Theater Center,

這個項目下周就要正式對外開放了

the Dee and Charles Wyly Theatre.

它是達拉斯表演藝術中心

Now, I'm going to present it on the same terms:

迪和查理斯•威利劇院

issue, position and architectural manifestation.

現在，我就要把它置於同樣的條件，

Now, the first issue that we faced

核心問題，立場和建築表現中來。

was that the Dallas Theater Center

我們遇到的第一個問題

had a notoriety that was beyond what you would expect

就是達拉斯表演藝術中心

of some place outside of the triumvirate

雖然在紐約，芝加哥和西雅圖

of New York, Chicago and Seattle.

組成的三角區域之外，

And this had to do with the ambitions of the leadership.

卻一直“惡名昭著”。

But it also had to do with something rather unusual,

這與政治野心和領導勢力有關。

and that was this horrible little building that they'd been performing in.

但同時，另一個不同尋常的原因

Why was this horrible little building

就是這個以前的表演場所，一幢極其醜陋的小房子

so important to their renown and their innovation?

為什麼這棟不起眼的小房子

Because they could do whatever they wanted to to this building.

對他們的名聲和革新那麼重要？

When you're on Broadway, you cannot tear the proscenium down.

因為在這裏，他們可以放肆大膽地表演。

This building, when an artistic director

如果是在百老匯，你就不能把幕前舞臺整個拆了。

wanted to do a "Cherry Orchard" and wanted people

但在這裏，如果哪個藝術指導

and wanted people to come out of a well on the stage,

想要做一場《櫻桃園》，並希望人們

they brought a backhoe in, and they simply dug the hole.

能直接從舞臺上出現，

Well, that's exciting.

他們就能找來挖土機，在舞臺上挖個洞。

And you can start to get the best artistic directors,

聽起來很刺激吧

scenic designers and actors from around the country

這樣你就可以請全國最好的藝術指導，

to come to perform here

佈景設計，和演員

because you can do things you can't do elsewhere.

來這裏表演

So, the first position we took was,

因為在這兒他們可以任意發揮，不受限制。

"Hey, we as architects had better not show up

我們的第一個立場就是

and do a pristine building

“哎，我們建築師可不是來

that doesn't engender the same freedoms that this

做什麼仿古建築的。

old dilapidated shed provided the company."

那不能保證現在的自由，

The second issue is a nuance of the first.

只是能夠提供遮蔽的做舊的棚子而已。

And that's that the company and the building was multiform.

第二個重要議題和第一個稍有不同

That meant that they were able to perform,

就是表演人員和場地是多用途的

as long as they had labor

就是說只要他們還有力氣

they were able to go between proscenium, thrust, flat floor,

就可以在幕前，樓板

arena, traverse, you name it.

舞臺，橫斷

All they needed was labor.

各個地方表演，隨你挑。

Well, something happened. In fact something happened to all institutions

他們需要的就是人力。

around the world.

嗯...事情在變化。事實上世界各地的各個機構

It started to become hard to raise operational costs,

都在發生改變。

operational budgets.

現在越來越難籌集運營資金，

So, they stopped having inexpensive labor.

運營預算。

And eventually they had to freeze their organization

所以，他們連廉價勞動力也不要了。

into something called a bastardized thruscenium.

最終，他們乾脆把整個機構凍結成了

So, the second position we took is that the freedoms that we provided,

他們口中所謂的“劣質場地”。

the ability to move between stage configurations,

由此，我們的第二個立場就是我們要提供一種自由，

had better be able to be done

可以讓舞臺結構任意變化

without relying on operational costs. Alright? Affordably.

一定要做到這點

The architectural manifestation

使得演出不用擔心運營成本。對不？控制在可承受範圍內。

was frankly just dumb.

建築展示

It was to take all the things that are known as front of house and back of house

是事實的呈現，無需語言。

and redefine them as above house and below house.

其中需要的就是把我們知道的房子的前部和後部

At first blush you think, "Hey it's crazy,

換成上部和下部。

what could you possibly gain?"

說到這兒你肯定會想，“哎呀，真是瘋了

We created what we like to call superfly.

這能得出什麼玩意兒啊？”

(Laughter)

我們把我們的創造叫做“超級蒼蠅”

Now, superfly, the concept is

（笑）

you take all the freedoms you normally associate with the flytower,

現在，這個概念是這樣

and you smear them across flytower and auditorium.

你可以想像舞臺升降塔的各種自由

Suddenly the artistic director

然後讓這種種便利散佈到觀眾席中。

can move between different stage

突然間藝術指導

and audience configurations.

可以在不同的舞臺和觀眾區

And because that flytower has the ability to pick up

自由移動

all the pristine elements, suddenly the rest of the environment

因為舞臺升降塔可以實現各種

can be provisional. And you can drill, cut, nail, screw

基本需要，忽然間剩下的其他部分

paint and replace,

都成了臨時的。你可以鑽洞，切割，固定，擰轉，

with a minimum of cost.

油漆和替換，

But there was a third advantage that we got by doing this move

用最小的花費就能實現。

that was unexpected.

這麼做還有一個好處

And that was that it freed up the perimeter of the auditorium

還是出乎我們意料的。

in a most unusual way.

這種做法以最獨特的方式

And that provided the artistic director suddenly

將觀眾區的周長釋放開了。

the ability to define suspension of disbelief.

這種釋放忽然間給了藝術指導

So, the building affords artistic directors the freedom

定義“解除懷疑”的力量。

to conceive of almost any kind of activity

於是，這棟建築成全了藝術指導們，

underneath this floating object.

讓他們可以在這個懸浮的物體下方

But also to challenge the notion of suspension of disbelief

設計各種可以想像的活動。

such that in the last act of Macbeth,

同時挑戰“接觸懷疑”的理念

if he or she wants you to associate

比如說在《馬克白》的最後一幕，

the parable that you're seeing with Dallas, with your real life,

如果哪個藝術指導想讓你把這一幕的故事

he or she can do so.

與達拉斯，與你的真實生活聯繫起來，

Now, in order to do this we and the clients

他（她）就能做到。

had to do something fairly remarkable.

為了實現這個目標，我們和我們的客戶

In fact it really was the clients who had to do it.

必須要做一件相當不同尋常的事兒。

They had to make a decision, based on the positions we took

事實上是客戶需要做這事兒。

to redefine the budget being from two thirds capital-A architecture

他們要在我們採取的立場上做一個決斷，

and one-third infrastructure,

把原來三分之一基礎建設，三分之二建築設計

to actually the inverse,

的預算分工

two-thirds infrastructure and one-third capital-A architecture.

完全顛倒

That's a lot for a client to commit to

三分之二基礎建設和三分之一建築設計。

before you actually see the fruition of the concept.

對於客戶來說，這是不小的決定

But based on the positions,

尤其是在你能看到概念轉換成“成果”之前。

they took the educated leap of faith to do so.

但在我們的那些立場的基礎上，

And effectively we created what we like to call

他們邁出了極有借鑒意義的一步。

a theater machine.

作為回應，我們也做出了我們的

Now, that theater machine has ability

“劇院機器”。

to move between a whole series of configurations

現在，這台機器的各個結構

at the push of a button and a few stagehands

都可以進行重新組合

in a short amount of time.

只要按一個鈕，加上少量的工作人員，

But it also has the potential

很短的時間內就可以完成。

to not only provide multiform but multi-processional sequences.

不僅如此，

Meaning: The artistic director

它在提供各種形式的變換之餘還能改變觀眾的入場順序。

doesn't necessarily need to go through our lobby.

就是說，藝術指導

One of the things that we learned when we visited various theaters

不一定非要經過大廳。

is they hate us architects,

在我們還在參觀各個劇院的時候，學到的一點

because they say the first thing they have to do,

就是他們對建築師恨之入骨，

the first five minutes of any show,

因為他們說在任何一場演出的前五分鐘，

is they have to get our architecture

他們要做的頭等重要的事

out of the mind of their patron.

就是把整個建築趕出

Well now there are potentials of this building

資助人的腦海。

to allow the artistic director

而現在，這棟房子可以

to actually move into the building

讓藝術指導

without using our architecture.

在劇院裏自由活動

So, in fact, there is the building, there is what we call the draw.

而不受到建築本身的限制。