1.What I thought I would talk about today is the transition from one mode of thinking about nature to another that’s tracked by architecture.
我今天将要讲述的是 一种思路的转变 从对自然的思索 到建筑的形式。
2.What’s interesting about architects is, we always have tried to justify beauty by looking to nature, and arguably, beautiful architecture
在建筑领域非常有趣的是， 我们评判美的依据往往是 自然， 而且这也有据可循，美的建筑
3.has always been looking at a model of nature.
也经常是以自然为师的。
4.So, for roughly 300 years, the hot debate in architecture was whether the number five or the number seven was a better proportion to think about architecture,
于是，将近三百年来， 建筑学中最热门的话题 总是究竟是数字五 还是数字七 是建筑学中的黄金分割。
5.because the nose was one-fifth of your head, or because your head was one-seventh of your body.
因为我们的鼻子长在头部的五分之一， 而我们的头部占全身长度的七分之一。
6.And the reason that that was the model of beauty and of nature was because the decimal point had not been invented yet — it was in the 16th century —
之所以用这一标准来衡量 美以及自然 是因为当时还没有发明小数点– 直到十六世纪–
7.and everybody had to dimension a building in terms of fractions, so a room would be dimensioned as one-fourth of a facade; the structural dais of that might be dimensioned
人们丈量建筑时 不得不使用比例关系， 比如一个房间是 一个立面的四分之一； 如果结构基座是十个单位，
8.and you would get down to the small elements by fractional subdivision: finer and finer and finer.
要得到更小的单元 可以进一步拆分： 越拆越细，越拆越细。
9.In the 15th century, the decimal point was invented; architects stopped using fractions, and they had a new model of nature.
十五世纪的时候，发明了小数点； 建筑师们才不再使用比例， 他们有了描绘自然的新模型。
10.So, what’s going on today is that there’s a model of natural form which is calculus-based and which is using digital tools, and that has a lot of implications
所以，我们现在使用的 是基于自然形式的模型 它基于微积分运算 依据数字工具， 这样更加丰富了我们
11.to the way we think about beauty and form, and it has a lot of implications in the way we think about nature.
对于美和形式的理解， 还有我们理解大自然的方式。
12.The best example of this would probably be the Gothic, and the Gothic was invented after the invention of calculus, although the Gothic architects
最好的例子应该就是哥特式建筑， 而哥特式建筑在微积分发明之后出现， 虽然哥特式建筑师们
13.weren’t really using calculus to define their forms.
并不真正使用微积分定义模型。
14.But what was important is, the Gothic moment in architecture was the first time that force and motion was thought of in terms of form.
但重要的是， 哥特时代的建筑是首次 用形式来考量力与动态。
15.So, examples like Christopher Wren’s King’s Cross: you can see that the structural forces of the vaulting get articulated as lines, so you’re really actually seeing
以克里斯多弗 雷恩的国王十字车站为例， 大家可以看到拱形结构的力量 以线条的方式连接，所以真的可以看到
16.the expression of structural force and form.
结构力量和形式的表现。
17.Much later, Robert Maillart’s bridges, which optimize structural form with a calculus curvature almost like a parabola.
再看罗伯特 马亚尔的桥， 其结构透过 曲率运算的最佳形式得以表现，就像抛物线一样。
18.The Hanging Chain models of Antonio Gaudi, the Catalan architect.
再看建筑师安东尼高地的悬吊绳索模型， 他是西班牙加泰隆建筑师。
19.The end of the 19th century, beginning of the 20th century, and how that Hanging Chain model translates into archways and vaulting.
这是在十九世纪末二十世纪初时， 令人感兴趣的是悬吊绳索模型 如何被诠释为拱门 和拱顶结构。
20.So, in all of these examples, structure is the determining force.
所以，所有这些例子， 结构是其决定因素。
21.Frei Otto was starting to use foam bubble diagrams and foam bubble models to generate his Mannheim Concert Hall.
弗赖 奥托首次利用泡沫的气泡图解 和气泡模型创造出了他的曼海姆音乐厅。
22.Interestingly in the last ten years Norman Foster used a similar heat thermal transfer model to generate the roof of the National Gallery,
有趣的是在过去这十年里 诺曼 福斯特也使用了类似的热传导模型 建造了国家艺术馆的屋顶，
23.with the structural engineer Chris Williams.
那是他与结构工程师克里斯 威廉姆斯合作的成果。
24.In all these examples, there’s one ideal form, because these are thought in terms of structure.
在所有这些例子中， 都有个理想模式， 源于对结构因素的考虑。
25.And as an architect, I’ve always found these kinds of systems very limiting, because I’m not interested in ideal forms and I’m not interested in optimizing to some perfect moment.
作为一名建筑师，我一直认为这种模式 相当局限，因为我对理想模式并不感兴趣 而且我也对最优化到某种完美境界不感兴趣。
26.So, what I thought I would bring up is another component that needs to be thought of, whenever you think about nature, and that’s basically the invention of
所以，我展示给大家的 是另一个值得我们思考的层面， 每当我们想到自然， 一般都是
27.generic form in genetic evolution.
自然形体经过基因演化后的结果。
28.My hero is actually not Darwin; it’s a guy named William Bateson, father of Greg Bateson, who was here for a long time in Monterey.
我心中的英雄，并非达尔文， 而是一个叫威廉 贝特森的人， 他是格雷格 贝特森的父亲，一直住在蒙特里。
29.And he was what you’d call a teratologist: he looked at all of the monstrosities and mutations to find rules and laws, rather than looking at the norms.
你可以称他为畸形学家： 他观测各种畸形和突变案例 为了找寻其规律及法则，而非仅仅观察其基准。
30.So, instead of trying to find the ideal type or the ideal average, he’d always look for the exception. So, in this example, which is an example of what’s called Bateson’s Rule,
所以，与其寻找理想型 或是理想均值， 他总是寻找特例。所以，举例说， 在贝特森定律这个例子中，
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31.he has two kinds of mutations of a human thumb.
他举出两种人类大拇指的突变基因。
32.When I first saw this image, 10 years ago, I actually found it very strange and beautiful at the same time.
当我10年前第一眼看到这幅图的时候， 我发现它非常奇怪，但同时也很美丽。
33.Beautiful, because it has symmetry.
美丽，是因为它具有对称性。
34.So, what he found is that in all cases of thumb mutations, instead of having a thumb, you would either get another opposable thumb,
所以，他发现在所有拇指突变的案例中， 与仅有一个拇指所不同地， 那些不是长出个反方向的拇指，
35.or you would get four fingers.
要不就是四个手指（无拇指）。
36.So, the mutations reverted to symmetry.
所以，突变就回归到对称了。
37.And Bateson invented the concept of symmetry breaking, which is that wherever you lose information in a system, you revert back to symmetry.
据此，贝特森发明了 对称断裂的概念， 也就是说 无论你在系统的某处丢失了信息， 你都可以回归到对称。
38.So, symmetry wasn’t the sign of order and organization — which is what I was always understanding, and as is an architect — symmetry was the absence of information.
所以，对称并非代表秩序和组织– 作为一名建筑师的我也一直这样认为， 对称是信息缺失的象征。
39.So, whenever you lost information, you’d move to symmetry; whenever you added information to a system, you would break symmetry.
所以，一旦你丢失信息，你将趋向对称； 当你往系统中添加信息时，就破坏了对称。
40.So, this whole idea of natural form shifted at that moment from looking for ideal shapes to looking for a combination of information and generic form.
于是，从此我们对于自然的想法开始转变 从寻找理想模型 到变成寻找一种组合 一种信息和普通模式的组合。
41.You know, literally after seeing that image, and finding out what Bateson was working with, we started to use these rules for symmetry breaking and branching,
大家知道，看了那幅图， 发现贝特森在研究什么之后， 我们才开始利用这些规则研究对称断裂和其分支，
42.to start to think about architectural form.
开始思考建筑的形式。
43.To just talk for a minute about the digital mediums that we’re using now and how they integrate calculus: the fact that they’re calculus-based
我们来稍微谈谈 我们现在使用的数位方法 及其如何与微积分整合： 以微积分为基础的实质是
44.means that we don’t have to think about dimension in terms of ideal units or discreet elements.
我们不需要 以理想的度量单位 或是缜密的元素来考虑面积。
45.So, in architecture we deal with big assemblies of components, so there might be up to, say, 50,000 pieces of material in this room you’re sitting in right now
所以，在建筑界我们处理的是 零件的大型装配， 例如说可能有 五万件材料 构成了你所身处的这个房间，
46.that all need to get organized.
而这些材料都必须被妥善安置。
47.Now, typically you’d think that they would all be the same: like, the chairs you’re sitting in would all be the same dimension.
一般而言，你可能认为这些材料都是一样的： 例如你所坐的椅子尺寸应该都相同。
48.You know, I haven’t verified this, but it’s the norm that every chair would be a slightly different dimension, because you’d want to space them all out for everybody’s sight lines.
我还没确认这件事，但根据标准规范 每张椅子的尺寸应该略有不同， 因为你需要将椅子错开排列，避免遮住后排视线。
49.The elements that make up the ceiling grid and the lighting, they’re all losing their modular quality, and moving more and more to these infinitesimal dimensions.
构成天花板和照明的元件， 也都逐渐失去它们的基准特性， 而变成极微小的尺度元素。
50.That’s because we’re all using calculus tools for manufacturing and for design.
那是因为我们都用微积分为工具 来生产与设计。
51.Calculus is also a mathematics of curves.
微积分也是一种曲线数学。
52.So, even a straight line, defined with calculus, is a curve.
所以，即使是直线，用微积分来定义则也必定是一种曲线，
53.It’s just a curve without inflexion.
它只不过是没有弯曲的曲线。
54.So, a new vocabulary of form is now pervading all design fields: whether it’s automobiles, architecture, products, etcetera, it’s really being affected by this digital medium of curvature.
所以，有一种新形式的语汇 正充斥在各种设计领域： 无论是汽车、建筑、产品等等， 都被这种以数位为媒介的曲率所影响。
55.The intricacies of scale that come out of that — you know, in the example of the nose to the face, there’s a fractional part-to-whole idea.
其中尺度的错综复杂 — 就像鼻子与脸部的比例， 都存在一种局部-整体的比例上的概念。
56.With calculus, the whole idea of subdivision is more complex, because the whole and the parts are one continuous series.
就微积分而言，细部分割的想法 就更为复杂了 因为全体和局部是一个连续的序列。
57.It’s too early in the morning for a lecture on calculus, so I brought some images to just describe how that works.
一大早上微积分课恐怕太辛苦了， 所以我带了一些图片来示范它如何运作。
58.This is a Korean church that we did in Queens.
这是我们设计的位于纽约市皇后区的韩国教堂。
59.And in this example, you can see that the components of this stair are repetitive, but they’re repetitive without being modular.
在这个例子中，你会看到 这个梯子的元件是重复出现的， 但却不是模型式的重复。
60.Each one of the elements in this structure is a unique distance and dimension, and all of the connections are unique angles.
这个结构中的每一个元素 在距离和尺寸上都不一样， 每个接点的角度也不同。
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61.Now, the only way we could design that, or possibly construct it, is by using a calculus-based definition of the form.
我们能设计，或是建造出它的 唯一办法， 就是要使用该形体的 微积分定义。
62.It also is much more dynamic, so that you can see that the same form opens and closes in a very dynamic way as you move across it, because it has this quality of vector in motion
这个形体十分动态， 所以当你走过这个建筑时，你可以看到 它随之以一种动态的方式打开与闭合， 因为它由一种动态矢量
63.built into it.
建造而成。
64.So the same space that appears to be a kind of closed volume, when seen from the other side becomes a kind of open vista.
所以呈现为封闭量体的相同空间， 从另外一侧看，却变成了开放的景观。
65.And you also get a sense of visual movement in the space, because every one of the elements is changing in a pattern, so that pattern leads your eye towards the altar.
同时你还会感受到 空间中的视觉移动， 因为每个元素都依据一定的样式而不断改变， 所以这种样式会将你的视线带向圣坛。
66.I think that’s one of the main changes, also, in architecture: that we’re starting to look now not for some ideal form, like a Latin cross for a church,
我认为这是一种重大的改变， 就是，在建筑学中： 我们并不再追寻 像教堂里拉丁十字般的理想形式，
67.but actually all the traits of a church: so, light that comes from behind from an invisible source, directionality that focuses you towards an altar.
而是教堂的所有特征： 例如由背后投出的不知从何而来的光线， 很自然让你聚焦至圣坛的方向。
68.It turns out it’s not rocket science to design a sacred space.
我们并不需要多么深奥的学问 去设计、造就神圣的空间。
69.You just need to incorporate a certain number of traits in a very kind of genetic way.
你只需要用自然的方式 去结合若干（本身的）特点即可。
70.So, these are the different perspectives of that interior, which has a very complex set of orientations all in a simple form.
所以，这些是不同的关于内部的视觉， 这些内部设计都具备一个非常复杂的 定位结构却以一种简单的形式呈现。
71.In terms of construction and manufacturing, this is a kilometer-long housing block that was built in the ’70s in Amsterdam.
就营造和构筑而言， 这是个约莫一公里长的住宅街廓 建于七零年代的阿姆斯特丹。
72.And here we’ve broken the 500 apartments up into small neighborhoods, and differentiated those neighborhoods.
我们将五百间公寓打散 成为若干小型区域， 并且区别这些区域。
73.I won’t go into too much description of any of these projects, but what you can see is that the escalators and elevators that circulate people along the face of the building
我不打算讲述太多关于这些计划的细节， 但大家可以看到 电扶梯和升降梯 沿着建筑物表面循环输送人群
74.are all held up by 122 structural trusses.
它们是由 一百二十二根结构桁架支撑。
75.Because we’re using escalators to move people, all of these trusses are picking up diagonal loads.
因为我们用电扶梯 输送人群， 这些构架承受了对角线方向的重量。
76.So, every one of them is a little bit different-shaped as you move down the length of the building.
所以，每根构架的形状都有些许差异 尤其当沿着建筑物长轴移动时可以观察到。
77.So, working with Bentley and MicroStation, we’ve written a custom piece of software that networks all of the components together into these chunks of information,
所以，我们在 宾特利公司的微型工作站上 撰写了一个订制的软件 将所有元件以网路形式串连 串联成一段信息，
78.so that if we change any element along the length of the building, not only does that change distribute through each one of the trusses,
当我们沿着建筑物长轴 变更任何元件时， 不仅会连带改变 整栋建筑的每根构架，
79.but each one of the trusses then distributes that information down the length of the entire facade of the building, so it’s a single calculation
这些构架还会将信息 传递到建筑的整个表面。 对建筑物的每个元件而言，
80.for every single component of the building that we’re adding onto.
我们所加上的 都是独立的运算。
81.So, it’s 10 of millions of calculations just to design one connection between a piece of structural steel and another piece of structural steel.
所以，仅为了设计 两组结构钢梁之间的接点 就要进行千万次的运算。
82.But what it gives us is a harmonic and synthesized relationship of all these components, one to another.
但它所赋与我们的是一种 介于所有元件彼此之间的 和谐与合成的关系。
83.This idea has, kind of, brought me into doing some product design, and it’s because design firms that have connections to architects,
受到这想法影响，我也涉猎了 一些产品设计方面的领域， 因为不少与 建筑师有合作关系的设计公司，
84.like, I’m working with Vitra, which is a furniture company, and Alessi, which is a houseware company.
例如，我目前合作的家具设计公司维特拉， 和家庭用具设计公司阿莱西。
85.They saw this actually solving a problem: this ability to differentiate components but keep them synthetic.
他们认为这可以解决一个问题： 区分元件，并使它们 合成在一起。
86.So, not to pick on BMW, or to celebrate them, but take BMW as an example.
在此不是挑剔宝马， 也不是称赞它， 而是拿宝马当个例子。
87.They have to, in 2005, have a distinct identity for all their models of cars.
在二零零五年，他们必须 要让所有类型的车款 都具备鲜明的特征。
88.So, the 300 series, or whatever their newest car is, the 100 series that’s coming out, has to look like the 700 series, at the other end of their product line,
譬如300系列或者任何一款新车， 或者是即将推出的100系列， 也都要看起来像 他们产品线另一端的700系列，
89.so they need a distinct, coherent identity, which is BMW.
所以他们都需要一个鲜明而协调的特征, 也就是宝马。
90.At the same time, there’s a person paying 30,000 dollars for a 300-series car, and a person paying 70,000 dollars for a 700 series,
同时，有人付三万美元 买一辆300系列的车， 也有人愿意花七万美元 买一辆700系列的车，
91.and that person paying more than double doesn’t want their car to look too much like the bottom-of-the-market car.
付了超过两倍价钱的那个人 是不会希望他们的车看起来太像 低端市场车款的。
92.So they have to also discriminate between these products.
所以他们需要区别对待这些不同的商品。
93.So, as manufacturing starts to allow more design options, this problem gets exacerbated, of the whole and the parts.
所以，当生产制造过程 开始允许更多的 设计选择， 这个问题就更加严重了， 对整体与局部而言都一样。
94.Now, as an architect, part-to-whole relationships — is all I think about, but in terms of product design it’s becoming more and more of an issue for companies.
身为建筑师，全体-局部的关系 — 是我最关注的， 但就产品设计来说 也逐渐变成设计公司所需面对的问题了。
95.So, the first kind of test product we did was with Alessi, which was for a coffee and tea set.
我们首先拿来测试的产品 是与阿莱西（注：意大利家用品制造商） 合作， 是一套咖啡茶具组。
96.It’s an incredibly expensive coffee and tea set; we knew that at the beginning. So, I actually went to some people I knew down south in San Diego,
那是一套相当昂贵的咖啡茶具组； 我们打从一开始就知道了。所以，我拜访了 圣地牙哥的一些朋友，
97.and we used an exploded titanium forming method that’s used in the aerospace industry.
我们采用 钛金属爆炸成形法， 这种方法多用在航太工业。
98.Basically what we can do, is just cut a graphite mold, put it in an oven, heat it to 1,000 degrees, gently inflate titanium that’s soft,
基本上我们能做的， 只是切割一个石墨模子， 放进烤箱、加热至一千度， 小心地对软化的钛金属充气，
99.and then explode it at the last minute into this form.
最终将其爆炸，成型。
100.But what’s great about it is, the forms are only a few hundred dollars.
但最棒的是， 产生形体只需花几百美金。
101.The titanium’s several thousand dollars, but the forms are very cheap.
钛金属要花几千美金，但产生形体则很廉价。
102.So, we designed a system here of eight curves that could be swapped, very similar to that housing project I showed you, and we could recombine those together,
所以我们设计了一个系统 其中包括可以相互置换的八条曲线， 和我刚才提到的建筑案例类似， 接着我们将他们合并在一起，
103.so that we always had ergonomic shapes that always had the same volume and could always be produced in the same way.
确保所得到的造型符合人体工程学理论 同时有同样的体积 而且能用同样的方式再造。
104.That way, each one of these tools we could pay for with a few hundred dollars, and get incredible variation in the components.
这么一来，虽然这些工具的价值 每个只有几百美金， 却能产生元件之间令人意想不到的变化。
105.And this is one of those examples of the sets.
这仅是诸多例子之一。
106.So, for me, what was important is that this coffee set — which is just a coffee pot, a teapot, and those are the pots sitting on a tray —
所以对我来说，重要的是 这组咖啡茶具组 — 虽然只不过是一个咖啡壶、一个茶壶， 放在托盘上的茶壶 —
107.that they would have a coherence — so, they would be Greg Lynn Alessi coffee pots — but that everyone who bought one would have a one-of-a-kind object that was unique in some way.
他们有一种一致性 — 他们可以被称作格雷格 林恩阿莱西咖啡壶 — 但每个购买这组茶具的人 都会买到一组在某些特点上独一无二的设计
108.To go back to architecture, what’s organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm.
谈回到建筑， 对建筑学科来说有机的定义， 不同于产品设计， 在于机能整体性的问题 以及不朽的价值，那才是我们的领域。
109.Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale
像是我们所设计出来的通常是具有一致性的一个单一工程， 但同时也区分为不同的房间 而且无论在大尺度和小尺度上
110.and the small scale.
都能彰显个性。
111.Architects tend to work with signature, so that an architect needs a signature and that signature has to work across the scale of houses
建筑师偏好处理识别性， 所以建筑师需要识别性 在房子的任一尺度下都要具备这种识别性
112.up to, say, skyscrapers, and that problem of signatures is a thing we’re very good at maintaining and working with; and intricacy, which is the relationship of, say,
大到摩天大楼都一样。 处理识别性的问题是我们的专长 而复杂度 即建筑物各种元素间的关系，如
113.the shape of a building, its structure, its windows, its color, its pattern. These are real architectural problems.
建筑物外型、结构、窗户、 颜色、样式等。这些都是实际的建筑问题。
114.So, my kind of hero for this in the natural world are these tropical frogs.
所以自然界在这方面我所崇拜的 是热带雨蛙。
115.I got interested in them because they’re the most extreme example of a surface where the texture and the — let’s call it the decoration —
我对他们感兴趣的原因是 他们极为特殊 的表皮以及 纹理 — 姑且称作装饰吧 —
116.I know the frog doesn’t think of it as decoration, but that’s how it works — are all intricately connected to one another.
虽然雨蛙不这么认为，但它呈现出来的的确是装饰– 这些复杂的纹理彼此相互连结。
117.So a change in the form indicates a change in the color pattern.
当雨蛙的形体有所改变 身上的花纹随之变化
118.So, the pattern and the form aren’t the same thing, but they really work together and are fused in some way.
所以，花纹和型态虽然不是同一件事， 但他们却以一种独特的方式彼此融合、 交互运作。
119.So, when doing a center for the national parks in Costa Rica, we tried to use that idea of a gradient color and a change in texture
所以呢，当我设计 哥斯大黎加国家公园旅客中心时， 我们尝试运用渐层色以及 以及纹理变化的想法
120.as the structure moves across the surface of the building.
使建筑随着结构的不同而有所改变。
121.We also used a continuity of change from a main exhibition hall to a natural history museum, so it’s all one continuous change in the massing,
我们也让变化连续从 展览大厅延续到自然历史博物馆， 所以连续变化是整体性的 横跨建筑量体。
122.but within that massing are very different kinds of spaces and forms.
然而在量体之内，空间和形式却大异其趣
123.In a housing project in Valencia, Spain we’re doing, the different towers of housing fused together in shared curves so you get a single mass,
在西班牙瓦伦西亚的住宅这一案例里， 我们尝试将不同的住宅高楼融合在一起 使其外围曲线呈现一致性，结合为单一量体，
124.like a kind of monolith, but it breaks down into individual elements.
就像一整块石头般， 但其实它却由不同单元组合而成。
125.And you can see that that change in massing also gives all 48 of the apartments a unique shape and size, but always within a, kind of, controlled limit,
这种量的变化 同时也给所有四十八个住宅单元 独特的形状与大小， 却总在一个被控制的有限制的
126.an envelope of change.
变化外壳中。
127.I work with a group of other architects.
我和一群建筑师共事，
128.We have a company called United Architects.
我们的公司叫做联合建筑师。
129.We were one of the finalists for the World Trade Center site design.
我们的作品曾进入纽约世贸大楼原址竞图案决选。
130.And I think this just shows how we were approaching the problem of incredibly large-scale construction.
我认为这展示了 我们想尝试 超大型建筑的想法。
131.We wanted to make a kind of Gothic cathedral around the footprints of the World Trade Center site.
我们想在世贸大楼原址的基地 周围建筑一种哥德式教堂。
132.And to do that, we tried to connect up the five towers into a single system.
为了实现这个想法，我们尝试将 五栋大楼连结为单一系统。
133.And we looked at, from the 1950s on, there were numerous examples of other architects trying to do the same thing.
我们发现，从一九五零年代开始， 已经有不少建筑师尝试 做与此相同的事情。
134.We really approached it at the level of the typology of the building, where we could build these five separate towers, but they would all join at the 60th floor
我们的作法是以 建筑物的类型为基础， 也就是我们本可以使五栋原本分离的大楼， 在六十楼的位置相连结
135.and make a kind of single monolithic mass.
成为一个单一的巨型个体。
136.With United Architects, also, we made a proposal for the European Central Bank headquarters that used the same system, but this time in a much more monolithic mass,
联合建筑师事务所也参与了 欧洲中央银行总部的设计提案， 在那我们也采用了相同系统， 但这个提案的单一量体更大，
137.like a sphere.
就像一颗球。
138.But again, you can see this, kind of, organic fusion of multiple building elements to make a thing which is whole, but breaks down into smaller parts,
但是，你所看到的这种 复合建筑元素的 有机融合方法 使得事物以一种令人惊异的有机方式建构为一个整体，
139.but in an incredibly organic way.
其构成单元又能独立存在。
140.Finally, I’d like to just show you some of the effects of using digital fabrication.
最后，我想让大家看看 利用数位制造技术的影响。
141.About six years ago, I bought one of these CNC mills, to just replace, kind of, young people cutting their fingers off all the time building models.
大约六年前，我买了一部电脑数字控制雕铣机， 原本是为了防止 年轻人做建筑模型时频繁发生的手指切割意外。
142.And I also bought a laser cutter and started to fabricate within my own shop, kind of, large-scale building elements and models, where we could go directly to the tooling.
我也买了一部雷射切割机 在我自己的店里用作模型制作， 类似大型建筑元件与模型的制作， 方便大家直接使用各种工具。
143.What I found out is that the tooling, if you intervened in the software, actually produced decorative effects.
我发现在工具使用上， 如果加上软件的介入， 可以制造出装饰效果。
144.So, for these interiors, like this shop in Stockholm, Sweden, or this installation wall in the Netherlands at the Netherlands Architecture Institute,
所以像是室内设计，例如这个瑞典斯德哥尔摩的商店， 或者荷兰建筑学会的 装置墙面设计，
145.we could use the texture that the tool would leave to produce a lot of the spatial effects, and we could integrate the texture of the wall
我们会用工具所留下的质感 来产生不错的空间效果， 我们可以利用此材料将墙壁的纹理
146.with the form of the wall with the material.
和形式整合起来。
147.So, in vacuum-formed plastic, in fiberglass, and then even at the level of structural steel, which you think of as being linear and modular.
同样地适用于真空成形塑胶、玻璃纤维、 甚至结构钢材， 这些都被视为是线性、模矩化的建材。
148.The steel industry is so far ahead of the design industry that if you take advantage of it you can even start to think of beams and columns
目前，制钢业 远领先于设计行业。 如果你想利用它， 你甚至可以想像得到那些滚轴和圆柱
149.all rolled together into a single system which is highly efficient, but also produces decorative effects and formal effects that are very beautiful and organic.
堆在一起，形成一个 不仅高效率， 又充满装饰感， 以及包含一种有机美的， 统一的系统。
150.Thanks very much.
非常感谢。
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