1.I don’t know your name. (Audience Member: Howard. Howard.) Thom Mayne: Howard? I’m sitting next to Howard. I don’t know Howard, obviously,
你叫什么来着。（观众：霍华德，霍华德。） 汤姆·梅恩：霍华德？我正坐在霍华德旁边。显然，我不认识他。
2.and he’s going, I hope you’re not next.
哦，他要走了，你们可别丢下我。
3.(Laughter) Amazing. Amazing performance.
（笑） 不错，演得还挺像样。
4.I kind of erased everything in my brain to follow that.
我差不多把脑袋清空了才演成那样。
5.And, but — let me start some place. I’m interested — I kind of do the same thing, but I don’t move my body.
还有，但是——让我理理头绪。我喜欢—— 我的工作其实和这差不多，但用不着四处走动。
6.And instead of using human figures to develop ideas of time and space, I work in the mineral world. I work with more or less inert matter.
我不用肢体语言表现时间空间 我在矿物世界工作，尽和些毫无生气的材料打交道。
7.And I organize it. And, well, it’s also a bit different because an architect versus, let’s say, a dance company finally is a negotiation between one’s private world,
对它们进行重新组合。我的工作还与…就那舞蹈公司来说吧， 因为建筑师和舞蹈公司比起来， 说到底是个人世界，
8.one’s conceptual world, the world of ideas, the world of aspirations, of inventions, with the relationship of the exterior world and all the limitations, the naysayers.
个人的概念世界，思想世界，灵感世界 以及创造世界与外部世界，各种限制 以及怀疑论者进行的一场较量。
9.Because I have to say, for my whole career, if there’s anything that’s been consistent, it’s been that you can’t do it.
因为我必须说，我的整个职业生涯中如果有一件事 是贯穿始终的，那就是“你不能这么干”。
10.No matter what I’ve done, what I’ve tried to do, everybody says it can’t be done.
不论我以往作品如何，多么努力地说服所有人， 每个人都说，“不可能成功的”。
11.And it’s continuous across the complete spectrum of the various kind of realities that you confront with your ideas.
当我的主意，想法与各种现实相遇， 这种“不可能”从未缺席。
12.And to be an architect, somehow you have to negotiate between left and right, and you have to negotiate between this very private place where ideas take place
作为建筑师，你得想尽办法左右斡旋， 一边是非常个人、自我的思想，另一边是外部世界
13.and the outside world, and then make it understood.
最终目标是让人们理解你的观点。
14.I can start any number of places, because this process is also — I think — very different from some of the morning sessions, which you had such a kind of very clear, such a lineal idea,
我可以从任何地方说起，因为这个过程还—— 我觉得——和一些上午会议很不一样， 那个时段你的想法非常清晰连贯，
15.like the last one, say, with Howard, that I think the creative process in architecture, the design process, is extremely circuitous. It’s labyrinthine.
就像是刚才，和霍华德的那段儿 我觉得建筑中的创造过程 以及设计过程，及其迂回蜿蜒。迷宫一般。
16.It’s Calvino’s idea of the quickest way between two points is the circuitous line, not the straight line.
正如卡尔维诺的观点，两点之间的最快通道一定是迂回的， 而不是笔直的
17.And definitely my life has been part of that.
我的人生就正是如此。
18.I’m going to start with some simple kind of notions of how we organize things.
我要从一些简单的概念带出我们 工作的一系列流程
19.But basically, what we do is, we try to give coherence to the world.
基本上，我们所做的就是让世界变得浑然一体
20.We make physical things, buildings that become a part in an accretional process, they make cities.
我们造实际存在的东西，房子， 这逐渐成为一个自然增加过程，房子繁衍出城市
21.And those things are the reflection of the processes, and the time that they are made.
那些实存就是它们自己的 形成过程，以及时间的反映
22.And what I’m doing is attempting to synthesize the way one sees the world and the territories which are useful as generative material.
我现在的目标就是把人们看世界的方式和 有生殖力的土地同步起来
23.Because, really, all I’m interested in, always, as an architect, is the way things are produced because that’s what I do. Right?
因为，我一直以来作为建筑师，最大的兴趣就在于 事物成型的方式，建筑师就是干这个的，不是吗？
24.And it’s not based on an a priori notion.
这不是基于先验概念
25.I have no interest at all in conceiving something in my brain and saying, “This is what it looks like.” In fact, somebody mentioned —
我对向自己妥协，对自己说“这样才对嘛”全无兴趣 事实上，有人说过，
26.Ewan, maybe it was you in your introduction — about this is what architects — did somebody say it’s what business people come to,
艾文，可能是你在介绍中提到—— 建筑师也不过如此—— 有人说这是商人的出路，
27.it’s what the corporate world comes to when they want to make it look like something at the end of the line? Huh. Wow.
这是一个合作的世界的出路， 当他们想给所有行业都套上这条规矩？呃，天哪。
28.It doesn’t work that way for me at all.
对我完全无效。
29.I have no interest in that whatsoever.
我才不理会这些屁话。
30.Architecture is the beginning of something, because it’s — if you’re not involved in first principles, if you’re not involved in the absolute,
建筑是事物的开始，因为它—— 如果你没有从头开始参与， 如果没有全身投入，
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31.the beginning of that generative process, it’s cake decoration.
这个繁衍过程的开始就变成了蛋糕装饰。
32.And I’ve — nothing wrong with cake decoration and cake decorators, if anybody’s involved in cake decorations — it’s not what I’m interested in doing.
而且我——我和蛋糕装饰和糕点师傅 还有任何与蛋糕装饰有关的人，从没任何过节—— 我对这种装点行为没有兴趣。
33.And so, in the formation of things, in giving it form, in giving it — in concretizing these things, it starts with some notion of how one organizes.
所以说，事物成型的过程，让它成型，赋予它—— 将它们实体化， 要从一我们对待“组织”的观点开始
34.And I’ve had for 30 years an interest in a series of complexities where a series of forces are brought to bear, and to understand the nature of the final result of that,
三十年来，我一直对事物的复杂性深有兴趣： 各方力量聚到一起，相互作用， 感受、理解最终的作用结果，
35.representing the building itself.
这种力量的较量正代表了建筑本身。
36.There’s been a continual relationship between inventions, which are private, and reality, which has been important to me.
每一个设计之间都有一种连续性， 这种连续性很私人化，又很真实，这对我来说很重要。
37.A project which is part of an exhibition in Copenhagen 10 years ago, which was the modeling of a hippocampus — the territory of the brain that records short-term memory —
十年前哥本哈根某展览中的有个项目 大概是模拟海马区—— 大脑里储存短期记忆的部分——
38.and the documentation of that, the imaginative and documentation of that through a series of drawings which literally attempt to organize that experience.
记录下它的工作流程。这个项目极富想象力地用一系列图画直观地 表现海马区的变化。
39.And it had to do with the notion of walking a kilometer, observing every kilometer a particular object of desire, and then placing that within this.
这是这样一个概念：走一公里路， 体察走过的每一小段路程的特定目标与期望， 然后用图反映出来。
40.And the notion was that I could make an organization not built on normal coherencies, but built on non sequiturs, built on randomness.
这整个概念就是我组织一个事情， 不根据一般的连贯逻辑，而是不按常理出牌，将这个事情建立在随意性的基础上。
41.And I’d been extremely interested in this notion of randomness as it produces architectural work and as it definitely connects to the notion of the city,
这种随意性一直深深地吸引着我， 因为它创造建筑， 并且与城市发展紧密相连，
42.an accretional notion of the city, and that led to various ideas of organization.
代表了城市自然形成的过程， 并且指出组织形式具有多样性
43.And then this led to broader ideas of buildings that come together through the multiplicity of systems.
再从这种组织的多样性 带来系统多样性
44.And it’s not any single system that makes the work.
各种系统不可能独立行事，
45.It’s the relationship, it’s the dynamics between the systems, which have the power to transform and invent and produce an architecture that is — that would otherwise not exist.
只有系统间的动态关系 才能碰撞出改变与发明的力量， 创造出建筑——没有其他方法
46.And those systems could be identified, and they could be grouped together.
我们可以辨别不同系统， 根据特征给它们分组
47.And of course, today, with the technology of the computer and with the rapid prototyping, et cetera, we have the mechanisms to understand and to respond to these systems,
今天，有电脑帮忙， 加上快速打样等等，我们具备了完整的 理解并回应这些系统的机制，
48.and to allow them to adjust to the various accommodations of functionalities because that’s all we do.
让它们适应我们对功能的需求 因为满足不同功能是我们的最终目标，
49.We’re producing spaces that accommodate human activity.
我们设计的所有空间都是为了适应人类活动
50.And what I’m interested in is not the styling of that, but the relationship of that as it enhances that activity.
我感兴趣的不是空间的外在风格， 而是它如何配合其中发生的各种人类活动顺利进行
51.And that directly connects to ideas of city-making.
这与城市规划与建造直接相关。
52.This is a project that we just finished in Penang for a very, very large city project that came directly out of this process, which is a result of the multiplicity of forces that produce it.
这是我们刚在马来西亚平安岛刚完成了一个项目。 那是一个非常庞大的城市设计项目，并且正是这个过程的实践： 各方力量交集最终完成了它。
53.And the project — again, enormous, enormous competition — on the Hudson River and in New York that we were asked to do three years ago, which uses these processes.
而这个项目——不得不提，竞争相当激烈—— 三年前我们受邀参加 在纽约的哈德逊河上，也是用了这个过程。
54.And what you’re looking at are possibilities that have to do with the generation of the city as one applies a methodology that uses notions of these multiple forces,
你会发现，运用这种方法， 把多种不同的力量聚集在一起 并运用于城市建造中，
55.that deals with the enormity of the problem, the complexity of the problem, when we’re designing cities at larger and larger aggregates.
可以将庞大的项目缩小，化难为简， 特别是我们现在设计的城市规模越来越大。
56.Because one of the issues today is that the economic aggregate is driving the development aggregate, and as the aggregates get larger we require
因为当今社会的一大问题就是 经济总量的不断增大推进了发展总量的上升， 又是随着发展的深入，我们越来越需要
57.more and more complex investigation processes to solve these problems.
更多复杂、详细的准备调研来解决这些问题
58.And that led us directly to the Olympic Village.
奥林匹克村就是这么个例子
59.I was in New York on Monday presenting it to the IOC.
星期一的时候我在纽约把它展示给奥委会。
60.We won the competition — what was it, nine months ago?
我们拿下了奥运村项目——那是，九个月之前的事？
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61.Again, a direct reflection from using these processes to develop extremely complicated, very large-scale organisms.
这又是一个直接反映用这个过程 解决极其复杂，大规模的项目
62.And then, also, was working with broad strategies.
同时，也要广泛采取各种策略
63.In this case, we only used 15 of the 60 acres of land, and the 45 acres was a park and would become the legacy of the Olympic Village.
在这个项目里，我们只用了60英亩中的15英亩地， 剩下的45英亩是一个公园，奥运村的可以永久保留的财富
64.And it would become the second largest park in the boroughs, et cetera.
同时，它还将成为真个行政区里的第二大公园，等等。
65.Its position, of course, in the middle of Manhattan — it’s on Hunter’s Point.
它的位置在曼哈顿中心的Hunters Point。
66.And then the broader ideas of city-making start having direct influences on architecture, on the elements that make up the broader scheme,
这将城市设计、规划的概念再次外扩， 使城市中的建筑 以及组成大蓝图的各个因素受到直接影响
67.the buildings themselves, and start guiding us.
建筑物自己开始为我们指路
68.Architecture for me has been an investigation of a multiplicity of forces that could come from literally any place.
对我来说建筑学就是调查研究各种力量 它们可能来自任意领域
69.And so I can start this discussion in any number of places, and I’ve chosen three or four to talk about.
下面我就可以就几个具体事例展开讨论 我选了三、四个地方
70.And it has also to do with an interest in the vast kind of territory that architecture touches.
我对它们的兴趣在于其中的建筑都与 它们所在的地理区域紧密相连
71.It literally is connected to anything in terms of knowledge base.
其实建筑与各个知识领域都是有所重叠的。
72.There’s just no place that it doesn’t somehow have a connective tissue to.
这就像是人体没有那个地方能脱离 结缔组织
73.This is Jim Dine, and it’s the absence of presence, et cetera.
这是吉姆·戴恩的作品，缺失的存在。
74.It’s the clothing, the skin, without the presence of the character.
画里有衣服，看得到皮肤，但没有人物。
75.It became kind of an idea for the notion of the surface of a work, and it was used in a project where we could unravel that surface,
其中要表现的概念是一件作品的表面 这个概念被我们用在其中一个项目中，可以揭开那层表面
76.and it was a figurative idea that was going to be folded and made into a very, kind of complex space.
这个抽象的平面图形可以折叠起来， 变成非常复杂的空间
77.And the idea was the relationship of the space, which was made up of the fold of the image, and the dialectic or the conflict between the figuration,
这里想要表达的想法就是空间的关系， 其实它们是平面折叠的成品， 图画之中每部分之间的逻辑关系和抵触关系
78.and the kind of clarity of the image and the complexity of the space, which were in dialog.
以及一种明确关系 以及最终形成的空间的复杂性，都在同一框架内进行。
79.And it made us rethink the whole notion of how we work and kind of how we make things, and it led us to ideas that were closer to fashion design as we flattened out surfaces,
这让我们不得不反思长久以来我们如何工作 如何创造、生产， 如果我们将立面平展，就被指引向时装设计领域，
80.and then brought them back together as they could make spatial combinations.
把他们重新折叠就再次回到空间组合。
81.And this was the first prototype in Korea, as we’re dealing with a dynamic envelope, and then the same characteristic of the fabric.
这是在韩国的一个项目的模型 我们在做一个动态信封 这材料也有相同的属性
82.It has a material identity and it’s translucent and it’s porous, and it allows us for a very different, kind of notion of what a skin of a building is.
它半透明而且多孔 它为建筑的表皮提供了新选择
83.And that turned right away into another project.
它可以马上换一个样子，变成另外一个设计
84.This is the Caltrans building in Los Angeles.
这是洛杉矶的加州交通局总部大楼
85.And now we’re seeing as the skin and the body is differentiated.
现在可以看到建筑的皮肤和主体是可以区别的
86.Again, it’s a very, very simple notion.
再强调一下，这是非常，非常简单的概念
87.If you look at most buildings, what you look at is the building, the facade, and it is the building.
如果你看看周围的建筑 你看到的事建筑的外观
88.And all of a sudden we’re kind of moving away, and we’re separating the skin from the body, and that’s going to lead to broader performance criteria,
然后突然间我们的注意力转移了 我们把建筑的外观和主体分开了看 那可以把我们带向更广阔的发挥空间
89.which I’m going to talk about in a minute.
我接下来就要说这个
90.And you’re looking at how it kind of drapes over and differentiates from the body.
你现在看到的是表皮如何搭在建筑主体上， 并且将自己和主体区分开来。
91.And then, again, the building itself, middle of Los Angeles, right across from City Hall.
再一次，建筑物本身—— 它就在洛杉矶中心，市政厅对面
92.And as it moves, it takes pieces of the earth with it. It bends up.
它可以移动，可以弯曲
93.It’s part of, kind of a sign system, which was part of the kind of legacy of Los Angeles — the two-dimension, three-dimension signing, et cetera.
它是一个标识系统的一部分 也成了洛杉矶的财产—— 二维，三维空间中的财产，等等。
94.And then it allows one to penetrate the work itself.
它让我们进入作品中
95.It’s transparent, and it allows you to understand, I think, what is always the most interesting thing in any building, which is the actual constructional processes that make it.
它是透明，完全敞开的，并且容你感受理解 那是任何一幢建筑最有趣的地方 是实际建造过程让它具备了这个性质
96.And it’s the — kind of the most, probably the most intense kind of territory of the work, which is not occupied because architecture is always the most interesting in some mechanism
这可能是一座建筑中——可能是最有张力的部分， 它没被填满， 因为在建筑的外观和用途分开的时候
97.when it’s separated from function, and this is an area that allows for that.
才是它最引人入胜的时候 我们现在就在做这个
98.And then the skin starts transforming into other materials.
然后，建筑外皮可以变成其他材料
99.We’re using light as a building material in this case.
在这个案例中我们用灯光做建筑外皮
100.We’re working with Keith Sonnier in New York, and we’re making this large outside room, which is possible in Los Angeles, and which is very much reflective
我们与纽约艺术家Keith Sonnier合作 制作这个非常庞大的灯光系统 它和洛杉矶很配，很能反映城市，
101.of the urban, the contemporary urban environments that you would find in Shibuya or you’d find in Mexico City or Sao Paulo, et cetera,
当代城市环境 在东京涉谷，或者墨西哥城， 或巴西圣保罗能见到的城市景观
102.that have to do with activating the city over a longer span of time.
这样的建筑可以长时间、持续地让城市处于活跃状态
103.And that was very much part of the notion of the urban objective of this project in Los Angeles.
这也是这个项目非常适合 洛杉矶的原因
104.And, again, all of it promoting transparency.
而且，它推崇透明化，
105.And an image which may be closest talks about the use of light as a medium, that light becomes literally a building material.
用灯光作为媒介是再合适不过 这时候光就成了建筑材料。
106.Well, that immediately turned to something much broader — and as a scope.
这里可将我们的视野大大拓宽了——我们的工作余地也大大增加
107.And again, we’re looking at, kind of an early sketch where I’m understanding now that the skin can be a transition between the ground and the tower.
再来，我们现在看到的是一幅早期的草图 现在看来，我觉得 建筑外皮可以成为地面和建筑物的过渡段
108.This is a building in San Francisco which is under construction.
这座建筑在旧金山，还在建
109.And now it turned into something much, much broader as a problem, and it has to do with performance.
现在它的问题还挺大 还要与之后整个系统运行起来的表现有关
110.This will be the first building in the United States that took — well, I can’t say it took the air conditioning out. It’s a hybrid.
这将是美国第一座—— 我不能说完全去掉了空调。它是个过渡杂交品种。
111.I wanted a pure thing, and I can’t get it.
我想要纯种的，但没法实现
112.It’s a wrong attitude, actually, because the hybrid is probably more interesting.
其实不用那么坚持，因为杂交品种说不定更有意思
113.But we took the air conditioning out of the tower.
建筑的塔楼部分没有空调
114.There’s some air conditioning left in the base, but the skin now moves on hydraulics.
但在底座部分还保留了空调 现在的建筑表皮在液压下可以移动
115.It forces air through — through a Venturi force if there’s no wind.
它把空气压进来——如果没有风的话会采用机器鼓风
116.It adjusts continually. And we removed the air conditioning.
它可以根据锋利随即调整。有了它，我们就把空调部分去掉了。
117.Huge, huge thing. Half a million dollars a year delta.
非常了不起，每年能给三角洲节约50万美元，
118.10 of these — it’s just under a million square feet — 800 and some thousand square feet — 10 of these would power Sausalito — the delta on this.
其中十块—— 每块大概有800到1000平方英尺（288到360平米）—— 其中十块就足够给索萨力托——刚提到的三角洲提供能量供给。
119.And so now what we’re looking at, as the projects get larger in scale, as they become — as they interface with broader problems, that they expand the kind of capabilities
以上我们看到的就是当项目规模越来越大 就会牵涉到更多、各种各样的问题 因为规模越大代表它们的
120.in terms of their performance.
发展空间越大
121.Well, I could also start here.
我们还可以再看看另一个项目。
122.We could talk about the relationship at a more biological sense of the relationship of building and ground.
我们可以从生物学角度 探讨一下建筑和土地的关系
123.Well, our research — my generation for sure, people who were going to school in the late ’60s — made very much a shift out of the kind of internal focus of architecture,
我们的研究——我这代人， 60年代末开始上小学的这代—— 对建筑的关注不再局限于建筑的内部结构
124.looking at architecture within its own territory, and we were much more affected by film, by what was going on in the art world, et cetera.
而是和它所在的地域建立联系 我们深受 电影、艺术的影响
125.This is, of course, Michael Heizer.
这是著名的迈克尔·海泽的作品
126.And when I saw this, first an image and then visited, it completely changed the way I thought after that point.
当我看到这件作品，第一次是照片，后来又去现场看过 它完全颠覆了我之前的观点
127.And I understood that building really could be the augmentation of the Earth’s surface, and it completely shifted the notion of building ground in the most basic sense.
我了解到建筑可以 增强地球表面的视觉冲击力 它完全颠覆了以前只把地面当做地基的普遍看法
128.And then — well, he was probably looking at this — this is Nazca, this is 700 years ago — the most amazing four-kilometer land sculptures.
可能当时他从这儿收到了启发——这是秘鲁境内的纳斯卡高原 已经有七百年历史了——最最宏伟绮丽，长达四公里的土地雕塑
129.They’re just totally incredible.
不可思议的自然造化
130.And that led us to then completely rethinking how we draw, how we work.
它让我们不得不反思我们画图，工作的整个过程
131.This is the first sketch of a high school in Pomona.
这是加州波莫纳一所高中的最初草图
132.Well, whatever it is, it’s a model, a conceptual, kind of idea.
不用管每部分都是什么，它就是个模型，概念化的想法
133.And it’s the reshaping of the earth to make it occupiable.
想要通过重塑当地的地表，让我们可以利用
134.So it puts 200,000 square feet of stuff that make a high school work in the surface of that earth.
我们大概占用了20万平方英尺（7.2万平方米）的地方 好让高中能与土地结合在一起
135.There it is modeled as it was kind of developing into a piece of work.
这个模型已经有点作品的样子了
136.And there it is, again, as it’s starting to get resolved tectonically, and then there’s the school.
然后，是解决一些技术问题 最后，学校建成
137.And, of course, what we’re interested — we’re interested in participating with education.
当然，我们的兴趣—— 我们很喜欢参与教育事业的工作
138.I have absolutely no interest in producing a building that just accommodates X, Y and Z function.
我对建那种要满足ABC条件的 功能性建筑完全不感冒
139.What I’m interested in are how these ideas participate in the educational process of young people.
我很好奇包含在建筑中的观点 会如何影响在这里学习的年轻人
140.It demands some sort of notion of inquiry because it’s a system that’s developed not sculpturally.
这需要有探求精神 因为这整个系统不是以雕塑形式做成的
141.It’s an idea that started from my first discussion.
它和我演讲最初的讨论有关
142.It has to do with a broad, kind of consistent logic, and that logic could be understood as one occupies the building.
它包含了一个宽泛，又连贯的逻辑 这个逻辑在整座建筑中得到线
143.And there’s an overt — at least, there’s an attempt to make a very overt notion of a building that connects to the land in a very different way
这其中有一种隐秘的——至少 我们尝试以一种隐蔽的方式表达 土地与建筑的连接
144.because I was interested in a very didactic kind of approach to the problem as one would understand that.
因为我一直希望赋予我们解决问题的过程一些教学意义 看到建筑的时候人们可以得到一些启发
145.And the second project that was just finished in Los Angeles that uses some of the same ideas. It uses landscape as a major idea.
这个项目刚在洛杉矶完成 也用到了同样的理念，将地形作为基础
146.Then, again, we’re doing the headquarters for NOAA — National Oceanographic and Atmospheric Agency — outside of Washington in Maryland.
我们正在做NOAA总部—— 美国国家海洋和大气局—— 在马里兰州华盛顿城外
147.And this is how they see the world.
他们看到的世界是这样的——
148.They have 22 satellites zipping around at plus or minus 100 miles, and the site’s in red.
他们有22个卫星以100英里的时速（？？）飞速运行， 红色部分是建筑物所在地
149.And what we really want to do — well, the architects, if there are architects out there, this is the Laugier Hut.
我们真正想做的——我们是指建筑师 如果这还算个职业的话——这是劳吉尔小屋
150.This is the primitive hut that’s been around for so long.
它看起来非常原始，而且已经在那儿待了很久很久
151.And what we wanted to do is really kind of build this because they see themselves as the caretakers of the world, and we wanted them to look down at their satellite,
我们想要做的是建一个类似的东西 因为他们将自己视为世界保护人， 我们希望当他们从卫星图里看自己的根据地，
152.how they see their own site, that eight-acre site, and we wanted nothing left. We wanted it to stay green.
八英亩大的地块时 什么也找不着。我们希望那里始终保持绿色
153.There’s actually three baseball fields on it right now, and they’re going to stay there.
现在图中看到的建筑物上铺了三块棒球场地 而且它们将一直待在那儿
154.We put one piece directly north-south, and it holds the dishes at the ears, right?
一块是南北向的 卫星接收器像两只耳朵，对不？
155.And then right below that the processing, and the mission lift, and the mission control room, and all the other spaces are underground.
棒球场下方是操作室和任务室 和任务控制室，其他所有空间都在地下
156.And what you look at is an aircraft carrier that’s performance-driven by the cone vision of these satellite dishes.
你现在看到的是一艘卫星锅搭载航母 它表现如何就要看这些卫星都能接收到什么样的图了
157.And that the building itself is occupied in the lower portion, broken up by a series of courts, and it’s five acres of uninterrupted, horizontal space
建筑物的下半部分被 一系列场地分开 这里大概有五英亩连续的一层
158.for their administrative offices.
当做管理人员办公室
159.And then that, in turn, propelled us to look at larger-scale projects where this notion of landscape building interface becomes a connective tissue.
这又一次驱使我们关注 大规模项目中地形与建筑的交界面 起到结缔组织的作用
160.The new capital competition for Berlin, four years ago.
四年前柏林新首都竞赛
161.And again we just finished the ECB — actually Coop Himmelblau in Vienna just won this project, where the building was separated into a series of landscape elements
还有，这是我们刚完成的欧洲中央银行图纸—— 很可惜维也纳的库普·希米尔布劳建筑事务所拿下了这个项目 我们的方案中整个建筑物被分为一系列的地形元素
162.that became part of a connective tissue of a park, which is parallel to the river and develops ideas of the buildings themselves and becomes part of the connective fabric —
这些不同地形成为公园中连接各个部分的结缔组织 它们与河平行，并且每栋建筑都是这些地形的衍生 它们成为连接结构——
163.the social, cultural and the landscape and recreational fabric of the city.
具有社会，文化，地域，娱乐功能的城市结构
164.And the building is no longer seen as an autonomous thing, but something that’s only inextricably connected to this city and this place at this time.
整座建筑不再是孤立的个体 而是与周围环境紧密相连 与城市的每一分每一秒联系在一起
165.And a project that was realized in Austria, the Hooper Bank, which again used this idea of connecting typology, the traditional buildings, and morphology,
还有一个在奥地利实现的项目，胡珀银行 其中也用到了这个“连接”的基本概念 以及传统建筑，生态学
166.or the relationship of the development of land as an idea, into a complex which is a piece of a city where we can see part of it is literally just this augmenting,
或者说是将土地变成整个计划的构件 成为整个复杂设计中的一部分的这样的理念，让地形作为城市的一部分 在作品中呈现出来，得到放大
167.this kind of the movement of the land that’s a very simple idea of just kind of lifting it up and occupying it, and other parts are much more energetic and intense.
这种处理地形的方法其实很简单，就是将 原有地形上升，进行填充 其他的部分则比较紧凑
168.And can talk about that intensity in terms of the kind of collisions of the kind of events they make that have to do with putting a series of systems together,
说到紧凑 这种紧凑带来各种空间交错冲突的效果 与将一系列系统放在一起，一部分藏在地下，一部分在地上
169.and then where part of it is in the ground, part of it is oppositional lifts.
带来的错杂的效果直接关联
170.One enters the building as it lifts off the ground, and it becomes part of the idea.
当人走入建筑物，同时也离开了地表 这也是整个构想的一部分
171.And then the skin — the kind of edges of this — all promote the dynamic, the movement of the building as a series of seismic shifts, geologic shifts. Right?
然后建筑表皮 用一系列地震般，地壳运动一样的活动 赋予建筑动态感
172.And it makes for event space and then it breaks in places that allow you to peer into the interior, and those interiors, again, are promoting transparency for the workplace,
它指向活动场地，并且可以透过它 看到建筑内部，刚才我们提到过 我们提倡工作区域的透明化
173.which has been a continual, kind of interest of ours.
这是我们一直以来的理念
174.And then, again, in a more, kind of traditional setting, this is a graduate student housing in Toronto, and it’s very much about the relationship of a building
然后，这是比较传统的场景 这是多伦多的一间研究生宿舍 它的设计理念也是重在将建筑
175.as it makes a connective tissue to the city.
化为城市的结缔组织
176.The main idea was the gateway, where it breaks the site, and the building occupies both the public space and the private space.
设计重点是楼的入口，它将场地分成不同区域 这栋楼既占据了公共区域，又包含了私人空间
177.And it’s that territory of — it’s this thing.
这就是设计重点——
178.I visited the site many times, and everybody, kind of — you can see this from two kilometers away as an exact center of the street,
我去现场看过很多次，几乎所有人都说 从两英里外就能看到它，延伸到街道的正中央
179.and the whole notion is to engage the public, to engage buildings as part of the public tissue of the city.
这里面的理念就是参与到公共空间去 让建筑成为城市的公共连接
180.And finally, one of the most interesting projects — it’s a courthouse.
最后，我们最有趣的项目之一——这是一个法院
181.And what I want to talk about — this is the Supreme Court, of course — and, well, I’m dealing with Michael Hogan, the Chief Justice of Oregon.
我想说的是——这可是最高法院—— 我一直在和迈克尔·霍根沟通，他是俄勒冈州最高法院审判长
182.You could not proceed without making this negotiation between one’s own values and the relationship of the character you’re working with and how he understands the court
你必须在自己的观点与合作人的观点，他对法院的理解 之间进行协商和抉择 不然工作就无法进行
183.because I’m showing him, of course, Corbusier at Savoy, which is 1928, which is the beginning of modern architecture.
因为我正在给他展示柯布西耶的萨伏伊别墅 1928年建成，被视为现代建筑的开端
184.Well, then we get to this image.
然后我们一起看了这幅照片
185.And this is where the project started. Because I’m, like, going, I’m interested in the phenomenon that’s taking place in here.
这是整个项目的出发点。因为我—— 我对这里发生的各种现象很感兴趣
186.And really what we’re talking about is constructing reality.
我们现在就在讨论构建现实
187.And I’m a character that’s extremely interested in understanding the nature of that constructed reality because there’s no such thing as nature any more. Nature is gone.
我这个人对理解“构建现实”的原本自然状态 极其有兴趣 因为它们中不再存在自然。本来的自然状态消失了
188.Nature in the 19th century sense, all right?
自然是19世纪的话题了，不是吗？
189.Nature is only a cultural edifice today, right?
自然只是文化意义上的宫殿，不是吗？
190.We construct it and we construct those ideas.
我们构建现实，构建各种理念
191.And then of course, this one, our governor at the moment.
然后，毋庸置疑的，我们现在的州长
192.And we spent some time with Conan, believe it or not, and then that led us to, kind of, the very differences of our worlds from a legal and an artistic, architectural.
我俩甚至还一起看了他的电影《科南》 它指引我们看到世界的种种差异 从法律、艺术、建筑各个层面
193.And it forced us to talk about, kind of, notions of how we work, and the dynamics of that, and what other sources of the work is.
它还让我们讨论了各种问题，比如我们都如何工作 我们的工作动力，以及其他工作来源等等。
194.And it led us to the project, the courthouse, which is absolutely a part of a negotiation between tradition and pieces of the traditional courthouse.
最后，它将我们引向了我们的项目，法院 它绝对是我们协商的结果 是要建一座传统的法院还是既现代又保留传统元素的法院
195.You’ll find a stair that’s the same length as the Supreme Court.
你会发现其中一级台阶和最高法院的台阶一样长
196.Here’s a piano nobile, which is a device used in the Renaissance.
这是一层大厅，文艺复兴时期的典型式样
197.The courts were made of that. The skin is this series of layers that reflect even rusticated stonework, but which were embedded with fragments of the Constitution,
法院大体有这些材料构成：表皮是许多层状结构 它们比较粗糙 其中刻了《宪法》的片段
198.which were part of the kind of little process, all set on a plinth that defined it from the community.
这是我们做的细节处理的一部分 全部做在柱子的底座上，让它在社区中格外引人注目。
199.Thank you so much.
谢谢！
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