you discovered that everybody in the room looked almost exactly the same:

想像一下，當各位今晚走進會場時，

ageless, raceless,

你發現在場所有的人 看上去幾乎長得一模一樣：

generically good-looking.

沒有年齡、種族的區別，

That person sitting right next to you

長得都一樣帥、一樣漂亮。

might have the most idiosyncratic inner life,

而坐在你身旁的人，

but you don't have a clue

他的內心世界可能是個怪咖，

because we're all wearing the same blank expression all the time.

但你卻看不出來，

That is the kind of creepy transformation that is taking over cities,

因為我們臉上總是一號表情。

only it applies to buildings, not people.

這就是目前在各城市中 發生的詭異變化，

Cities are full of roughness and shadow,

我說的是建築物，不是人。

texture and color.

城市中遍佈了粗糙與陰影、

You can still find architectural surfaces of great individuality and character

紋理與色彩。

in apartment buildings in Riga

你仍然能夠找到極具個性的外表設計，

and Yemen,

在里加、

social housing in Vienna,

葉門這些地區的公寓樓房中、

Hopi villages in Arizona,

維也納的社會住宅中、

brownstones in New York,

亞利桑那的霍皮村落、

wooden houses in San Francisco.

紐約的赤褐色砂石建築、

These aren't palaces or cathedrals.

舊金山的木屋，它們都極具個性。

These are just ordinary residences

它們既不是宮殿，也不是大教堂。

expressing the ordinary splendor of cities.

它們只是一些

And the reason they're like that is that the need for shelter

能展現出各個城市魅力的 普通住宅。

is so bound up with the human desire for beauty.

而這些房屋之所以這麼有特色，

Their rough surfaces give us a touchable city.

是因為人們在住宅需求中 也伴隨著對美的渴望。

Right? Streets that you can read

粗糙的表面帶給了我們 一個觸手可及的城市。

by running your fingers over brick and stone.

當你的指尖拂過街邊的一磚一瓦時，

But that's getting harder to do,

彷彿走進了小巷深處的記憶。

because cities are becoming smooth.

但這樣的機會已經越來越少了，

New downtowns sprout towers

因為城市正在變得光滑。

that are almost always made of concrete and steel

高層建築在市中心拔地而起，

and covered in glass.

但卻幾乎都是覆蓋著玻璃的

You can look at skylines all over the world --

鋼筋混凝土建築物。

Houston,

各位可以去看看 世界各地城市的天際線──

Guangzhou,

休斯頓、

Frankfurt --

廣州、

and you see the same army of high-gloss robots

法蘭克福──

marching over the horizon.

那些長的一模一樣的 拋光機器人大軍，

Now, just think of everything we lose

佈滿了城市的水平線。

when architects stop using the full range of available materials.

想想，當建築師們

When we reject granite and limestone and sandstone

不再使用其它各式各樣的材料時 我們所失去的一切。

and wood and copper and terra-cotta and brick

當我們拋棄了 花崗岩、石灰岩、砂岩、

and wattle and plaster,

木材、銅片、陶瓦、磚、

we simplify architecture

籬芭、石膏，

and we impoverish cities.

我們簡化了建築，

It's as if you reduced all of the world's cuisines

卻拋光了城市。

down to airline food.

這就好比把世界各地的美食

(Laughter)

簡化成飛機上的餐食。

Chicken or pasta?

（笑聲）

But worse still,

雞肉還是義大利麵？

assemblies of glass towers like this one in Moscow

但，更糟糕的是，

suggest a disdain for the civic and communal aspects of urban living.

像是在莫斯科的這些玻璃帷幕大樓，

Right? Buildings like these are intended to enrich their owners and tenants,

暗含著一種對於城市社會生活的歧視。

but not necessarily the lives of the rest of us,

這樣的建築只是為了彰顯 房東或是租客很有錢的樣子，

those of us who navigate the spaces between the buildings.

而對於每天穿行其中的我們來說，

And we expect to do so for free.

卻沒有多大意義。

Shiny towers are an invasive species

而我們卻放任這樣的建築物存在。

and they are choking our cities and killing off public space.

閃亮亮的大廈像是一種入侵物種，

We tend to think of a facade as being like makeup,

它們掐住了城市的呼吸， 也破壞了我們的公共空間。

a decorative layer applied at the end to a building that's effectively complete.

我們似乎把建築物的外表 當做上妝的表層，

But just because a facade is superficial

最後附上裝飾的一層就算是蓋好了。

doesn't mean it's not also deep.

但是一個膚淺的外表，

Let me give you an example

並不意味著建築本身沒有深度。

of how a city's surfaces affect the way we live in it.

我舉個例子，

When I visited Salamanca in Spain,

說明一下城市的外觀， 會如何影響人們的生活方式。

I gravitated to the Plaza Mayor

當我去拜訪位於西班牙的 薩拉曼卡的時候，

at all hours of the day.

我被馬約爾廣場深深吸引，

Early in the morning, sunlight rakes the facades,

於是一整天都呆在了那兒。

sharpening shadows,

清晨，陽光撒向整棟建築物，

and at night, lamplight segments the buildings

留下清晰的陰影。

into hundreds of distinct areas,

到了傍晚時分 燈光將樓房分割成了

balconies and windows and arcades,

數百個截然不同的小區域。

each one a separate pocket of visual activity.

陽台、窗戶、走廊

That detail and depth, that glamour

都各自造就了獨特的視覺區。

gives the plaza a theatrical quality.

那些細節、深度和它所帶來的魅力，

It becomes a stage where the generations can meet.

賦予了廣場擁有一種 大劇場的視覺饗宴。

You have teenagers sprawling on the pavers,

它變成了一個 無論男女老少都可以邂逅的舞台。

seniors monopolizing the benches,

你會看見年輕人 隨意地坐在廣場上，

and real life starts to look like an opera set.

老年人佔據著長椅，

The curtain goes up on Salamanca.

那真實的生活就像是 戲劇裡的佈景。

So just because I'm talking about the exteriors of buildings,

揭開了薩拉曼卡的全貌。

not form, not function, not structure,

因為我談的是建築外觀，

even so those surfaces give texture to our lives,

不是它的形式、功能或是結構，

because buildings create the spaces around them,

但就是這些外觀紋路， 為我們的生活帶來了觸動，

and those spaces can draw people in

因為建築物創造了 周圍的空間環境，

or push them away.

而這些空間環境 可以吸引人們聚在一起，

And the difference often has to do with the quality of those exteriors.

或是將人們推向它方。

So one contemporary equivalent of the Plaza Mayor in Salamanca

而這些差距往往就是 建築外觀的特質所決定的。

is the Place de la Défense in Paris,

說一個可以與薩拉曼卡的馬約爾廣場 相當的現代廣場，

a windswept, glass-walled open space

巴黎的協和廣場，

that office workers hurry through

是一個吹襲著強風 被玻璃帷幕圍繞的開放空間，

on the way from the metro to their cubicles

讓辦公白領只想快速通過，

but otherwise spend as little time in as possible.

從地鐵站直奔他們的小辦公室，

In the early 1980s, the architect Philip Johnson

盡可能地逃離現場。

tried to recreate a gracious European plaza in Pittsburgh.

在上世紀 80 年代初期 一位叫做菲力普·強生的建築師，

This is PPG Place,

曾嘗試在匹茲堡 重塑一個優雅的歐式廣場。

a half acre of open space encircled by commercial buildings

也就是 PPG 廣場，

made of mirrored glass.

半英畝的空地

And he ornamented those buildings with metal trim and bays

被玻璃帷幕的商業大樓所包圍著。

and Gothic turrets

他運用了金屬鑲邊、間隔排架

which really pop on the skyline.

還有哥德式的塔樓設計，

But at ground level,

雖然可以讓建築物 看起來像是真奔天際線，

the plaza feels like a black glass cage.

但是從一樓往上看，

I mean, sure, in summertime

整個廣場就好像一個 黑色的玻璃籠子。

kids are running back and forth through the fountain

我的意思是，沒錯，在夏天

and there's ice-skating in the winter,

孩子們還是會在噴泉的周圍來回奔跑，

but it lacks the informality of a leisurely hangout.

冬天還是會在這裡溜冰，

It's just not the sort of place you really want to just hang out and chat.

但卻少了一種休閑自在感。

Public spaces thrive or fail for many different reasons.

這個廣場的確不是那種 會讓你想去聚會暢談的地方。

Architecture is only one,

這些公共空間的成功與失敗 取決於很多不同的原因。

but it's an important one.

建築的風格雖然只是其中一方面，

Some recent plazas

但卻也是極其重要的一方面。

like Federation Square in Melbourne

一些最近新建的廣場

or Superkilen in Copenhagen

比如墨爾本的聯邦廣場

succeed because they combine old and new,

或是哥本哈根的 Superkilen 公園，

rough and smooth,

它們的成功源於 它們結合了古樸與新潮、

neutral and bright colors,

粗糙與光滑、

and because they don't rely excessively on glass.

中性與明亮的色彩，

Now, I'm not against glass.

而且它們沒有過分依賴玻璃。

It's an ancient and versatile material.

我並不是反對使用玻璃。

It's easy to manufacture and transport

玻璃畢竟是一種古老且 用途多廣的材料。

and install and replace

它們易於大量生產、運輸、

and clean.

安裝、替換

It comes in everything from enormous, ultraclear sheets

和清潔。

to translucent bricks.

無論是巨大的超潔凈板 還是簡單的半透明磚，

New coatings make it change mood

都有玻璃的存在。

in the shifting light.

新式塗層能夠 讓它們在光照的變化中

In expensive cities like New York, it has the magical power

變換色調。

of being able to multiply real estate values by allowing views,

在像紐約這樣的高消費力城市， 玻璃擁有神奇的能力，

which is really the only commodity that developers have to offer

它能擴大視覺空間， 使房地產價格輕鬆翻倍，

to justify those surreal prices.

而開發商也只能用玻璃當建材，

In the middle of the 19th century,

來平衡高的嚇人的土地成本。

with the construction of the Crystal Palace in London,

在 19 世紀中期，

glass leapt to the top of the list of quintessentially modern substances.

伴隨著倫敦水晶宮的建成，

By the mid-20th century,

玻璃一躍成了 現代化建築材料的榜首。

it had come to dominate the downtowns of some American cities,

到了 20 世紀中期，

largely through some really spectacular office buildings

玻璃透過這些壯觀的辦公大樓

like Lever House in midtown Manhattan, designed by Skidmore, Owings and Merrill.

主導了美國部分城市的市中心。

Eventually, the technology advanced to the point

像是在曼哈頓由斯基德莫爾、奥因斯 和梅里爾三人設計的利華大廈。

where architects could design structures so transparent

直到最近，科技進步到達了一種

they practically disappear.

使建築師們能夠讓設計結構透明到

And along the way,

看不見的地步。

glass became the default material of the high-rise city,

這一路走來，

and there's a very powerful reason for that.

玻璃成了高樓城市的既定材料，

Because as the world's populations converge on cities,

而這些改變的背後， 卻有著強大的理由。

the least fortunate pack into jerry-built shantytowns.

因為世界人口都聚集於城市之中，

But hundreds of millions of people need apartments and places to work

窮人會住進臨時搭建的棚屋中。

in ever-larger buildings,

但數以億計的人

so it makes economic sense to put up towers

仍是需要越來越高大的 住宅和辦公空間，

and wrap them in cheap and practical curtain walls.

所以從經濟角度考量， 使用便宜耐用的玻璃建材

But glass has a limited ability

作為大樓的外觀是完全合理的。

to be expressive.

但是玻璃的表現力

This is a section of wall framing a plaza

畢竟是有局限性的。

in the pre-Hispanic city of Mitla, in southern Mexico.

這是一個廣場的外牆

Those 2,000-year-old carvings

位於墨西哥南部的前西班牙城米特拉，

make it clear that this was a place of high ritual significance.

這些歷經 2000 年的雕紋，

Today we look at those and we can see a historical and textural continuity

讓這裡充滿了宗教的歷史氣息。

between those carvings, the mountains all around

如今，當我們仔細觀察 環繞在山區的這些建築雕刻物，

and that church which is built on top of the ruins

我們可以看到建築物 歷史紋路的傳承，

using stone plundered from the site.

建造於廢墟之上的教堂

In nearby Oaxaca, even ordinary plaster buildings

使用了當地的石材。

become canvasses for bright colors, political murals

在附近的瓦哈卡 即使是普通的石膏建築

and sophisticated graphic arts.

也會成為色彩豐富的政治壁畫

It's an intricate, communicative language

或是深奧精美的藝術畫布。

that an epidemic of glass would simply wipe out.

這些錯綜覆雜，具有交流性的語言

The good news is that architects and developers

會因玻璃的盛行而被輕易地替換掉。

have begun to rediscover the joys of texture

好消息是，建築師和開發商們

without backing away from modernity.

已經開始在不脫離現代化的基礎上

Some find innovative uses for old materials like brick

重新發掘其它材質帶來的樂趣。

and terra-cotta.

有一些人找到了比如 磚頭或是赤陶瓦等舊材料的

Others invent new products like the molded panels that Snøhetta used

新用途。

to give the San Francisco Museum of Modern Art

還有一些人則是發掘了新建材 比如斯諾赫塔

that crinkly, sculptural quality.

在舊金山的現代藝術博物館， 使用模壓板，

The architect Stefano Boeri even created living facades.

讓博物館看起來富有 皺折的雕塑般氣質。

This is his Vertical Forest, a pair of apartment towers in Milan,

建築師斯特凡諾·博埃里甚至 創造了一種有生命力的建築外觀。

whose most visible feature is greenery.

這是他在米蘭 「垂直叢林」的雙大樓作品。

And Boeri is designing a version of this for Nanjing in China.

它們最獨特的地方就是綠化。

And imagine if green facades were as ubiquitous as glass ones

博埃里正在為中國南京 設計一個類似的版本。

how much cleaner the air in Chinese cities would become.

想象一下，如果這種綠色外觀 能夠和玻璃一樣普及的話，

But the truth is that these are mostly one-offs,

那麽中國城市的空氣品質 將會得到多麽大的改善啊。

boutique projects,

但事實上，這些往往都只是

not easily reproduced at a global scale.

一次性的精美個案。

And that is the point.

沒辦法輕易地在全球普及。

When you use materials that have a local significance,

但這也是重點。

you prevent cities from all looking the same.

當你去使用這些 具有地方特色的建材時，

Copper has a long history in New York --

就能夠避免城市的外觀趨於一致。

the Statue of Liberty,

在紐約，銅的運用已有 一段很長的歷史──

the crown of the Woolworth Building --

自由女神像、

but it fell out of fashion for a long time

伍爾沃思大廈的樓頂都有銅的存在──

until SHoP Architects used it to cover the American Copper Building,

但是它已經脫離時尚界多年，

a pair of twisting towers on the East River.

直到 SHoP 的建築師， 在設計東河岸的一對折型塔樓──

It's not even finished

「美銅大樓」時，再次使用了它。

and you can see the way sunset lights up that metallic facade,

它還沒有完工，

which will weather to green as it ages.

但你能夠從夕陽中 看到那耀眼的金屬光澤，

Buildings can be like people.

它們會隨著時間風化成綠色。

Their faces broadcast their experience.

大樓也可以和人一樣，

And that's an important point,

它們的外觀也能有歲月的痕跡。

because when glass ages,

這是很重要的一點，

you just replace it,

因為當玻璃老化的時候，

and the building looks pretty much the same way it did before

我們只會把它換掉，

until eventually it's demolished.

所以這些建築物

Almost all other materials have the ability

在被打掉重建前， 看起來都跟以前一模一樣。

to absorb infusions of history and memory,

幾乎所有的材料都有能力

and project it into the present.

可以吸收並融合歷史與回憶，

The firm Ennead

並與當代相呼應。

clad the Utah Natural History Museum in Salt Lake City in copper and zinc,

Ennead 公司

ores that have been mined in the area for 150 years

用銅和鋅包裹了位於鹽湖城的 猶他自然歷史博物館，

and that also camouflage the building against the ochre hills

這區的礦產開採歷史 已經有 150 年了，

so that you have a natural history museum

這也讓這座建築物巧妙的 隱藏於礦山之中。

that reflects the region's natural history.

這樣我們就擁有了一個真正反映

And when the Chinese Pritzker Prize winner Wang Shu

當地自然歷史的自然歷史博物館。

was building a history museum in Ningbo,

當中國建築師王澍 （普利茨克獎獲得者）

he didn't just create a wrapper for the past,

在寧波建造歷史博物館時，

he built memory right into the walls

他不僅僅將過去留在建築裡，

by using brick and stones and shingles

也將回憶帶回了建築當中，

salvaged from villages that had been demolished.

他是利用村莊拆除下來的磚石、木瓦

Now, architects can use glass

將它建造而成的。

in equally lyrical and inventive ways.

當今的建築師也可以 以同樣抒情且別出心裁的方式

Here in New York, two buildings,

利用玻璃來設計建物。

one by Jean Nouvel and this one by Frank Gehry

在這裡，紐約，有兩棟樓，

face off across West 19th Street,

一棟是楊·努維爾設計的， 這棟則是法蘭克·蓋瑞的作品，

and the play of reflections that they toss back and forth

它們面朝西十九大道，

is like a symphony in light.

而它們所創造出的光影交錯

But when a city defaults to glass

就如同光世界的交響曲。

as it grows,

但當玻璃成為一個城市的既定材料，

it becomes a hall of mirrors,

不斷地被使用時，

disquieting and cold.

城市就會變成充滿鏡面的建築，

After all, cities are places of concentrated variety

會讓人感到不安、冰冷。

where the world's cultures and languages and lifestyles

畢竟，城市應該是一個多元的大熔爐，

come together and mingle.

匯聚了各國文化、

So rather than encase all that variety

混合了多國語言和生活方式的地方。

and diversity in buildings of crushing sameness,

所以我們不應該將這些 不同且多樣性的各國文化

we should have an architecture that honors the full range of the urban experience.

局限在這一模一樣的外表下，

Thank you.

我們應該讓建築充分反映 豐富多彩的城市體驗。

(Applause)

謝謝大家。