For much of the past century, architecture was under the spell of a famous doctrine.
过去的好几个世纪中，建筑物都被一条著名的魔咒所禁锢，
"Form follows function" had become modernity's ambitious manifesto and detrimental straitjacket,
“形致围绕功能”这个理论曾经一度成为当代的伟大宣言，同时又是个危险的紧箍咒，
as it liberated architecture from the decorative, but condemned it to utilitarian rigor and restrained purpose.
因为这句话虽让建筑物不再具有装饰性，但也同时宣判建筑物走向功利严谨且倍受约束的终点。
Of course, architecture is about function, but I want to remember a rewriting of this phrase by Bernard Tschumi,
当然，建筑物确实需要实现某些功能，但这让我想起了Bernard Tschumi对这句话的改写，
and I want to propose a completely different quality. If form follows fiction,
并同时提出一个我个人完全不同的见解。如果是“形致围绕小说”，
we could think of architecture and buildings as a space of stories -- stories of the people that live there, of the people that work in these buildings.
我们可以这样想，建筑设计与建筑物是布满故事的空间，有关居住在那里的人的故事，有关在里面工作的人的故事。
And we could start to imagine the experiences our buildings create.
我们可以开始想像我们的建筑物创造出来的体验。
In this sense, I'm interested in fiction not as the implausible but as the real,
按这种方式来理解的话，我对小说感兴趣的原因，不是因为它的虚幻，而是它的真实，
as the reality of what architecture means for the people that live in it and with it.
就好比建筑风格对那些生活在里面的居民有什么意义那样的真实。
Our buildings are prototypes, ideas for how the space of living or how the space of working could be different,
我们的建筑物一开始是一些雏形、想法，让我们了解当今的生活或工作空间可以有什么不同，
and what a space of culture or a space of media could look like today. Our buildings are real; they're being built.
以及文化与媒体空间可以如何展现。我们的建筑物是真实的；它们会被建造出来，
They're an explicit engagement in physical reality and conceptual possibility.
建筑物是一种实体物质与想法概念的合约产物。
I think of our architecture as organizational structures. At their core is indeed structural thinking, like a system:
我认为我们的建筑物是一种组织结构。它们的核心，的确是一种结构思想，像是一个系统：
How can we arrange things in both a functional and experiential way?
我们要如何把事情安排的兼具功能性与体验性呢？
How can we create structures that generate a series of relationships and narratives?
我们要如何创造出可以引发一系列关系与故事剧本的结构？
And how can fictive stories of the inhabitants and users of our buildings script the architecture,
而我们在建筑物里面的居民及使用者的虚幻故事，
while the architecture scripts those stories at the same time?
要如何在描绘建筑物的同时也能被建筑物描绘出来?
And here comes the second term into play, what I call "narrative hybrids"
而这当中就会产生出第二个词汇，我称之为“叙事混合体”--
structures of multiple simultaneous stories that unfold throughout the buildings we create.
多个同时进行的故事的结构完全通过我们创造出的建筑物展现了出来。
So we could think of architecture as complex systems of relationships,
所以我们可以想像建筑物是个呈现关联性的复杂系统，
both in a programmatic and functional way and in an experiential and emotive or social way.
既具备可程序化和功能性，又具备体验性和情绪性，或者社交性。
This is the headquarters for China's national broadcaster, which I designed together with Rem Koolhaas at OMA.
这是中国国家广播公司的总部，是我和Rem Koolhaas在大都会建筑事务所共同设计的。
When I first arrived in Beijing in 2002, the city planners showed us this image:
2002年，当我第一次抵达北京时，城市规划员向我们展示了这张图：
a forest of several hundred skyscrapers to emerge in the central business district, except at that time, only a handful of them existed.
除了当时已有的屈指可数的几栋大楼，雨林般的上百栋高楼大厦，将会出现在市中心的商务区。
So we had to design in a context that we knew almost nothing about, except one thing: it would all be about verticality.
所以我们必须在一个除了垂直概念以外其他几乎什么都没有的设计概念底下做设计。
Of course, the skyscraper is vertical -- it's a profoundly hierarchical structure,
当然，高楼大厦是垂直的--它是个死板的层次结构，
the top always the best, the bottom the worst, and the taller you are, the better, so it seems.
顶部总是最好的，底部总是最差的，所以看起来就好像，你盖的越高看起来就越好。
And we wanted to ask ourselves, could a building be about a completely different quality?
我们想问问自己，我们的建筑物可不可以有一个完全不同的概念？
Could it undo this hierarchy, and could it be about a system that is more about collaboration, rather than isolation?
它可不可以摆脱层次结构体系，它可不可以是一种合作而不是隔离的系统？
So we took this needle and bent it back into itself, into a loop of interconnected activities.
所以我们把这个针朝着自身的方向打了个弯，形成一个首尾相连的环状物。
Our idea was to bring all aspects of television-making into one single structure:
我们的想法是，把电视制作的所有概念融合到单一结构里面：
news, program production, broadcasting, research and training, administration
新闻、节目制作、广播、研究、培训、管理--
all into a circuit of interconnected activities where people would meet in a process of exchange and collaboration.
全部融合到可互相联系的这个环形里面，一个人们在这里见面互相交流合作的地方。
I still very much like this image. It reminds one of biology classes,
我仍然很喜欢这幅图，如果你还记得人体构造的话，
if you remember the human body with all its organs and circulatory systems, like at school.
有自己的器官及循环系统，它像是一堂学校的生物课。
And suddenly you think of architecture no longer as built substance, but as an organism, as a life form.
突然间，你会觉得建筑物不再只是搭建出的实体，而更像是一种有机体、生命体。
And as you start to dissect this organism, you can identify a series of primary technical clusters -- program production, broadcasting center and news.
而当你开始剖析这个有机体，你会辨识出一系列的主要技术部门--节目制作、广播中心和新闻中心。
Those are tightly intertwined with social clusters: meeting rooms, canteens, chat areas -- informal spaces for people to meet and exchange.
它们与一些社交场所紧密交织在一起：会议室，餐厅，交谈区--等等这些人们碰面交流的非正式场合。
So the organizational structure of this building was a hybrid between the technical and the social, the human and the performative.
所以，这个建筑的组织结构是一种混合体，集技术和社交，人员和表演于一身。
And of course, we used the loop of the building as a circulatory system,
当然，我们是使用类似循环系统的环形建筑来串联每样东西，
to thread everything together and to allow both visitors and staff to experience all these different functions in a great unity.
使访客与员工都能在这个伟大的联合体里面，体验所有这些不同的功能。
With 473,000 square meters, it is one of the largest buildings ever built in the world.
473000平方米的建筑面积，使它成为全世界最大的建筑物之一，
It has a population of over 10,000 people, and of course,
里面容纳了1万人，当然，
this is a scale that exceeds the comprehension of many things and the scale of typical architecture.
这样的规模超出了我们对传统建筑物的理解范围。
So we stopped work for a while and sat down and cut 10,000 little sticks and glued them onto a model,
所以，我们停工了一阵子，然后坐下来，剪出1万张小贴纸，把它们粘在一个模型上，
just simply to confront ourselves with what that quantity actually meant.
只是单纯地想挑战我们自己对庞大数字的本身的理解。
But of course, it's not a number, it is the people, it is a community that inhabits the building,
当然，这并不仅仅是数字，而是人，生活在这一栋大楼里面的人，
and in order to both comprehend this, but also script this architecture, we identified five characters, hypothetical characters,
为了同时理解并为这个建筑物写剧本，我们创造出五种假想的角色，
and we followed them throughout their day in a life in this building, thought of where they would meet, what they would experience.
然后追踪他们在这栋大楼一整天的生活动态，他们会在哪碰面、他们会遇到哪些事情等。
So it was a way to script and design the building, but of course, also to communicate its experiences.
所以，这是一种描绘与设计建筑物的方法，但当然，也是一种体会它的方式。
This was part of an exhibition with the Museum of Modern Art in both New York and Beijing.
这是纽约和北京现代美术馆的部分展示品。
This is the main broadcast control room, a technical installation so large, it can broadcast over 200 channels simultaneously.
这是广播主控室，技术性安装工作的面积相当大，它可同时播放200个频道的节目，
And this is how the building stands in Beijing today.
这是它当今矗立在北京的样子。
Its first broadcast live was the London Olympics 2012, after it had been completed from the outside for the Beijing Olympics.
它的第一次现场直播是2012年的伦敦奥运会，而在北京奥运会之前，它的外部装修已经全部完成。
And you can see at the very tip of this 75-meter cantilever, those three little circles.
你可以在最顶端的75米悬臂处看风景，这三个小圆圈，
And they're indeed part of a public loop that goes through the building.
就是贯穿整栋大楼开放回廊的一部分。
They're a piece of glass that you can stand on and watch the city pass by below you in slow motion.
你可以站在玻璃上面俯瞰你脚下整个城市在缓缓流动。
The building has become part of everyday life in Beijing. It is there.
这栋建筑物已经是北京人生活的一部分，它就在那儿。
It has also become a very popular backdrop for wedding photography.
它也变成了北京一个相当受欢迎的婚纱摄影背景。
But its most important moment is maybe sill this one.
但最重要的时刻也许是这个，
"That's Beijing" is similar to "Time Out," a magazine that broadcasts what is happening in town during the week,
这本《城市漫步》周刊很像伦敦的《Time Out》周刊，这本杂志描述了当周该城市发生了哪些事情，
and suddenly you see the building portrayed no longer as physical matter, but actually as an urban actor,
突然间你会发现，这栋大楼不再仅是一栋大楼而已，它同时扮演了城市一员的角色，
as part of a series of personas that define the life of the city.
像是在北京生活的群体中的一员。
So architecture suddenly assumes the quality of a player, of something that writes stories and performs stories.
所以，建筑设计突然间好像呈现了一位参与者的内涵品质，它像是在写故事、呈现故事。
And I think that could be one of its primary meanings that we believe in.
而我认为这可以成为我们所相信的重要意义之一。
But of course, there's another story to this building. It is the story of the people that made it
当然，这栋大楼还有另外一个故事，就是建造它的人们的故事--
400 engineers and architects that I was guiding over almost a decade of collaborative work that we spent together in scripting this building,
400个我所带领的工程人员与建筑师，合作了差不多10年，我们花时间一起设计这栋大楼，
in imagining its reality and ultimately getting it built in China.
从想像它建成后的样子，到最终，在中国把它建造完成。
This is a residential development in Singapore, large scale.
这是一个在新加坡的大型住宅项目。

If we look at Singapore like most of Asia and more and more of the world,
如果我们看一下新加坡，亚洲和全世界的其他国家，
of course, it is dominated by the tower, a typology that indeed creates more isolation than connectedness, and I wanted to ask,
当然，这些城市都是以高楼大厦为主，这种类型的大楼确实制造了更多的疏离感而非亲近感，而我想问，
how could we think about living, not only in terms of the privacy and individuality of ourselves and our apartment, but in an idea of a collective?
我们看待居所的时候，要如何做到不是只考虑私密性、我们自己和公寓的独立性，而是能产生集体的共同意识呢？
How could we think about creating a communal environment in which sharing things was as great as having your own?
我们要如何想到要去创造一个交流的环境，让分享与独自拥有，同样使人舒心呢？
The typical answer to the question -- we had to design 1,040 apartments -- would have looked like this:
典型的答案是--我们必须设计1040间公寓--外型会像这样子：
24-story height limit given by the planning authorities, 12 towers with nothing but residual in between -- a very tight system that,
根据政府法规，会有24层的楼高限制，12栋大楼，剩下一点点开放空间，其它什么都没有--相当拥挤严密的系统，
although the tower isolates you, it doesn't even give you privacy,
虽然大楼可以将你与其他人分隔开，但这根本不能给你隐私，
because you're so close to the next one, that it is very questionable what the qualities of this would be.
因为你离隔壁邻居相当近，所以盖好之后的公寓群质量堪忧。
So I proposed to topple the towers, throw the vertical into the horizontal and stack them up, and what looks a bit random from the side,
所以，我提议推掉高塔，把垂直设计改成水平设计，并把它们堆叠起来，从侧面看，它是不规则的排列，
if you look from the viewpoint of the helicopter, you can see its organizational structure is actually a hexagonal grid,
如果从直升机上往下看，可以看到，它的组织架构实际上是个水平建筑物堆叠起来的网状六边形，
in which these horizontal building blocks are stacked up to create huge outdoor courtyards
这是为了创造出几个大型户外庭院--
central spaces for the community, programmed with a variety of amenities and functions.
这些中央空间为社区规划了多种设施与功能。
And you see that these courtyards are not hermetically sealed spaces. They're open, permeable; they're interconnected.
可以看到这些庭院空间并非是封闭不透气的空间。它们是开放的、通透的、互相连接起来的。
We called the project "The Interlace," thinking that we interlace and interconnect the human beings and the spaces alike.
我们称呼这个项目是"交错"，想象我们把人类与空间彼此交错连接起来。
And the detailed quality of everything we designed was about animating the space and giving the space to the inhabitants.
我们设计的每样细节，都与“把空间赋予生命并还给社区居民”有关。
And, in fact, it was a system where we would layer primarily communal spaces, stacked to more and more individual and private spaces.
事实上，这个系统可以在我们布局主要的公共空间时，让它层层堆叠出越来越多的个人与私密空间。
So we would open up a spectrum between the collective and the individual.
于是我们就能够展开一种介于集体与个人之间的设计概念。
A little piece of math: if we count all the green that we left on the ground, minus the footprint of the buildings,
来做个简单的数学计算:如果我们把所有地面上的绿色植物面积，扣除掉建筑物的投影面积，
and we would add back the green of all the terraces, we have 112 percent green space, so more nature than not having built a building.
然后加上所有有绿色植物的阳台面积，我们会得出一个112%的植被覆盖率，比不盖大楼还要有更多的自然空间。
And of course this little piece of math shows you that we are multiplying the space available to those who live there.
当然，这个简单的计算结果说明了我们增加了居民可利用的空间。
This is, in fact, the 13th floor of one of these terraces. So you see new datum planes, new grounds planes for social activity.
事实上，这是13楼的其中一个阳台。你会看到提供给社交活动的新基准面、新地平面。
We paid a lot of attention to sustainability.
我们在“可持续发展”上花费了很多心思。
In the tropics, the sun is the most important thing to pay attention to, and, in fact, it is seeking protection from the sun.
在热带地区，阳光是最需要注意的因素，事实上，我们说的是寻找遮蔽处。
We first proved that all apartments would have sufficient daylight through the year.
我们首先确认所有的公寓大楼整年都会有足够的日照时间。
We then went on to optimize the glazing of the facades to minimize the energy consumption of the building.
然后我们进行外墙玻璃优化，来减少建筑物的能量消耗。
But most importantly, we could prove that through the geometry of the building design,
但最重要的是，我们能够证明通过地形设计，
the building itself would provide sufficient shading to the courtyards so that those would be usable throughout the entire year.
建筑物本身就为中庭花园提供了足够的遮蔽，所以花园一整年都适宜人们活动和纳凉。
We further placed water bodies along the prevailing wind corridors,
我们更进一步地沿着主风廊，设置了水池景观，
so that evaporative cooling would create microclimates that, again, would enhance the quality of those spaces available for the inhabitants.
在蒸发冷却的过程中形成一个微型气候，进而有效地改善居民居住的空间品质。
And it was the idea of creating this variety of choices, of freedom to think where you would want to be,
这个想法创造了多样性的选择、一种你想去哪儿就去哪儿、
where you would want to escape, maybe, within the own complexity of the complex in which you live.
想躲哪儿就躲哪儿的自由，在一个多样性的居住环境中产生个人生活的多样性。
But coming from Asia to Europe: a building for a German media company based in Berlin,
从亚洲来到欧洲：一栋座落在德国柏林的媒体公司，
transitioning from the traditional print media to the digital media.
正从传统印刷媒体转型到数字媒体。
And its CEO asked a few very pertinent questions: Why would anyone today still want to go to the office, because you can actually work anywhere?
公司的CEO问了一些很中肯的问题:为什么现今每个人仍希望到办公室上班，即使他们可以在任何地方办公？
And how could a digital identity of a company be embodied in a building?
一个公司的数字形象定位要如何在建筑物上体现出来？
We created not only an object, but at the center of this object we created a giant space,
我们创作的不只是一个物体，我们还在物体的中心创造了一个大空间，
and this space was about the experience of a collective, the experience of collaboration and of togetherness.
一个有关于集体的、共同合作，和谐共处的空间体验。
Communication, interaction as the center of a space that in itself would float,
沟通、互动是空间的核心思想，会在空间内部自然地浮现出来，
like what we call the collaborative cloud, in the middle of the building, surrounded by an envelope of standard modular offices.
就像我们所说的"合作云"，它就在建筑物中间，被一个标准模块化的办公区域所围绕。
So with only a few steps from your quiet work desk, you could participate in the giant collective experience of the central space.
从你的办公桌只要走几步，你就可以开始核心区域中广阔空间内的共同体验。
Finally, we come to London, a project commissioned by the London Legacy Development Corporation of the Mayor of London.
最后，我们来到伦敦，参与了伦敦市长的传承开发公司的一个项目任务。
We were asked to undertake a study and investigate the potential of a site out in Stratford in the Olympic Park.
我们被要求负责研究、调查Stratford奥林匹克公园基地的开发潜力。
In the 19th century, Prince Albert had created Albertopolis. And Boris Johnson thought of creating Olympicopolis.
在19世纪，Albert王子建立了Albertopolis城。Boris Johnson想建立奥林匹克城。
The idea was to bring together some of Britain's greatest institutions, some international ones, and to create a new system of synergies.
想法是把一些英国最伟大的机构、一些国际机构衔接在一起，创造出一个新的协同效益系统。
Prince Albert, as yet, created Albertopolis in the 19th century,
当时Albert王子在19世纪建立的Albertopolis城，
thought of showcasing all achievements of mankind, bringing arts and science closer together.
是想用来展示人类的所有成就，让艺术和科学更紧密地结合在一起。
And he built Exhibition Road, a linear sequence of those institutions.
而且他还打造了会展路，把一系列这样的机构沿路串联在一起。
But of course, today's society has moved on from there.
当然，现今社会已经比当时进步许多。
We no longer live in a world in which everything is as clearly delineated or separated from each other.
我们不再是活在一个每样东西都被界定或者分离得很清楚的世界。
We live in a world in which boundaries start to blur between the different domains,
我们活在一个不同领域的界限开始模糊的世界，
and in which collaboration and interaction becomes far more important than keeping separations.
一个彼此合作互动远比保持疏离还要重要的世界。
So we wanted to think of a giant culture machine, a building that would orchestrate and animate the various domains,
所以我们想建立一个大型的文化机器，一个会协调并赋予不同领域生命的建筑物，
but allow them to interact and collaborate. At the base of it is a very simple module, a ring module.
但同时也可以让它们彼此互动与合作。它的基座是个非常简单的模块，一个环形模块。
It can function as a double-loaded corridor, has daylight, has ventilation.
它有双走廊、有日照、通风很好。
It can be glazed over and turned into a giant exhibitional performance space.
它的结构十分通透，可以变成一个大型展览表演空间。
These modules were stacked together with the idea that almost any function could, over time, occupy any of these modules.
这些模组被堆叠起来，随着时间流逝，任何功能彼此都可能会占据其他功能。
So institutions could shrink or contract, as, of course, the future of culture is, in a way, the most uncertain of all.
所以机构可能缩小或浓缩，因为，文化的未来，在某种程度上，是最无法预测的。
This is how the building sits, adjacent to the Aquatics Centre, opposite the Olympic Stadium.
这栋建筑将坐落在邻近的水上运动中心旁边，正对奥林匹克运动场，
And you can see how its cantilevering volumes project out and engage the public space and how its courtyards animate the public inside.
你可以看到它的悬臂式空间如何伸出并融入开放空间，和它的中庭如何在公共空间里赋予生命。
The idea was to create a complex system in which institutional entities could maintain their own identity,
当时的想法是创造一个复杂的系统，让里面的机构实体可以维持它们本身的辨识性，
in which they would not be subsumed in a singular volume. Here's a scale comparison to the Centre Pompidou in Paris.
使它们不会被归类为单一的个体空间。这个是它与法国巴黎蓬皮杜艺术中心的比例对照图。
It both shows the enormous scale and potential of the project, but also the difference:
两者都显示出其项目的庞大规模与潜力，但也有不一样的地方：
here, it is a multiplicity of a heterogeneous structure, in which different entities can interact without losing their own identity.
这里，它是一个多样型的结构的复合体，里面不同的机构彼此间可以互动，而不失去它们自身的辨识度。
And it was this thought: to create an organizational structure that would allow for multiple narratives to be scripted
想法是这样的：要创造一个组织结构可以让不同的故事被描述出来--
for those in the educational parts that create and think culture; for those that present the visual arts, the dance;
包含创造和思考文化的教育部分；包含视觉艺术、舞蹈；
and for the public to be admitted into all of this with a series of possible trajectories,
以及让大众可以获准进入这一系列可能的轨迹动向，
to script their own reading of these narratives and their own experience.
来阐述他们个人对这些故事叙述的理解与体验。
And I want to end on a project that is very small, in a way, very different: a floating cinema in the ocean of Thailand.
我想用一个很小的项目来结束演讲，在某种程度上，相当不同：一个在泰国的水上漂浮电影院。
Friends of mine had founded a film festival, and I thought, if we think of the stories and narratives of movies,
我的朋友创立了一个电影节，而我当时在想，如果，我们来思考电影的故事及剧本，
we should also think of the narratives of the people that watch them.
我们也需要思考观看这部电影的观众的剧本。
So I designed a small modular floating platform, based on the techniques of local fishermen, how they built their lobster and fish farms.
所以，我设计了一个小型模块式水上平台，主要技术来自当地渔民的龙虾田及鱼田建造技术，
We collaborated with the local community and built, out of recycled materials of their own,
我们与当地社团合作建造，用的全部是他们的回收材料，
this fantastical floating platform that gently moved in the ocean as we watched films from the British film archive, "Alice in Wonderland," for example.
这个令人惊艳的漂浮平台，慢慢地移向海里，比如这是大家在观看来自英国电影资料馆，1904年的“爱丽丝梦游仙境”。
The most primordial experiences of the audience merged with the stories of the movies.
观众最原始的经历会与电影的故事情节相结合。
So I believe that architecture exceeds the domain of physical matter, of the built environment,
所以我相信，建筑设计不仅超越了实体物质、建筑环境的范畴，
but is really about how we want to live our lives, how we script our own stories and those of others. Thank you.
而且真切地与我们想如何生活、如何阐述我们的故事及其他人的故事息息相关。谢谢各位。