Architecture is a Language: Daniel Libeskind at TEDxDUBLIN

00:18:29
https://www.youtube.com/watch?v=yEkDosanxGk

摘要

TLDRIn una lezione intrisa di passione e complessità, l'oratore condivide la sua visione sull'architettura, profondamente influenzata dalla letteratura, dalla musica e dalla memoria storica. Sottolinea l'importanza di James Joyce nel modellare la sua concezione del linguaggio architettonico, evidenziando come le parole e le metafore di Joyce ispirino la creazione di spazi urbani e culturali nuovi. Inoltre, sottolinea la relazione tra architettura e musica, entrambe in grado di toccare l'anima umana in modi complessi e astratti. Attraverso esempi di progetti come una casa in acciaio inossidabile in Connecticut, un museo militare a Dresda e grandi sviluppi urbani in Asia, evidenzia la fusione di memorie storiche con innovazioni moderne. Conclude con un richiamo alla complessità storica espressa nel progetto del memoriale di ground zero, simbolo di resilienza e libertà.

心得

  • 🎨 L'architettura è ispirata dalla complessità e ambiguità del linguaggio di James Joyce.
  • 🎵 Architettura e musica comunicano emozioni profonde e astratte all'anima.
  • 🖌️ Il disegno è il cuore dell'architettura, unendo mente, occhio e mano.
  • 🏛️ Ogni sito architettonico contiene una storia nascosta da rivelare.
  • 🏰 Il museo militare di Dresda illustra la complessità storica anziché glorificare la guerra.
  • 🏙️ Progetti urbani ad alta densità cercano di preservare l'individualità e la memoria.
  • 🌿 Progetti come quello di Yongsan integrano natura e urbanizzazione densa.
  • 🌍 I grattacieli devono riflettere più di semplici ampliamenti verticali.
  • 🗺️ La memoria storica è essenziale nel design urbano e architettonico.
  • 🕊️ Ground zero simboleggia libertà, resilienza e la costruzione di una città per tutti.

时间轴

  • 00:00:00 - 00:05:00

    L'architetto condivide ciò che ispira il suo lavoro, tra cui l'influenza della lingua complessa di James Joyce e la sua esperienza come musicista. Descrive la sua creazione di un omaggio a Joyce attraverso un'installazione architettonica e riflette su come l'architettura e la musica siano collegate emotivamente e spiritualmente, rappresentando una comunicazione con l'anima e basate sull'equilibrio che si percepisce più con l'orecchio interno che con l'occhio.

  • 00:05:00 - 00:10:00

    Discute il concetto che gli edifici non devono necessariamente seguire formule tradizionali, usando come esempio la progettazione di una casa che è essa stessa un'opera d'arte per una coppia di amanti dell'arte. Sottolinea che la storia è presente e urgenza ovunque e racconta come ha affrontato il design di un museo di storia militare a Dresda, un'area con una complessa storia di guerra, creando un edificio che interrompe la cronologia storica e invita a riflettere sulle motivazioni dietro la partecipazione alla guerra.

  • 00:10:00 - 00:18:29

    L'architetto esplora l'importanza della memoria nel design urbano, come dimostra il suo progetto a Singapore e una grande pianificazione a Yongsan, Corea. Sottolinea la necessità di progettare spazi abitativi ad alta densità che rispettino l'individualità e il ricordo, integrando natura e spazi pubblici, e discute l'importanza di considerare la storia e la tradizione nei progetti urbani, collegando vari livelli di design—dalla casa alla città—in una visione unitaria e interconnessa.

思维导图

视频问答

  • Di cosa parla principalmente il discorso?

    Il discorso tratta delle ispirazioni e filosofie che informano il lavoro di un architetto, come la letteratura e la musica.

  • Qual è il legame tra architettura e musica secondo il relatore?

    Il relatore crede che l'architettura e la musica siano entrambe espressioni complesse che comunicano al cuore, non solo alla mente.

  • Come l'uso della lingua di James Joyce ispira l'architetto?

    Joyce ispira l'architetto attraverso l'uso complesso e ambiguo della lingua, che arricchisce e modernizza.

  • Come il relatore vede la relazione tra disegno e architettura?

    Il disegno è considerato la fonte dell'architettura, un processo spirituale che coinvolge la mano, l'occhio e la mente.

  • Qual è l'approccio dell'architetto verso la storia negli edifici?

    L'architetto crede che la storia non sia qualcosa di concluso, ma che ogni luogo abbia una storia urgente che deve essere affrontata.

  • Come l'architetto ha progettato un museo della storia militare a Dresda?

    Ha creato un edificio che interrompe e ri-orienta la cronologia militare tradizionale per riflettere la complessità storica.

  • Che tipo di progetti urbanistici viene discusso?

    Vengono discussi progetti di grandi quartieri ad alta densità abitativa, come a Singapore e Yongsan, Corea.

  • Qual è l'obiettivo del progetto a Yongsan, Corea?

    Creare uno spazio urbano che integri natura e libertà con alto densità di edificazioni.

  • Quali sono i pensieri finali dell'oratore sulla costruzione della città?

    Costruire città è un processo che richiede libertà e apertura, essendo un riflesso della società libera.

  • Qual è stata l'esperienza del relatore con il progetto di ground zero a New York?

    Nonostante le controversie, il progetto è in costruzione ed è già diventato un luogo molto visitato, simboleggiando la libertà e la costruzione di una città per tutti.

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  • 00:00:06
    thank you
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    i'm so happy to be here with so many
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    distinguished colleagues so many
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    distinguished lecturers and i love
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    dublin i'd like to share with you
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    what informs
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    my work
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    what what inspires me
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    certainly
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    james joyce's use of language
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    the complexity the ambiguity the
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    meanings
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    that
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    model and modernize language are part of
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    what i like to think about when i create
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    plans cities
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    buildings and of course
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    this building
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    is part of of generating new energy for
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    a social cultural space in this
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    fantastic city but just on the other
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    side of this space in the atrium of the
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    office buildings i think i built my
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    second largest
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    really homage to james joyce it's a
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    thousand and one inverted letters
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    that are based on his thunder words you
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    know the 100 the words of god
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    and i have to say i built this without
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    a commission for this this is just part
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    of the second memorial to james joyce i
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    built in japan obviously on the sea of
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    japan but i think
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    joyce's
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    use of language his his unfathomable
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    aspiration to speak all languages to all
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    people is something that certainly
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    inspires me in doing architecture and
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    in creating cities
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    now i'd like to share with you thoughts
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    uh
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    that that that are part of what i do
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    and certainly because in my former life
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    i was a musician professional musician
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    i've always thought that architecture
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    and music are closely related first of
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    all emotionally architecture is as
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    complex and as abstract as music but it
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    communicates to the soul doesn't just
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    communicate to the mind
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    when you listen to a bach
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    or artorio it's it's about the soul and
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    so it is an architecture architecture is
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    based on balance and that balance is
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    actually in the inner ear it's not in
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    the eye
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    and so when i do drawings these are
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    abstract drawings which i did
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    before i had any commissions because i'm
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    a late bloomer i think for half of my
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    life i didn't build a single building
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    uh i thought about the fact that
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    a drawing is really a score
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    it's just like a piece of music it has
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    to be interpreted
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    by a community
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    and of course proportions light
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    materiality are all implicated in the
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    drawing which when it comes to a
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    building of course has to also present
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    the space present the atmosphere of a
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    building a drawing has to illuminate the
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    practice and of course in our work we
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    have many computers and of course you
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    couldn't do anything without a computer
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    to be efficient on time rational and so
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    on but still i truly believe that
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    drawing is the source of architecture it
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    is really the source because it's the
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    hand itself it's the eye it's the mind
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    interconnected and really sharing in
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    that
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    process which is not purely intellectual
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    but it's really spiritual of kind of
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    desire a faith in something you cannot
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    see and it's a proof of something that
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    is really there but not purely visible
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    now
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    one of the thoughts of my favorite uh
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    poetess
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    is the fact that
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    a building is not a repetition of
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    another building a building does not
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    need to necessarily have the same
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    uh formula a building is not really
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    built out of the same aspects that of
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    buildings that we have seen before so
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    the notion of what is the tradition in
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    architecture is something that has
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    always interested me and when i had a
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    chance to design a small house for two
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    art lovers in connecticut i thought how
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    can a house really in our time really be
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    a house of our time and in that sense uh
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    my clients who are very special they're
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    they're a couple who own works of art
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    they deal
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    with works of art and they ask me to
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    design a house which would itself be a
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    work of art which would not have any
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    sculptures paintings or anything the
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    house itself and its space should be the
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    inspiring aspect i thought that was
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    really an amazing assignment and of
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    course how do you do that well first of
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    all one has to rethink you know are
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    there rafters in the house
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    what does the house need does it have
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    walls does it have windows does it need
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    windows but of course it has to be
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    something really fantastic to live with
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    and something that really
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    works for my clients needs which has to
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    do with a bedroom a kitchen they love to
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    cook they love to
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    have parties invite guests and so on so
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    really the house is really kind of a
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    stainless steel
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    uh folded space it's a complex place to
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    describe in a plan which i showed before
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    but it's a house that really
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    it moves uh your vision through the
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    interior and to the exterior in very
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    very specific ways the interiors
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    completely in in real wood it's not it's
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    not cladding it's it's solid wood it's
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    like kind of like a cave of wood
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    exterior stainless steel which of course
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    always mirrors the colors of the sky and
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    the landscape and of course
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    it's a house that doesn't have the
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    topography of
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    of a traditional house it's not a box
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    it's not organized the way a house is
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    normally organized in terms of where the
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    kitchen is how where you eat where do
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    you watch television what you do and it
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    has a very very specific
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    and i think unusual relationship to the
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    landscape which is located which is a
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    fantastic landscape which which is full
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    of light full of liveliness and
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    again just as that thought of emily
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    dickinson
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    what makes what gives a hope
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    in life it's not really necessarily the
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    things we think are necessary to bring
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    that reality onto
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    the place
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    now
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    certainly
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    i shared a thought
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    that history is not something which is
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    over it's not just something that exists
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    in the past it's something urgent and
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    it's something which is often hidden by
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    traditions
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    so my interest in history has always
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    been
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    to address history and every site and
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    every place has a history sometimes you
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    cannot see it sometimes the voices
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    are almost inaudible
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    sometimes the actions are invisible and
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    yet the history continues to
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    to cry out for justice
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    and when i was designing when i won the
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    competition to design
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    a
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    military history museum which is
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    actually the largest museum in germany
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    in dresden a city that was devastated by
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    the allied bombings i thought a lot
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    about
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    history the past the future how do you
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    take
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    that history and create something that
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    that has a meaning
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    and uh you can see in the sketch the
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    building is this wedge-like uh
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    volume that that dramatically interferes
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    with the old arsenal by the way this old
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    arsenal built at the end of 19th century
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    was always the military museum the
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    saxony military museum the the german
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    military museum the nazi military museum
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    the russian military museum the east
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    german military museum what are you
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    doing today well i created this movement
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    towards the city
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    to show the newly rebuilt city but at
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    the thing that to point to the
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    self-similar triangulation in the
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    bombing of dresden within these three
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    points
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    and of course
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    a building
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    interrupts
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    uh i also restored the arsenal of course
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    but it interrupts and it gives a
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    specific direction
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    to see the panorama of the city which is
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    of course now being rebuilt and at the
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    same time to present that history not as
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    one more militaristic uh glorification
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    of what the military is but why do
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    people participate in such histories why
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    do they follow totalitarian leaders and
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    what is a military museum in germany to
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    say in the democratic society there's
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    the plan you can see the u-shape of the
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    of the old armory restructured and it's
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    chronological it's horizontal chronology
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    of of from the 13th century german
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    military history and then you have this
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    vector moving through the opacity and
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    penetrating and going outside and it
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    disrupts the chronology exactly between
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    1914 and 1933 and there it is a
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    completely different space with oblique
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    vertical latrines a totally different
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    reorientation and of course the armory
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    in itself is a very interesting building
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    was really kind of almost vandalized by
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    the east german government i brought it
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    back to its life and presented a
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    building that
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    isn't just one more military museum
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    which shows hardware but
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    presents that point
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    towards the city from which you can
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    understand and towards which you can
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    apply the fact that history has been
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    disrupted history is not just a story
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    that has a good or bad ending it depends
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    on on where we are what we do what we
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    decide and of course it's a very raw
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    building
  • 00:09:06
    you can see this incorporates this is
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    the the other side of the building it
  • 00:09:10
    incorporates the old neoclassic stairs
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    so it preserves actually the entire
  • 00:09:15
    building is preserved it's only cut in
  • 00:09:16
    two lines from which the wedge uh
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    appears and of course
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    i worked very closely with
  • 00:09:22
    the exhibition designer hakim mertz and
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    barbara holzer to create a museum which
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    distances which redefines the relation
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    between equipment because this equipment
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    is not to be seen as military grant how
  • 00:09:33
    did people invent it what did they want
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    to do with these helicopters that kill
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    and how to display them and it's i think
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    an interesting
  • 00:09:40
    lesson in how to
  • 00:09:43
    how wars how violence
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    is actually perceived by those who
  • 00:09:48
    perpetrate it and by those who
  • 00:09:49
    experience it
  • 00:09:50
    uh of course at the end of this journey
  • 00:09:53
    you you you jut out
  • 00:09:55
    to a dramatic uh upward moving
  • 00:09:58
    wedge and you see the rebuilt panorama
  • 00:10:01
    of of dresden you see you see the
  • 00:10:03
    fragment you see the glorious one around
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    but just to your side the wedge moves
  • 00:10:08
    towards the point from which dresden was
  • 00:10:10
    bombed and i wanted people to have the
  • 00:10:11
    double that complexity that history has
  • 00:10:14
    that past in a true way pointing to the
  • 00:10:17
    devastation to the crimes of history
  • 00:10:20
    which can never be
  • 00:10:22
    re-thought which cannot never be
  • 00:10:24
    reversed but at the same time that
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    there's a hope that the city has a new
  • 00:10:28
    light
  • 00:10:29
    and
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    here
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    uh one of my favorite poets german
  • 00:10:33
    i i thought it was so interesting
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    because the thought here is what do we
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    remember in our lives
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    what what do we remember complex ideas
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    what do you we just remember something
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    very very real like a brook or a window
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    or a tree or a tower
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    so
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    when i'm designing something i think
  • 00:10:52
    about it not just as an object a
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    functional a presentation a a
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    technological
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    even a culture invention but something
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    that has to do with memory because
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    that's what we are we are oriented
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    because we can remember and so when i
  • 00:11:07
    was designing a large-scale neighborhood
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    in singapore
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    i thought how do you design such a high
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    density neighborhood
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    uh
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    that has an individuality because we are
  • 00:11:19
    used to the fact that a house can have
  • 00:11:20
    in the individuality and architect but
  • 00:11:22
    when it comes to high density
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    developments this is one of the highest
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    density developments in the world how do
  • 00:11:27
    you give each occupant
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    a
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    sense
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    of being a sense of specialness and in
  • 00:11:33
    these towers which are doubly curved you
  • 00:11:35
    can see that each of the apartments is
  • 00:11:37
    just slightly
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    off
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    the apartment above and below you kind
  • 00:11:41
    of float in a space and even the lower
  • 00:11:43
    villas are related to nature in a very
  • 00:11:46
    specific way in their complex geometries
  • 00:11:48
    and really that is really that brook
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    that that piece of
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    that wall that door that image
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    that i think is so important in high
  • 00:11:58
    density and of course high density is
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    sustainability we can't afford just to
  • 00:12:02
    build private residences we can't afford
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    just to build low density places so how
  • 00:12:07
    does one activate that thought that
  • 00:12:10
    memory and each individual should be
  • 00:12:13
    given the opportunity of being free of
  • 00:12:16
    having a space of having something that
  • 00:12:19
    at the end of the day
  • 00:12:20
    is something inspiring and something
  • 00:12:23
    so of course the high level bridges with
  • 00:12:25
    their greener which connect these
  • 00:12:26
    high-density spaces the entire
  • 00:12:29
    topography of the place the fact that it
  • 00:12:32
    is really really much higher than most
  • 00:12:34
    of the buildings in in the place is part
  • 00:12:36
    of it
  • 00:12:37
    well i come to really because it's it's
  • 00:12:39
    at the end of your day uh christopher
  • 00:12:41
    logue you know in his brilliant
  • 00:12:44
    translation of the iliad
  • 00:12:46
    i thought really his references also to
  • 00:12:49
    the city itself because the conflicts
  • 00:12:53
    the tensions in a city the search for
  • 00:12:56
    social justice for opportunity for
  • 00:12:58
    diversity
  • 00:13:00
    that kind of vibrancy of what a city
  • 00:13:02
    really represents as a creative entity
  • 00:13:04
    is there in the greek notion of the
  • 00:13:07
    archipelago and of course the greeks
  • 00:13:08
    lived in the archipelagos those little
  • 00:13:10
    islands that were connected in mainland
  • 00:13:12
    with with the boats and i thought when i
  • 00:13:14
    was designing probably one of the
  • 00:13:15
    largest projects in the world in yongsan
  • 00:13:17
    and korea how do you bring that nature
  • 00:13:21
    of of freedom
  • 00:13:22
    and social space to heightened city city
  • 00:13:25
    we have you know millions of people will
  • 00:13:27
    be here uh this is the formal railway
  • 00:13:30
    uh
  • 00:13:31
    lands that that were occupied by old
  • 00:13:34
    infrastructure you know closing the
  • 00:13:36
    waterfront how do you bring the
  • 00:13:37
    mountains to the waterfront how do you
  • 00:13:39
    recreate civic civic space with what 30
  • 00:13:43
    skyscrapers
  • 00:13:45
    and what
  • 00:13:46
    half a million square feet of retail and
  • 00:13:49
    museums cultural activities
  • 00:13:51
    transportation how do you really create
  • 00:13:53
    it without just imposing on it some sort
  • 00:13:55
    of artificial grid so i took that grid
  • 00:13:59
    that implied grid
  • 00:14:01
    which really doesn't exist in historical
  • 00:14:03
    cities in the same way and adapted it to
  • 00:14:06
    sort of neighborhoods which are
  • 00:14:07
    connected by by the green and you can
  • 00:14:09
    see kind of a sequence of images here
  • 00:14:12
    that break up that homogeneous notion of
  • 00:14:15
    the city into a city that has true
  • 00:14:17
    diversity even though of course it has
  • 00:14:19
    so many high places and to organize that
  • 00:14:21
    city around
  • 00:14:23
    nature around public spaces around where
  • 00:14:26
    people are where people shop where
  • 00:14:27
    people walk where people go to to movies
  • 00:14:29
    to to to concerts to to to museums
  • 00:14:33
    and there it is now
  • 00:14:34
    it's something very new because usually
  • 00:14:37
    skyscrapers have been designed simply on
  • 00:14:39
    the same streets that lower buildings
  • 00:14:41
    were designed they were just taller
  • 00:14:42
    buildings just got a total and tall
  • 00:14:43
    taller so my notion here was how do you
  • 00:14:46
    design a city where the buildings are no
  • 00:14:48
    longer just imitations of lower
  • 00:14:50
    buildings but have a speciality and of
  • 00:14:53
    course there are at least i don't know
  • 00:14:54
    20 30 architects from around the world
  • 00:14:57
    which are part of the scheme to design
  • 00:14:58
    each building really is a kind of an
  • 00:15:01
    unique work of art not connected to the
  • 00:15:03
    street in the same way as we have known
  • 00:15:04
    it before of course
  • 00:15:06
    as an architect you have to do it with
  • 00:15:08
    very often very physical means paper
  • 00:15:11
    models it's not just all computerized
  • 00:15:14
    it's not just uh statistical it's not
  • 00:15:16
    mathematics although a lot of it is it's
  • 00:15:18
    really how do you create that that sense
  • 00:15:21
    of
  • 00:15:22
    of space for each of these objects which
  • 00:15:25
    are so large i mean one of the tallest
  • 00:15:27
    maybe the tallest tower in the world uh
  • 00:15:29
    is going to be there but many many other
  • 00:15:32
    very very high tall buildings and at the
  • 00:15:33
    same time the sense of what is tradition
  • 00:15:36
    what is history what is the the the
  • 00:15:39
    memory of a city as rich as uh seoul
  • 00:15:44
    center of korea is so there it is on the
  • 00:15:46
    river a kind of
  • 00:15:48
    crown of possibilities that refers to
  • 00:15:51
    its history now of course you can see
  • 00:15:53
    here that the spaces are vast that they
  • 00:15:55
    are designed to give a new sense of
  • 00:15:59
    feeling new sense of activity and you
  • 00:16:01
    can see that this is really for millions
  • 00:16:03
    of people again designed as a
  • 00:16:05
    intersubjective work with many many
  • 00:16:07
    different architects but as a master
  • 00:16:08
    planner of course my responsibility is
  • 00:16:11
    to create the idea of how nature and
  • 00:16:14
    that space can be brought together and
  • 00:16:16
    here is one of my own
  • 00:16:18
    skyscraper office buildings there and
  • 00:16:20
    here is social housing on the waterfront
  • 00:16:23
    which is again low cost housing because
  • 00:16:25
    it's not only for the rich it's not only
  • 00:16:27
    for business it's for all people that
  • 00:16:29
    should share in this part of the center
  • 00:16:32
    of the city
  • 00:16:33
    and there it is
  • 00:16:35
    it's of course just begun the master
  • 00:16:37
    plan has taken a few years the
  • 00:16:39
    architects have done their designs the
  • 00:16:41
    construction is beginning it will take
  • 00:16:43
    some time even in in asia to to create a
  • 00:16:46
    city but
  • 00:16:48
    that's really what it is and
  • 00:16:51
    i end here i wanted to show that between
  • 00:16:54
    the notion of a drawing of a house of a
  • 00:16:56
    museum of a neighborhood and of a city i
  • 00:16:59
    rather erase the lines
  • 00:17:01
    because a city is a museum a museum is a
  • 00:17:04
    drawing a drawing is a neighborhood a
  • 00:17:06
    neighborhood is a house so the old
  • 00:17:08
    categories of what we have always
  • 00:17:10
    considered sort of separate entities
  • 00:17:12
    really in my view coexist together as a
  • 00:17:15
    singular word world and what i didn't
  • 00:17:18
    manage to show it was not here is uh my
  • 00:17:21
    last picture of ground zero where i just
  • 00:17:23
    came from from new york where there was
  • 00:17:25
    so much controversy so much skepticism
  • 00:17:27
    cynicism so many fights so many emotions
  • 00:17:30
    and i just wanted to show you the
  • 00:17:32
    picture that it indeed is under
  • 00:17:34
    construction it has had more than half a
  • 00:17:36
    million visitors already even though
  • 00:17:38
    it's a building site the memorial is
  • 00:17:39
    finished the towers the tower number one
  • 00:17:42
    freedom tower tower number four tower
  • 00:17:44
    number three are highly visible almost
  • 00:17:46
    completed the museum is
  • 00:17:48
    in construction almost completed of
  • 00:17:50
    course it one has to have patience it
  • 00:17:52
    cannot be done in a day but i think
  • 00:17:55
    what i've learned from all of this is
  • 00:17:57
    when you live in a free society when
  • 00:17:58
    there is an openness when we appreciate
  • 00:18:01
    what freedom and liberty
  • 00:18:03
    are then we can really build a city for
  • 00:18:06
    all thank you
  • 00:18:07
    [Applause]
  • 00:18:27
    you
标签
  • Architettura
  • James Joyce
  • Musica
  • Memoria storica
  • Dresda
  • Museo militare
  • Urbanistica
  • Yongsan
  • Ground zero
  • Libertà