时代周刊:疫情之下 当代建筑之父对公共建筑的思考（1）（在线收听）

The trail-blazing architect Rem Koolhaas mulls the empty spaces in a suddenly frozen world

世界突然冻结，公共空间空置，当代建筑之父雷姆·库哈斯有话说

By Belinda Luscombe

文/贝琳达·卢斯科姆

Rem Koolhaas, the Pritzker Prize–winning Dutch architect, author and academic, has long had a beef with airports.

身为（被誉为“建筑学界的诺贝尔奖”的）普利兹克奖荷兰籍获奖人、作家兼学者的雷姆·库哈斯对机场（的设计）历来就颇有不满。

It's not the same beef that everyone else has with airports—the Cinnabon smell, the brusqueness of security, the $7 snack.

其他人对机场也有不满，但他们不满的无非是机场浓浓的肉桂卷味，粗暴的安检和7美元的（昂贵）小吃。库哈斯不一样。

Koolhaas' beef with airports is that they've lost their sense of purpose.

库哈斯不满机场的是：它们已经没有了使命感。

"Airports used to be highly rationalized spaces that simply served to take you efficiently from one place to the plane,"

“过去的机场是单纯为高效地将你从一个地方输送到飞机上的这么一个高度合理的空间，”

Koolhaas says on a landline from his office in Rotterdam.

库哈斯在他位于鹿特丹的办公室接受电话采访时说道。

The process, in his mind, used to be very logical.

在他看来，过去的登机路线十分合乎逻辑。

"Arrivals, luggage, customs, blah blah blah."

“到达机场，托运行李，走海关等等。”

But airports now are made up of what he has named junk space.

现在的机场却是由他所谓的“垃圾空间”组成的。

"You are basically almost forced to enter the bowels of a mostly financial configuration in order to be exposed to the maximum amount of shopping," he says.

“大家基本上是被强行放到了一个配置以金融为主，为的就是最大限度地将你暴露在一个购物环境里这么一个空间内，”他说。

The serpentine layout that herds passengers through a mazelike mall creates almost a "permanent sense of crowding," he notes,

引导乘客穿过迷宫般的购物通道的蛇形布局会营造出一种“永远都很挤”的感觉，”他指出，

"with much less freedom to make our own choices and to maintain our own distances."

“而我们自己做选择或是保持距离的自由是非常有限的。”

Airports are just one among the many, many public spaces that may have to be rethought, reorganized and redesigned in the era of pandemics,

在这个各种疫情轮番上阵的时代，不少公共空间都暴露出了需要重新加以审视、安排或设计的必要性，机场只不过是其中之一，

and Koolhaas believes it is way overdue.

库哈斯却认为早就应该如此了。

Also on his back-to-the-drawing-board list: cities, especially those that have no purpose but to attract people.

同样位于他那张应当重新设计的名单上的还有：城市，尤其是那些旅游导向型城市。

"The problem is that in the last 20 or 30 years,

“问题是，最近二三十年，

cities have become gathering spaces for relatively affluent people and for tourists," he says.

城市已经变成了相对富裕的人以及游客聚集的地方，”他说。

"There has been a kind of really drastic transformation of the point of cities, that we didn't really pay enough attention to."

“城市的意义已经发生了剧烈的转变，我们却没有对此给予足够的重视。”

The architect who rose to fame largely for a book, Delirious New York, that celebrated New York City for its density and crowdedness

这位建筑师的成名原本很大程度上是因为一本高度赞美纽约的密度和拥挤的书——《疯狂纽约》，

has now turned his attention to less inhabited spaces, especially the countryside.

如今，他却将注意力转向了人烟稀少的地方，特别是乡村。

To him, the gathering of more than 50% of the world's population into metropoles that occupy just 2% of the world's land mass

在他看来，一半以上的世界人口都在朝仅占世界陆地面积2%的大都市聚集，

was a problem long before anybody knew what the phrase social distancing meant.

而且，早在有人知道“居家隔离”一词的含义之前，这个问题就已经存在了。

It was one of the themes of his recent exhibition at the Guggenheim, "Countryside,"

最近，他在古根海姆博物馆举办了一个名为“乡村”的个人展，上述问题就是展览选用的主题之一。

which looked at the curious disregard and abandonment of the more rural parts of the planet.

总体而言，展览审视了一个颇为耐人寻味的现象：地球上较为偏远的农村地区往往难逃被忽视，被遗弃的命运。

Because of the pandemic, the museum closed in March less than a month after the show opened,

受疫情影响，博物馆已于3月闭馆，闭馆距离展览开幕才不到一个月，

at around the same time people in cities began to wish they lived somewhere emptier and to suddenly wonder where their food came from.

也就是那时，城市里的人们开始有了希望自己住在更空旷的地方的愿望，他们甚至开始琢磨起碗里的食物究竟从何而来这一问题。