时代周刊:疫情之下 当代建筑之父对公共建筑的思考(2)（在线收听）

Koolhaas manages, just, to refrain from gloating.

库哈斯努力，勉强，克制住了沾沾自喜的心情。

"It would be opportunistic if I said either, I told you so,

“无论我说，‘我不是早就告诉你了’，还是说，

or, basically, you can now tell that (cities) are actually really dangerous environments to live in," he says.

‘现在看出来(城市)实际上是非常危险的居住环境了吧？’，都有种马后炮的感觉”他说。

"I think that it's simply slightly reinforcing the argument that it's incredibly important

“我个人觉得，这次的疫情只不过进一步印证了一个论点：

to begin to look not necessarily away from cities but at the neglect of the countryside."

将目光转向被忽视的农村——但未必就不关注城市了——极其重要。”

One of the overlooked roles open spaces often play, he notes,

他指出，开放空间经常扮演却被忽视了的一个角色

is as locations for vast, highly automated factories, data operations and fulfillment centers for companies such as Amazon, Apple and Google.

就是充当亚马逊、苹果、谷歌等企业高度自动化的大工厂，数据运营中心及物流中心等。

And as online ordering and virtual meetings become lifeprotecting necessities,

鉴于线上下单和云会议已经成为生死攸关的必需品，

these behemoth structures have become ever more important.

这些体量庞大的建筑也已变得日益重要。

Even before the outbreak of the novel coronavirus,

新冠病毒尚未爆发之前，

Koolhaas was calling for architects to take on their design.

库哈斯就已开始呼吁建筑师们肩负起这些建筑的设计工作。

"Our entire profession is geared toward the values and demands and needs of human beings," he said back in February at his exhibition opening.

“我们整个（设计）行业都是以人类的价值观、要求和需求为驱动的，”他在今年2月举行的展览开幕式上说道。

"But all over the world, these huge mechanical entities are now appearing.

“问题是，这些巨型机械正不断涌现在全世界的各个角落。

They are typically enormous, typically rectangular, typically hermetic."

它们通常都非常庞大，且以方形、密闭形态为主。”

They also, occasionally, share space with humans.

这类建筑有时也会与人的活动空间交叉。

"We need to conceive of architecture that accommodates machines and robots, maybe as a priority," Koolhaas says.

“我们或许应该将容纳机器和机器人的建筑的设计视为我们的当务之急，”库哈斯说。

"And that then investigates how robots and human rights might coexist in a single building."

“其次才是探索机器人和人权共存于一座建筑中的可能性。”

At 75, KoolhAAs is old enough to remember the difficulties and privations of the post–World War II years in Europe.

现年75岁的库哈斯对二战结束后欧洲经历的困难和贫困有着深刻的记忆。

Having spent some of his childhood in Indonesia,

他还在印度尼西亚有过一段童年时光，

he's also familiar with the havoc communicable diseases can play on a health system that is not prepared.

传染病会对缺乏准备的卫生系统造成何等严重的破坏他也是了如指掌。

So some of the new realities of life under a pandemic are reminiscent of his younger years.

正因为如此，新冠疫情之下的一些新境况无非是他小时候的经历的重演。

Others, he is struggling with.

至于其他的（新境况）则是他正在努力应对的。

Creativity, he says, is impossible in complete solitude.

创造力，他说，就是无法在隐士般的生活方式里实现的东西。

These days, Koolhaas spends about half his time on the building part of his practice, known as OMA (Office for Metropolitan Architecture),

最近，库哈斯将近一半的时间都花在了他的实践，也就是众所周知的OMA(大都会建筑办公室)的构建方面，

and half of it on the research and theory part of his practice, which puts together books and exhibitions.

另一半则花在了该项目的研究和理论方面，这方面的成果已经汇集成了多本书籍和多个展览。

For both those approaches, he needs other people.

无论是哪个方面他都需要他人的协助。

"In terms of work and working without human interaction, it is very, very noticeable to me that for creativity, interaction is key," he says,

“就拿工作本身和不与他人接触的工作方式来说，在我身上，非常非常明显的一点就是，凡是涉及到创造力的工作都离不开和人打交道，”他说，

before offering up one of the syntactically complicated sayings for which he has become known.

接着，他说出了一句句法复杂，使他变得广为人知的名言。

"For anything that will be necessary to create an exception, or a moment of genuine inspiration, human intercourse is necessary."

“创造例外，或创造一个真正的灵感时刻所需的任何元素都离不开人际交往。”