演講MP3+雙語文稿:一個建筑師對美墨邊境墻的顛覆性重構

聽力課堂TED音頻欄目主要包括TED演講的音頻MP3及中英雙語文稿，供各位英語愛好者學習使用。本文主要內容為演講MP3+雙語文稿:一個建筑師對美墨邊境墻的顛覆性重構，希望你會喜歡！

【演講者及介紹】Ronald Rael

建筑師羅納德-雷爾（Ronald Rael）在科羅拉多州南部荒涼的高山山谷的獨特成長環(huán)境中，將建筑作為一種文化事業(yè)，進行繪畫、建造、寫作、3D打印和教學，并深受其影響。

【演講主題】一個建筑師對美墨邊境墻的顛覆性重構

An architect's subversive reimagining of the US-Mexico border wall

【中英文字幕】

翻譯者Bruce Sung 校對者Keying Chen

00:13

Isn't it fascinating how the simple act of drawing a line on the map can transform the way we see and experience the world? And how those spaces in between lines, borders, become places. They become places where language and food and music and people of different cultures rub up against each other in beautiful and sometimes violent and occasionally really ridiculous ways. And those lines drawn on a map can actually create scars in the landscape, and they can create scars in our memories.

簡單地在地圖上畫 一條線，便能改變我們 體驗和看待這個世界的方式， 這不是很有意思嗎？ 那些線、那些邊界之間的空間， 成了一個個地區(qū)。 在這些地區(qū)里，不同文化的 語言、食物，音樂和人， 以美麗的、時而帶暴力的， 甚至是偶爾極荒謬的方式互動。 而畫在地圖上的線， 不僅形成景觀上的疤痕， 也能在記憶中留下瘡疤。

00:49

My interest in borders came about when I was searching for an architecture of the borderlands. And I was working on several projects along the US-Mexico border, designing buildings made out of mud taken right from the ground. And I also work on projects that you might say immigrated to this landscape. "Prada Marfa," a land-art sculpture that crosses the border between art and architecture, and it demonstrated to me that architecture could communicate ideas that are much more politically and culturally complex, that architecture could be satirical and serious at the same time and it could speak to the disparities between wealth and poverty and what's local and what's foreign.

我在找尋邊境地區(qū)建筑的時候， 開始對邊界感到興趣。 當時我正在美墨邊境做幾個項目， 設計泥土造的建筑。 我也參與了一些可以說是 遷徙到那片土地上的項目。 ＂馬爾法的普拉達＂， 這個土地藝術雕塑 穿越了藝術與建筑的邊界， 它讓我明白建筑也能傳達 很復雜的政治文化理念， 而且建筑可以同時具有 諷刺性而又嚴肅， 它可以展現(xiàn)貧富差距， 也能顯現(xiàn)什么是本地、 什么是外來的。

01:31

And so in my search for an architecture of the borderlands, I began to wonder, is the wall architecture? I began to document my thoughts and visits to the wall by creating a series of souvenirs to remind us of the time when we built a wall and what a crazy idea that was. I created border games,

因此，當我找尋邊境地區(qū)建筑時， 我也開始質疑： 邊境墻算是建筑嗎？ 我創(chuàng)作了一系列的紀念品， 以此記錄我在邊境墻實地勘察的想法， 借以提醒大家關注墻的興建， 以及建墻這主意是多么瘋狂。 我創(chuàng)造了邊境游戲、

01:58

(Laughter)

（笑聲）

02:00

postcards, snow globes with little architectural models inside of them, and maps that told the story of resilience at the wall and sought for ways that design could bring to light the problems that the border wall was creating.

明信片、 里頭有小建筑模型的雪花球、 還有講述這堵墻的頑強事跡的地圖， 我尋思要如何設計才能減輕 邊墻所帶來的問題。

02:19

So, is the wall architecture? Well, it certainly is a design structure, and it's designed at a research facility called FenceLab, where they would load vehicles with 10,000 pounds and ram them into the wall at 40 miles an hour to test the wall's impermeability. But there was also counter-research going on on the other side, the design of portable drawbridges that you could bring right up to the wall and allow vehicles to drive right over.

那么，邊界墻算是建筑嗎？ 它肯定是一個設計結構， 由一個叫＂FenceLab＂ 的研究單位設計， 在那兒，他們開載重10,000 磅的車， 以 40 英里時速撞墻 以此來測試墻的抗穿透性。 但另一邊也有人做對應的研究， 設計便攜式吊橋， 你可以把它帶到墻邊架起， 從墻上開車過去。

02:45

(Laughter)

（笑聲）

02:47

And like with all research projects, there are successes and there are failures.

如同所有的研究項目，有的成功 有的失敗。

02:51

(Laughter)

（笑聲）

02:53

But it's these medieval reactions to the wall -- drawbridges, for example -- that are because the wall itself is an arcane, medieval form of architecture. It's an overly simplistic response to a complex set of issues. And a number of medieval technologies have sprung up along the wall: catapults that launch bales of marijuana over the wall

但這些中世紀的方法— — 例如吊橋— — 是因為墻本身就是一種 神秘的中世紀建筑形式。 這是對于一系列復雜的問題 所做出過于簡單的回應。 還有另一些中世紀的技術 沿著墻壁如雨后春筍般涌現(xiàn)： 例如用投射機將 整袋大麻拋過圍墻，

03:17

(Laughter)

（笑聲）

03:18

or cannons that shoot packets of cocaine and heroin over the wall. Now during medieval times, diseased, dead bodies were sometimes catapulted over walls as an early form of biological warfare, and it's speculated that today, humans are being propelled over the wall as a form of immigration. A ridiculous idea. But the only person ever known to be documented to have launched over the wall from Mexico to the United States was in fact a US citizen, who was given permission to human-cannonball over the wall, 200 feet, so long as he carried his passport in hand

或用大炮將可卡因 和海洛因包裹射過去。 在中世紀時期， 有時會將病死的尸體投射過城墻， 這是生物戰(zhàn)的早期形式； 時至今日也有傳言， 說有人以被拋過墻的方式來移民。 真是荒謬的主意。 但僅有一人被從墨西哥拋進美國 且正式記錄在案的 其實是美國公民， 并且他事先申請了人肉炮彈表演的許可， 飛越 200 英呎， 條件是他必須帶著護照。

04:01

(Laughter)

（笑聲）

04:03

and he landed safely in a net on the other side. And my thoughts are inspired by a quote by the architect Hassan Fathy, who said, "Architects do not design walls, but the spaces between them." So while I do not think that architects should be designing walls, I do think it's important and urgent that they should be paying attention to those spaces in between. They should be designing for the places and the people, the landscapes that the wall endangers.

他成功降落在另一邊的網子上。 建筑師哈桑·法西的話對我很有啟發(fā)。 他說： ＂建筑師不設計墻壁， 設計的是墻壁之間的空間。＂ 因此我不認為建筑師 應該去設計墻壁， 我認為更重要、更急迫的是 他們該著眼于墻與墻間的空間。 他們應該為那些 受了那堵墻危害的地方、 人、和風景來做設計。

04:35

Now, people are already rising to this occasion, and while the purpose of the wall is to keep people apart and away, it's actually bringing people together in some really remarkable ways, holding social events like binational yoga classes along the border, to bring people together across the divide.

現(xiàn)在，人們已經站出來。 雖然墻的目的是將人分開， 它反而以非凡的方式， 將人凝聚在一起。 他們舉辦社交活動，像是 沿著邊界的跨國瑜伽課， 將被分隔的人帶到了一起。

04:57

And have you ever heard of "wall y ball"?

你們有沒有聽說過＂墻球＂？

05:00

(Laughter)

（笑聲）

05:01

It's a borderland version of volleyball, and it's been played since 1979

這是一個邊境版的排球， 早自 1979 年便有人……

05:07

(Laughter)

（笑聲）

05:09

along the US-Mexico border to celebrate binational heritage. And it raises some interesting questions, right? Is such a game even legal? Does hitting a ball back and forth over the wall constitute illegal trade?

沿著美墨邊境玩， 來慶祝兩國的傳承。 這引發(fā)了一些有趣的問題，對嗎？ 這樣的游戲究竟合不合法？ 在墻頭上將球打過來打過去， 是否構成非法貿易？

05:22

(Laughter)

（笑聲）

05:24

The beauty of volleyball is that it transforms the wall into nothing more than a line in the sand negotiated by the minds and bodies and spirits of players on both sides. And I think it's exactly these kinds of two-sided negotiations that are needed to bring down walls that divide.

排球的美，在于它將墻 化為沙子上的一條線， 由雙方球員的思想、 身體和精神協(xié)商而來。 而且我認為要撤掉這堵分裂的墻， 所需要的正是這種雙邊協(xié)商。

05:45

Now, throwing the ball over the wall is one thing, but throwing rocks over the wall has caused damage to Border Patrol vehicles and have injured Border Patrol agents, and the response from the US side has been drastic. Border Patrol agents have fired through the wall, killing people throwing rocks on the Mexican side. And another response by Border Patrol agents is to erect baseball backstops to protect themselves and their vehicles. And these backstops became a permanent feature in the construction of new walls. And I began to wonder if, like volleyball, maybe baseball should be a permanent feature at the border, and walls could start opening up, allowing communities to come across and play, and if they hit a home run, maybe a Border Patrol agent would pick up the ball and throw it back over to the other side.

扔球過去是一回事， 把石頭扔過圍墻又是另一回事。 石頭砸壞了邊境巡邏車， 傷到了邊巡人員， 也引發(fā)了美方的激烈反應。 邊巡人員朝圍墻另一邊開了槍， 打死了墨西哥方面扔石頭的人。 邊巡人員的另一種回應， 是豎立起棒球場那種擋球網 來保護人員和車輛。 在建造新墻的時候， 擋球網已經成了標準設施。 我開始想：和排球一樣， 也許棒球應該是邊境的標準設施， 邊墻可以開始開放， 讓附近社區(qū)一起來玩。 如果打了個全壘打， 或許邊巡人員會幫忙撿起球， 扔回墻的另一邊。

06:40

A Border Patrol agent buys a raspado, a frozen treat, from a vendor just a couple feet away, food and money is exchanged through the wall, an entirely normal event made illegal by that line drawn on a map and a couple millimeters of steel. And this scene reminded me of a saying: "If you have more than you need, you should build longer tables and not higher walls." So I created this souvenir to remember the moment that we could share food and conversation across the divide. A swing allows one to enter and swing over to the other side until gravity deports them back to their own country.

在這里邊巡人員向幾英呎外的小販 購買墨西哥冰沙， 食物和錢穿過墻交換， 一件完全正常的事， 但被地圖上的一條線 及幾毫米厚的鋼材劃定為非法。 這一幕讓我想起了一句話： “如果你有多的， 應該要擺更大的客桌， 而不是筑更高的墻。” 所以我做了這個紀念品， 來紀念我們可以跨越藩籬 分享食物和對話的那一刻。 這個秋千讓人進去，蕩到另一邊， 直到重力將他遣返原居國。

07:21

The border and the border wall is thought of as a sort of political theater today, so perhaps we should invite audiences to that theater, to a binational theater where people can come together with performers, musicians. Maybe the wall is nothing more than an enormous instrument, the world's largest xylophone, and we could play down this wall with weapons of mass percussion.

現(xiàn)在的邊界和邊界墻 被當作政治劇場看待， 也許我們應該邀請觀眾到那個劇院， 一個兩國劇院，人們可以 和表演者、音樂家聚在一起。 也許這墻不過是一個巨大的樂器， 世界上最大的木琴，而我們 可以用大規(guī)模打擊性樂器 來打下這堵墻。

07:48

(Laughter)

（笑聲）

07:51

When I envisioned this binational library, I wanted to imagine a space where one could share books and information and knowledge across a divide, where the wall was nothing more than a bookshelf. And perhaps the best way to illustrate the mutual relationship that we have with Mexico and the United States is by imagining a teeter-totter, where the actions on one side had a direct consequence on what happens on the other side, because you see, the border itself is both a symbolic and literal fulcrum for US-Mexico relations, and building walls between neighbors severs those relationships.

當我構想這座兩國圖書館， 我想像一個人們可以共享 書籍、信息和知識， 跨越鴻溝的地方， 那里面墻只不過是個書架。 也許墨西哥和美國間的相互關系 最好的說明方式 是想像一個蹺蹺板： 一方的行動， 會直接影響到另一方。 因為，你看，邊界本身 是一個美墨關系上的支點， 而在鄰居之間建墻 就切斷了那些關系。

08:30

You probably remember this quote, "Good fences make good neighbors." It's often thought of as the moral of Robert Frost's poem "Mending Wall." But the poem is really about questioning the need for building walls at all. It's really a poem about mending human relationships. My favorite line is the first one: "Something there is that doesn't love a wall." Because if there's one thing that's clear to me -- there are not two sides defined by a wall. This is one landscape, divided. On one side, it might look like this. A man is mowing his lawn while the wall is looming in his backyard.

你可能還記得這句話： ＂有好圍墻，才有好鄰居。＂ 它常被認為是羅伯特·弗羅斯特的 詩《修補墻》的寓意。 但這首詩其實是在 質疑需不需要建墻。 事實上它是一首關于 修補人際關系的詩。 我最喜歡第一句： ＂有個東西不愛墻。＂ 因為我很清楚—— 不存在被墻界定出的不同兩面。 它不過是被墻割裂的同一景觀。 在一邊，它可能看起來像這樣： 一個人在割草，有片墻 緊傍著他的后院。

09:07

And on the other side, it might look like this. The wall is the fourth wall of someone's house. But the reality is that the wall is cutting through people's lives. It is cutting through our private property, our public lands, our Native American lands, our cities, a university, our neighborhoods.

在另一邊，它可能 看起來像這樣： 那片墻是某人房子 四面墻壁中的一面。 但現(xiàn)實情況是墻正在 切割人們的生活。 它切過我們的私人財產、 我們的公共土地、 我們美洲原住民的土地、 我們的城市、 一所大學、 我們的社區(qū)。

09:29

And I couldn't help but wonder what it would be like if the wall cut through a house. Remember those disparities between wealth and poverty? On the right is the average size of a house in El Paso, Texas, and on the left is the average size of a house in Juarez. And here, the wall cuts directly through the kitchen table. And here, the wall cuts through the bed in the bedroom. Because I wanted to communicate how the wall is not only dividing places, it's dividing people, it's dividing families. And the unfortunate politics of the wall is today, it is dividing children from their parents.

我很想知道 墻穿過房子是什怎樣的情景？ 還記得那些貧富的差距嗎？ 右邊是美國德州 埃爾帕索的房子平均大小， 而左邊是墨西哥 華雷斯的房子平均尺寸。 在這里，墻壁直接切過廚房的桌子。 在這里，墻壁穿過臥室里的床。 因為我想要傳達的是： 墻不僅僅分隔了地域， 它也分隔了人，分隔了家庭。 今日不幸的邊界墻政治 讓小孩與父母分離。

10:05

You might be familiar with this well-known traffic sign. It was designed by graphic designer John Hood, a Native American war veteran working for the California Department of Transportation. And he was tasked with creating a sign to warn motorists of immigrants who were stranded alongside the highway and who might attempt to run across the road. Hood related the plight of the immigrant today to that of the Navajo during the Long Walk. And this is really a brilliant piece of design activism. And he was very careful in thinking about using a little girl with pigtails, for example, because he thought that's who motorists might empathize with the most, and he used the silhouette of the civil rights leader Cesar Chavez to create the head of the father.

你可能熟悉這個有名的交通標志。 由平面設計師約翰·胡德設計， 他是美洲原住民、退伍軍人， 在加州交通運輸部工作。 他被指派設計一個 標志，用以提醒駕駛人 在高速公路邊的移民者 可能冒險橫越馬路。 今天的移民的困境， 讓胡德聯(lián)想到 納瓦霍印第安人 被迫遷徙的血淚史。 這真是一件行動主義 的設計精彩作品。 他非常細心地思考， 例如采用扎馬尾辮的小女孩， 因為那可能更容易 讓駕駛人產生同情； 他也采用了民權領袖 西薩·查維斯的剪影 作為那個父親的頭像。

10:54

I wanted to build upon the brilliance of this sign to call attention to the problem of child separation at the border, and I made one very simple move. I turned the families to face each other. And in the last few weeks, I've had the opportunity to bring that sign back to the highway to tell a story, the story of the relationships that we should be mending and a reminder that we should be designing a reunited states and not a divided states.

我想繼續(xù)延伸這個標志的光彩， 來喚起大家注意在邊境 兒童與父母被分離這個問題。 我做了一個非常簡單的改動， 讓這家人面對面。 過去幾周里， 我把那個標志帶回高速公路 去講故事， 講我們應該修補關系的故事， 并提醒大家我們應該去設計 一個團結的國家， 而不是分裂的國家。

11:22

Thank you.

謝謝。

11:23

(Applause)

（掌聲）