翻译我们可以帮助中国改变

We can help change in China ----say architects Herzog and de Meuron
我们可以帮助中国改变---建筑家Herzog雅克·赫尔佐格和de Meuron皮埃尔·德·梅隆如是说
Jacques Herzog and Pierre de Meuron have just completed the world's most iconic building in this decade of iconic buildings, the Olympic Stadium in Beijing, which won the inaugural Design of the Year for Architecture award from the Design Museum yesterday. They've built the world's most famous and successful art gallery, Tate Modern, and, aged 57, built dozens more, including their latest, Caixa Forum, in Madrid.
Apart from football, there is only one subject that raises their ire: Beijing. Or, more specifically, the decision of Steven Spielberg last month to pull out of directing the opening ceremony of the Olympic Games this summer, citing China's human-rights record and involvement in the Darfur tragedy in Sudan.
“It's very cheap and easy for architects and artists and film-makers to pull out or to make this kind of criticism,” Herzog says. “Everybody knows what happens in China. All wor k conditions in China are not what you'd desire. But you wear a pullover made in China. It's easy to criticise, being far away. I'm tempted almost to say the opposite...How great it was to work in China and how much I believe that doing the stadium [and] the process of opening will change radically, transform, the society. Engagement is the best way of moving in the right direction.”
“It would be arrogant not to engage,” de Meuron adds. “Otherwise no politicians could go there, no athletes. You would just close the borders.”
“Literally everybody in the Western world trades with China,” Herzog continues. “This is a fact. So why should an architect not?”
雅克•赫尔佐格和皮埃尔•德•梅隆刚刚完成近十年世界肖像建筑领域上最完美建筑物---北京奥林匹克体育场--的设计。

该项设计在昨天获得了由设计博物馆颁发的年度最佳建筑设计奖。

他们一起合作设计过全世界最著名且成功的艺术馆--泰特摩登。

并且57岁设计过的很多建筑都是举世闻名的，比如他们最新作品：马德里菜克斯亚广场。

除开足球，只有一样东西能让他们燃烧起激情，那就是--北京。

特别是在上个月，北京夏季奥运会艺术顾问斯蒂文•斯皮尔伯格以中国的人权问题及中国卷入苏丹达富尔悲剧为由做出辞职决定以后。

“建筑家，艺术家或者电影导演是可以很容易也可以毫不负责任地做出这样的决定或者发表这样的评论的。

”赫尔佐格说道：“每个人都想知道中国在发生什么事情，在中国的工作环境也不尽人意，但是你毕竟还是穿着一件中国制造的外套，隔岸观火站着说话不腰疼。

我想反过来说：其实在中国工作是件很伟大的事，而且我也相信修建奥林匹克体育场和策划开幕式都会彻底变革这个社会，改革是朝着正确方向行进的最好保证！”
“如果不改革会显得很傲慢”，皮埃尔德•梅隆补充道：“否则没有一个政客或者运动员会去那里的，你等于是封锁了国界线”
“可以毫不夸张地说西方世界的每个人都在同中国进行着贸易”，赫尔佐格继续说道：“那是个不争的事实。

所以为什么建筑家不能？”
They hope that the biggest single symbol of the West's engagement in China - their stadium - might be, if not a Trojan horse, then a building that embodies and moves forward loose but, in China, radical ideas, such as freedom. The very architecture - an open basket or “bird's nest” of girders in which visitors can choose their own, random paths, is pointedly designed. “We wanted to do something not hierarchical, to make not a big gesture as you'd expect in a
politi cal system like that,” de Meuron says, “but [something that for] 100,000 people [is still] on a human scale, without being oppressive. It's about disorder and order, apparent disorder. It seems random, chaotic, but there's a very clear structural rationale.”
他们希望他们设计的体育馆能够成为西方钟情于中国的独一无二的最大象征，如果不是特洛伊木马那样标志性，至少成为一座在中国具有全新思想的标志性建筑，比如不拘一格的自由。

这个特殊设计的建筑可以是个敞开的大篮子，或者是个有支架构成的鸟巢，游客可自由选择参观路线。

“我们不是为了区分等级，就像大家期望的政治做秀般的建筑设计。

”德•梅隆继续说，“它足以容纳十万人，表面上看似无序、随意、吵杂，实际上是基于非常清晰的结构基础。

”
“The Chinese love to hang out in public spa ces,” Herzog adds. “The main idea was to offer them a playground.” The Chinese Government, they say, has carried out their wishes to the letter. They make a distinction between creating a building that fosters a country's ideology - say, Albert Speer's work for Hitler - and one that seeks to transform it.
“中国人喜欢在公众场所闲逛”赫尔佐格补充道，“所以主要的设计理论是要让公众有个休闲去处。

”中国政府表示已经把公众愿望寄托于那个去实现这些的建筑家，去就如施佩尔为希特勒打造的“新古典”式的建筑一样。

Herzog, the front man, the politician, with his shaven skull and sunken, unsmiling cheeks, looks as if he wouldn't suffer fools, though his gravitas is leavened occasionally with camp, gossipy asides. De Meuron, by contrast, doesn't like limelight. He looks like Beethoven: a bit tortured, introverted, with mad, wiry hair and a furrowed brow, as if he's the one always left to worry if they've ordered enough rivets for their latest stadium. They look as if they spend their evenings discussing Hegel, not American Idol. That they're rabid fans of FC Basel comes as a blessed relief.
我们所谈到的赫尔佐格也是位政客,他留着光头,下陷的双颊，显得不苟言笑，虽然看起来超凡脱俗，但是有时候他又会让自己与世俗为伍。

德•梅隆个性与他相反，像贝多芬一样，不喜欢被大众关注。

头发蓬松，眉头紧锁，显得内向寡言，就好像他是唯一为他们最新体育馆是否预定了足够铆钉而发愁的人。

他们看起来好像花了一个通宵在讨论黑格尔这样严肃的哲学问题，而不是美国偶像这类娱乐节目，但事实上，他们是巴塞尔足球俱乐部的狂热粉丝，看球是业余最大的消遣。

In their Basel HQ they flit between desks, whispering together in corners, chuckling together at jokes like twins. “The chemistry works between us,” Herzog says. “We've never had problems of jealousy, or one being more visible. We do a better job together.”They've grown so close that it's hard to discern who does what. “No project is either Herzog's or de Meuron's,” he continues. “Maybe my strength is getting a project started, and Pierre then pushes it.”
在他们巴塞尔办公室里，他们在各自办公桌前穿梭，在书桌一角窃窃私语，偶尔开着玩笑，亲密的就像双胞胎一样亲密。

“我们之间产生了很好的化学反应”，赫尔佐格说“我们不会相互猜忌，或者为了谁更加出色而嫉妒，我们在一起合作很愉快。

”他们在一起紧密地成长，所以很难分辨出那一部分工作是谁做的。

“没有哪一个工程项目是只属于赫尔佐格或者德•梅隆的”他继续说道“也许我比较擅长于怎样让一个工程启动，而皮埃尔德•梅隆会继续推动它前进。

”
“It's not only professional collaboration,” de Meuron adds. “It's friendship, and that's unique. To have no barriers in a relationship, whether it's husband and wife or a working collaboration, [means you can] be open to everything.”
“这不仅仅是一种专业上的合作”德•梅隆补充道，“而是友谊，并且是独一无二的。

无论是在夫妻之间还是团队合作中，为了避免障碍，你必须敞开心扉，真诚待人。

”
They met at the age of 6 at kindergarten. “Jacques is more middle class, and I, as my name says, am more aristocratic,” de Meuron says. “But we grew up in the same way. If you grow up together you share the same secrets.”
他们初识于幼儿园。

“赫尔佐格出生于中产阶层，我，如名字所反映出来的，属于贵族世家”德•梅隆说“但是我们一起成长，所以我们之间无所不言。

”
“We had almost a professional relationship even as children,” Herzog says. “He was less interested in football, so instead of doing sport together, what we did was produce things together. We copied things we saw on the street.”
“我们还是小孩时就形成了专业上的合作”赫尔佐格说“我比他对足球兴趣更浓烈，除了在一起进行体育锻炼外，我们还把在街上所见的一起描摹下来。

”
At university Herzog drifted first into biology, though de Meuron says he “always knew” he wanted to be an architect, despite his (and Herzog's) family having no architectural connections and his parents' suspicion that architecture was somehow flakey. “They wanted me to be an engineer, something real.” “We just sort of drifted together,” Herzog says, “like it was inevitable.”
在大学里，赫尔佐格首先转到生物学专业，即使德•梅隆经常说自己要成为建筑师，即使赫尔佐格的家庭与建筑毫无关联，所以他的父母认为建筑师有些不切实际，“他们想要我成为更现实的工程师”“我们阴差阳错地转到了一个专业”赫尔佐格说“就想这是必然发生的事情一样啊”
They did so at a critical moment. By the mid-1970s, modernist architecture had become discredited. Architects were after new directions. At university the pair studied under the influential theorist Aldo Rossi, who proposed returning to the traditional qualities of buildings. They prefer the left-field views of conceptual artists - as common as trams in Basel. They've collaborated with, designed spaces for and absorbed the methods of artists from Thomas Ruff and Rosemarie Trockel to Michael Craig-Martin at Tate Modern and Ai Wei Wei in Beijing. “Artists are clearly more interesting than most architects,” Herzog continues. “They are obliged to invent their o wn language.”
他们在关键时刻也是同样执着的。

在20世纪七十年代，现代派建筑师不受待见，建筑师们朝着其他方向努力。

在大学时，他们俩师从非常出名的建筑学理论大师阿尔多.罗西，他主张回归建筑本身的传统形象。

他们更偏爱于主流之外的概念派的艺术家，这些人就如巴塞尔的电车一样常见。

他们与泰特现代美术馆的托马斯拉夫，罗塞梅里到迈克尔克雷格马丁合作，吸收了许多用于空间设计的方法，还包括来自北京的艾薇薇。

“艺术家比建筑师对于这些更加感兴趣，”赫尔佐格继续说道。

“所以他们不得不发明自己的语言。

”
Herzog and de Meuron's architecture is for all five senses - “a sensory whirlwind,” Herzog says, “otherwise we chop it off, we limit it, we mutilate it.” They owe this interest in materials to meeting at the start of their careers the artist who perhaps influenced them most, Joseph
Beuys, who “made us aware of the invisible qualities of materials”, Herzog has said. Their every project is distinguished by celebrating the multisensory qualities of the stuff that makes up the skin and flesh of buildings - concrete stained by the rain, a thick fudge of pebbledash smeared over their Schaulager art gallery, Basel, the metal foil smothering the Walker Art Center, Milwaukee, the glass lenses wrapped around their Prada store in Tokyo.
赫尔佐格和德•梅隆的建筑设计使人类五官愉悦—“一种感官上的惊艳”赫尔佐格说“否则的话，我们会限制或者去除那些不合适的部分”他们把这种审美兴趣归功于他们事业早期受到的艺术家的潜移默化的熏陶，约瑟博伊于斯“让我们注意到材料的隐形特质”赫尔佐格如是说。

他们的每项成果都带着激发各种感官愉悦感的烙印，这些构成了建筑物的血肉之躯—如贝塞尔的Schaulager美术馆，金属箔包裹着的密尔沃基市沃克艺术中心，玻璃晶体环绕的东京普拉多储藏室。

In May they release new designs for their extension to Tate Modern. They first attracted criticism that their glass zigurrat would not fit in. “I don't agree,” Herzog says. “It will fit in. But we are still working on it. It will be very different. We have to respect that. The building will be very radical too. But if you come up and demonstrate your otherness with a huge beard or long hair or you tint your hair green - who's interested in that in architecture?”
在五月份，他们发布了为泰特美术馆最新延伸设计，开始他们因为使用不适合的玻璃材料而受到了批评。

“我不这么认为，“赫尔佐格说，“它会很合宜的，我们仍在继续努力中，它会非常与众不同的。

这个美术馆非常重要，我们都此都非常尊重这项工作。

但是如果你为了突出自己的异处，而留着一副大胡子或者把头发染成了绿色，出现在美术馆，那么谁还会对这个建筑的材料感兴趣呢？
De Meuron says it “is critical not to build all over the world in the same way”. Unlike their peers, Frank Gehry, Daniel Libeskind, Norman Foster and Zaha Hadid, they have no signature style. Every building they make is unlike the last, united only by their odd looks and uncanny mood. In an age of Identikit skylines, you can be sure of getting something different when you hire Herzog & de Meuron, or, more accurately, when they hire you.
德•梅隆说“在世界各地建造各种别具一格的建筑师非常重要的”，这与他们的同事弗兰克盖瑞，丹尼尔李博斯金，诺曼福斯特和哈迪达一样没有标志性建筑风格很不同。

他们的设计的每个建筑都与上一个不一样，统一于奇怪的外表和神秘的风格。

在当今摩天大夏装点我们都市边界线的时代，当你聘请赫尔佐格和得梅隆，或者说得更准确点，当他们愿意为你效劳时，他们的设计意味着与众不同。

Jacques Herzog is speaking at Tate Modern on April 8
四月八日，雅克•赫尔佐格和皮埃尔•德•梅隆于泰特现代美术馆。