Thomas Heatherwick: Building the Seed Cathedral

236,555 views ・ 2011-05-17

TED


Please double-click on the English subtitles below to play the video.

00:15
Hello, my name is Thomas Heatherwick.
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I have a studio in London
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that has a particular approach
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to designing buildings.
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When I was growing up,
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I was exposed to making
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and crafts and materials
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and invention on a small scale.
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And I was there looking
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at the larger scale of buildings
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and finding
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that the buildings that were around me
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and that were being designed
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and that were there in the publications I was seeing
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felt soulless and cold.
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And there on the smaller scale,
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the scale of an earring
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or a ceramic pot
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or a musical instrument,
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was a materiality and a soulfulness.
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And this influenced me.
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The first building I built was 20 years ago.
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And since, in the last 20 years,
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I've developed a studio in London.
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Sorry, this was my mother, by the way,
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in her bead shop in London.
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I spent a lot of time counting beads and things like that.
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I'm just going to show, for people who don't know my studio's work,
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a few projects that we've worked on.
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This is a hospital building.
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01:32
This is a shop for a bag company.
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This is studios for artists.
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This is a sculpture
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made from a million yards of wire
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and 150,000 glass beads
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the size of a golf ball.
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And this is a window display.
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And this is pair of cooling towers
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for an electricity substation
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next to St. Paul's Cathedral in London.
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And this is a temple in Japan
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for a Buddhist monk.
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And this is a cafe by the sea
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in Britain.
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And just very quickly,
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something we've been working on very recently
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is we were commissioned by the mayor of London
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to design a new bus
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that gave the passenger
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their freedom again.
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Because the original Routemaster bus
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that some of you may be familiar with,
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which had this open platform at the back --
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in fact, I think all our Routemasters
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are here in California now actually.
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But they aren't in London.
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And so you're stuck on a bus.
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And if the bus is going to stop
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and it's three yards away from the bus stop,
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you're just a prisoner.
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But the mayor of London wanted to reintroduce
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buses with this open platform.
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So we've been working with Transport for London,
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and that organization
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hasn't actually been responsible
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as a client for a new bus
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for 50 years.
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And so we've been very lucky to have a chance to work.
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The brief is that the bus should use 40 percent less energy.
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So it's got hybrid drive.
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And we've been working
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to try to improve
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everything from the fabric
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to the format
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and structure
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and aesthetics.
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I was going to show four main projects.
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And this is a project for a bridge.
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And so we were commissioned to design a bridge that would open.
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And openings seemed --
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everyone loves opening bridges,
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but it's quite a basic thing.
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I think we all kind of stand and watch.
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But the bridges that we saw
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that opened and closed --
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I'm slightly squeamish --
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but I once saw a photograph of a footballer
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who was diving for a ball.
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And as he was diving, someone had stamped on his knee,
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and it had broken like this.
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And then we looked at these kinds of bridges
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and just couldn't help feeling
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that it was a beautiful thing that had broken.
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And so this is in Paddington in London.
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And it's a very boring bridge, as you can see.
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It's just steel and timber.
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But instead of what it is,
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our focus was on the way it worked.
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(Applause)
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So we liked the idea that the two farthest bits of it
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would end up kissing each other.
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(Applause)
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We actually had to halve its speed,
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because everyone was too scared when we first did it.
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So that's it speeded up.
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A project that we've been working on very recently
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is to design a new biomass power station --
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so a power station that uses organic waste material.
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In the news,
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the subject of where our future water is going to come from
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and where our power is going to come from
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is in all the papers all the time.
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And we used to be quite proud of the way we generated power.
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But recently,
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any annual report of a power company
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doesn't have a power station on it.
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It has a child running through a field, or something like that.
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(Laughter)
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And so when a consortium of engineers approached us
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and asked us to work with them on this power station,
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our condition was that we would work with them
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and that, whatever we did,
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we were not just going to decorate a normal power station.
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And instead, we had to learn -- we kind of forced them to teach us.
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And so we spent time traveling with them
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and learning about all the different elements,
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and finding that there were plenty of inefficiencies
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that weren't being capitalized on.
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That just taking a field and banging all these things out
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isn't necessarily the most efficient way that they could work.
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So we looked at how we could compose all those elements --
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instead of just litter, create one composition.
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And what we found --
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this area is one of the poorest parts of Britain.
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It was voted the worst place in Britain to live.
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And there are 2,000 new homes being built
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next to this power station.
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So it felt this has a social dimension.
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It has a symbolic importance.
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And we should be proud of where our power is coming from,
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rather than something we are necessarily ashamed of.
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So we were looking at how we could make a power station,
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that, instead of keeping people out
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and having a big fence around the outside,
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could be a place that pulls you in.
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And it has to be --
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I'm trying to get my --
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250 feet high.
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So it felt that what we could try to do
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is make a power park
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and actually bring the whole area in,
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and using the spare soil that's there on the site,
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we could make a power station that was silent as well.
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Because just that soil
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could make the acoustic difference.
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And we also found that we could make a more efficient structure
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and have a cost-effective way
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of making a structure to do this.
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The finished project
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is meant to be more than just a power station.
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It has a space where you could have a bar mitzvah at the top.
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(Laughter)
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And it's a power park.
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So people can come and really experience this
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and also look out all around the area,
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and use that height that we have to have for its function.
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In Shanghai,
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we were invited to build --
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well we weren't invited; what am I talking about.
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We won the competition, and it was painful to get there.
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(Laughter)
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So we won the competition to build the U.K. pavilion.
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And an expo
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is a totally bonkers thing.
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There's 250 pavilions.
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It's the world's biggest ever expo that had ever happened.
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So there are up to a million people there everyday.
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And 250 countries all competing.
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And the British government saying,
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"You need to be in the top five."
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And so that became
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the governmental goal --
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is, how do you stand out in this chaos,
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which is an expo of stimulus?
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So our sense was we had to do one thing,
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and only one thing,
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instead of trying to have everything.
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And so what we also felt
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was that whatever we did we couldn't do a cheesy advert for Britain.
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(Laughter)
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But the thing that was true,
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the expo was about the future of cities,
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and particularly the Victorians
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pioneered integrating nature into the cities.
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And the world's first public park of modern times
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was in Britain.
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And the world's first major botanical institution
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is in London,
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and they have this extraordinary project
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where they've been collecting 25 percent
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of all the world's plant species.
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So we suddenly realized that there was this thing.
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And everyone agrees that trees are beautiful,
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and I've never met anyone who says, "I don't like trees."
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And the same with flowers.
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I've never met anyone who says, "I don't like flowers."
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But we realized that seeds --
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there's been this very serious project happening --
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but that seeds --
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at these major botanical gardens,
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seeds aren't on show.
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But you just have to go to a garden center,
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and they're in little paper packets.
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But this phenomenal project's been happening.
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So we realized we had to make a project
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that would be seeds, some kind of seed cathedral.
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But how could we show these teeny-weeny things?
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And the film "Jurassic Park" actually really helped us.
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Because the DNA of the dinosaur that was trapped in the amber
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gave us some kind of clue
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that these tiny things
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could be trapped and be made to seem precious,
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rather than looking like nuts.
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So the challenge was,
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how are we going to bring light and expose these things?
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We didn't want to make a separate building and have separate content.
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So we were trying to think,
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how could we make a whole thing emanate.
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By the way, we had half the budget of the other Western nations.
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So that was also in the mix
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with the site the size of a football pitch.
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And so there was one particular toy that gave us a clue.
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(Video) Voice Over: The new Play-Doh Mop Top Hair Shop.
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Song: ♫ We've got the Mop Tops, the Play-Doh Mop Tops ♫
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♫ Just turn the chair and grow Play-Doh hair ♫
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♫ They're the Mop Tops ♫
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Thomas Heatherwick: Okay, you get the idea.
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So the idea
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was to take these 66,000 seeds
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that they agreed to give us,
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and to take each seed and trap it
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in this precious optical hair
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and grow that through this box,
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very simple box element,
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and make it a building
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that could move in the wind.
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So the whole thing can gently move when the wind blows.
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And inside, the daylight --
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each one is an optic
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and it brings light into the center.
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And by night,
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artificial light in each one
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emanates and comes out to the outside.
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And to make the project affordable,
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we focused our energy.
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Instead of building a building as big as the football pitch,
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we focused it on this one element.
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And the government agreed to do that
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and not do anything else,
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and focus our energy on that.
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And so the rest of the site was a public space.
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And with a million people there a day,
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it just felt like offering some public space.
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We worked with an AstroTurf manufacturer
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to develop a mini-me version
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of the seed cathedral,
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so that, even if you're partially-sighted,
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that it was kind of crunchy and soft,
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that piece of landscape that you see there.
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And then, you know when a pet has an operation
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and they shave a bit of the skin
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and get rid of the fur --
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in order to get you to go into the seed cathedral,
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in effect, we've shaved it.
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And inside there's nothing;
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there's no famous actor's voice;
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there's no projections;
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there's no televisions; there's no color changing.
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There's just silence
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and a cool temperature.
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And if a cloud goes past,
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you can see a cloud on the tips
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where it's letting the light through.
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This is the only project that we've done
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where the finished thing
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looked more like a rendering than our renderings.
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(Laughter)
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A key thing was how people would interact.
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I mean, in a way it was the most serious thing
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you could possible do at the expo.
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And I just wanted to show you.
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The British government --
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any government is potentially the worst client in the world
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you could ever possibly want to have.
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And there was a lot of terror.
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But there was an underlying support.
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And so there was a moment
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when suddenly -- actually, the next thing.
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This is the head of U.K. Trade and Investment,
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who was our client,
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with the Chinese children, using the landscape.
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(Video) Children: One, two, three, go.
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(Laughter)
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TH: I'm sorry about my stupid voice there.
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(Laughter)
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So finally, texture is something.
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In the projects we've been working on,
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these slick buildings,
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where they might be a fancy shape,
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but the materiality feels the same,
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is something that we've been trying to research really,
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and explore alternatives.
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And the project that we're building in Malaysia
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is apartment buildings
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for a property developer.
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And it's in a piece of land
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that's this site.
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And the mayor of Kuala Lumpur
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said that, if this developer
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would give something that gave something back to the city,
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they would give them more gross floor area, buildable.
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So there was an incentive for the developer
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to really try to think about
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what would be better for the city.
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And the conventional thing with apartment buildings
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in this part of the world
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is you have your tower,
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and you squeeze a few trees around the edge,
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and you see cars parked.
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It's actually only the first couple of floors that you really experience,
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and the rest of it is just for postcards.
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The lowest value is actually the bottom part of a tower like this.
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So if we could chop that away
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and give the building a small bottom,
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we could take that bit and put it at the top
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where the greater commercial value is for a property developer.
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And by linking these together,
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we could have 90 percent of the site
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as a rainforest,
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instead of only 10 percent of scrubby trees
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and bits of road around buildings.
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(Applause)
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So we're building these buildings.
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They're actually identical, so it's quite cost-effective.
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They're just chopped at different heights.
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But the key part
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is trying to give back an extraordinary piece of landscape,
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rather than engulf it.
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And that's my final slide.
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Thank you.
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(Applause)
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Thank you.
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(Applause)
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June Cohen: So thank you. Thank you, Thomas. You're a delight.
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Since we have an extra minute here,
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I thought perhaps you could tell us a little bit about these seeds,
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which maybe came from the shaved bit of the building.
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TH: These are a few of the tests we did
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when we were building the structure.
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So there were 66,000 of these.
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This optic
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was 22 feet long.
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And so the daylight was just coming --
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it was caught on the outside of the box
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and was coming down to illuminate each seed.
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Waterproofing the building was a bit crazy.
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Because it's quite hard to waterproof buildings anyway,
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but if you say you're going to drill 66,000 holes in it --
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we had quite a time.
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There was one person in the contractors who was the right size --
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and it wasn't a child --
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who could fit between them
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for the final waterproofing of the building.
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JC: Thank you, Thomas.
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(Applause)
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