Why the buildings of the future will be shaped by ... you | Marc Kushner

Translator: Joseph Geni Reviewer: Krystian Aparta

Prevoditelj: Ivan Stamenković Recezent: Katarina Smetko

Today I'm going to speak to you

Danas ću vam pričati

about the last 30 years of architectural history.

o zadnjih 30 godina povijesti arhitekture.

That's a lot to pack into 18 minutes.

To je puno za stisnuti u 18 minuta.

It's a complex topic,

To je složena tema

so we're just going to dive right in at a complex place:

pa ćemo samo uskočiti na jedno složeno mjesto:

New Jersey.

New Jersey.

Because 30 years ago, I'm from Jersey,

Ja sam iz Jerseyja i prije 30 godina

and I was six, and I lived there in my parents' house

imao sam šest godina, živio sam u kući svojih roditelja

in a town called Livingston,

u gradu koji se zove Livingston,

and this was my childhood bedroom.

i ovo je bila moja soba.

Around the corner from my bedroom

Iza ugla na hodniku

was the bathroom that I used to share with my sister.

bila je kupaonica koju sam dijelio sa sestrom.

And in between my bedroom and the bathroom

Između moje sobe i kupaonice

was a balcony that overlooked the family room.

bio je balkon koji je gledao na dnevni boravak.

And that's where everyone would hang out and watch TV,

To je mjesto gdje su se svi družili i gledali televiziju,

so that every time that I walked from my bedroom to the bathroom,

tako da, kad god sam išao od svoje sobe do kupaonice,

everyone would see me,

svi bi me vidjeli,

and every time I took a shower and would come back in a towel,

i kad bih se god otuširao i vraćao natrag u ručniku,

everyone would see me.

svi bi me vidjeli.

And I looked like this.

A izgledao sam ovako.

I was awkward,

Bio sam čudan,

insecure, and I hated it.

nesiguran, i mrzio sam to.

I hated that walk, I hated that balcony,

Mrzio sam taj prolaz, taj balkon,

I hated that room, and I hated that house.

tu sobu i tu kuću.

And that's architecture.

I to je arhitektura.

(Laughter)

(Smijeh)

Done.

Gotovo.

That feeling, those emotions that I felt,

Taj osjećaj, te emocije koje sam imao,

that's the power of architecture,

to je moć arhitekture,

because architecture is not about math and it's not about zoning,

jer u arhitekturi se ne radi o matematici ni o zoniranju,

it's about those visceral, emotional connections

već o tim instinktivnim, emocionalnim vezama

that we feel to the places that we occupy.

koje osjećamo prema mjestima na kojima boravimo.

And it's no surprise that we feel that way,

I nije iznenađujuće da se tako osjećamo

because according to the EPA,

jer, prema Agenciji za zaštitu okoliša,

Americans spend 90 percent of their time indoors.

Amerikanci provode 90 % vremena u zatvorenom prostoru.

That's 90 percent of our time surrounded by architecture.

To znači da 90 % svojeg vremena provodimo okruženi arhitekturom.

That's huge.

To je stvarno puno.

That means that architecture is shaping us in ways that we didn't even realize.

To znači da nas arhitektura oblikuje na načine kojih nismo bili ni svjesni.

That makes us a little bit gullible and very, very predictable.

To nas čini pomalo lakovjernima i vrlo, vrlo predvidljivima.

It means that when I show you a building like this,

To znači da, kad vam pokažem ovakvu zgradu,

I know what you think:

znam što mislite:

You think "power" and "stability" and "democracy."

Pomislite na moć, stabilnost i demokraciju.

And I know you think that because it's based on a building

Znam da to mislite jer je izgrađena po uzoru na zgradu

that was build 2,500 years ago by the Greeks.

koju su Grci izgradili prije 2 500 godina.

This is a trick.

To je trik.

This is a trigger that architects use

To je okidač koji arhitekti koriste

to get you to create an emotional connection

da bi vas potaknuli da stvorite emocionalnu vezu

to the forms that we build our buildings out of.

prema oblicima na temelju kojih gradimo svoje zgrade.

It's a predictable emotional connection,

To je predvidljiva emocionalna veza,

and we've been using this trick for a long, long time.

i već jako dugo koristimo taj trik.

We used it [200] years ago to build banks.

Koristili smo ga prije [200] godina za izgradnju banaka.

We used it in the 19th century to build art museums.

Koristili smo ga u 19. stoljeću pri gradnji muzeja umjetnosti.

And in the 20th century in America,

I u 20. stoljeću u Americi,

we used it to build houses.

koristili smo ga za izgradnju kuća.

And look at these solid, stable little soldiers

Pogledajte te čvrste, stabilne, hrabre kućice

facing the ocean and keeping away the elements.

okrenute prema oceanu kako se bore protiv vremenskih uvjeta.

This is really, really useful,

To je zaista, zaista korisno

because building things is terrifying.

jer je građenje stvari zastrašujuće.

It's expensive, it takes a long time, and it's very complicated.

Skupo je, dugo traje i vrlo je komplicirano.

And the people that build things --

Ljudi koji grade stvari --

developers and governments --

graditelji i vlade --

they're naturally afraid of innovation,

oni se prirodno boje inovacija

and they'd rather just use those forms that they know you'll respond to.

i radije bi koristili oblike za koje znaju da će izazvati reakciju.

That's how we end up with buildings like this.

I tako na kraju dobijemo zgrade poput ove.

This is a nice building.

To je lijepa zgrada.

This is the Livingston Public Library

To je zgrada javne knjižnice u Livingstonu,

that was completed in 2004 in my hometown,

dovršena 2004. u mojem rodnom gradu,

and, you know, it's got a dome

i, znate, ima kupolu

and it's got this round thing and columns, red brick,

i ima ovo okruglo i stupove, crvenu ciglu

and you can kind of guess what Livingston is trying to say with this building:

i možete pretpostaviti što Livingston želi reći tom zgradom:

children, property values and history.

djeca, vrijednost zemljišta i povijest.

But it doesn't have much to do with what a library actually does today.

Ali to nema puno veze s današnjom svrhom knjižnice.

That same year, in 2004, on the other side of the country,

Iste te godine, 2004., na drugoj strani zemlje,

another library was completed,

izgrađena je druga knjižnica

and it looks like this.

i ona izgleda ovako.

It's in Seattle.

Nalazi se u Seattleu.

This library is about how we consume media in a digital age.

Ta knjižnica odražava način na koji konzumiramo medije u digitalnom dobu.

It's about a new kind of public amenity for the city,

Radi se o novoj vrsti javnog dobra za grad,

a place to gather and read and share.

mjestu za okupljanje, čitanje i dijeljenje.

So how is it possible

Pa kako je moguće

that in the same year, in the same country,

da iste godine, u istoj zemlji,

two buildings, both called libraries,

dvije zgrade, obje zovemo knjižnicama,

look so completely different?

izgledaju tako potpuno različito?

And the answer is that architecture works on the principle of a pendulum.

Odgovor na to jest da arhitektura funkcionira po načelu njihala.

On the one side is innovation,

S jedne su strane inovacije

and architects are constantly pushing, pushing for new technologies,

i arhitekti uvijek žele uvesti nove tehnologije,

new typologies, new solutions for the way that we live today.

nove tipologije, nova rješenja za naš današnji način života.

And we push and we push and we push

Mi na tome toliko inzistiramo

until we completely alienate all of you.

dok vas sve potpuno ne udaljimo.

We wear all black, we get very depressed,

Nosimo crno, postanemo depresivni,

you think we're adorable,

vi mislite da smo dražesni,

we're dead inside because we've got no choice.

a mrtvi smo iznutra jer nemamo izbora.

We have to go to the other side

Moramo se vratiti na drugu stranu

and reengage those symbols that we know you love.

i ponovno iskoristiti te simbole koje znamo da volite.

So we do that, and you're happy,

Pa učinimo to, vi budete sretni,

we feel like sellouts,

a mi se osjećamo kao da smo se prodali,

so we start experimenting again

pa ponovno počinjemo eksperimentirati

and we push the pendulum back and back and forth and back and forth

i guramo njihalo natrag i naprijed i natrag i naprijed,

we've gone for the last 300 years,

kao što to činimo posljednjih 300 godina,

and certainly for the last 30 years.

a svakako posljednjih 30 godina.

Okay, 30 years ago we were coming out of the '70s.

OK, prije 30 godina izlazili smo iz 70-ih.

Architects had been busy experimenting with something called brutalism.

Arhitekti su se bavili eksperimentiranjem s nečime što se zove brutalizam.

It's about concrete.

Radi se o betonu.

(Laughter)

(Smijeh)

You can guess this.

To možete pretpostaviti.

Small windows, dehumanizing scale.

Maleni prozori, dehumanizacija mjerila.

This is really tough stuff.

To su stvarno izdržljive stvari.

So as we get closer to the '80s,

Kako se približavamo 80-ima,

we start to reengage those symbols.

počinjemo ponovno uključivati te simbole.

We push the pendulum back into the other direction.

Guramo njihalo natrag, u drugom smjeru.

We take these forms that we know you love

Uzimamo te oblike koje znamo da volite

and we update them.

i moderniziramo ih.

We add neon

Dodajemo neon

and we add pastels

i pastelne boje

and we use new materials.

i koristimo nove materijale.

And you love it.

I vi to volite.

And we can't give you enough of it.

I nikako vam nije dosta toga.

We take Chippendale armoires

Uzimamo ormare Chippendale

and we turned those into skyscrapers,

i pretvaramo ih u nebodere,

and skyscrapers can be medieval castles made out of glass.

a neboderi mogu biti srednjovjekovni dvorci od stakla.

Forms got big,

Oblici postaju veliki,

forms got bold and colorful.

smjeli i šareni.

Dwarves became columns.

Patuljci postaju stupovi.

(Laughter)

(Smijeh)

Swans grew to the size of buildings.

Labudovi rastu do veličine zgrada.

It was crazy.

Bilo je ludo.

But it's the '80s, it's cool.

Ali to su 80-e, to je u redu.

(Laughter)

(Smijeh)

We're all hanging out in malls

Svi se družimo u trgovačkim centrima

and we're all moving to the suburbs,

i svi se selimo u predgrađa.

and out there, out in the suburbs,

Ondje, u predgrađima,

we can create our own architectural fantasies.

stvaramo svoje vlastite arhitekturne fantazije.

And those fantasies,

Te fantazije

they can be Mediterranean

mogu biti mediteranske

or French

ili francuske

or Italian.

ili talijanske.

(Laughter)

(Smijeh)

Possibly with endless breadsticks.

Možda s kruščićima u neograničenim količinama.

This is the thing about postmodernism.

U tome je stvar s postmodernizmom.

This is the thing about symbols.

U tome je stvar i sa simbolima.

They're easy, they're cheap,

Jednostavni su i jeftini

because instead of making places,

jer umjesto stvaranja mjesta

we're making memories of places.

stvaramo sjećanja na ta mjesta.

Because I know, and I know all of you know,

Jer ja znam, a znam i da svi vi znate

this isn't Tuscany.

da to nije Toskana.

This is Ohio.

To je Ohio.

(Laughter)

(Smijeh)

So architects get frustrated,

Arhitekti postaju frustrirani

and we start pushing the pendulum back into the other direction.

i počnemo gurati njihalo u suprotnom smjeru.

In the late '80s and early '90s,

U kasnim 80-ima i ranim 90-ima

we start experimenting with something called deconstructivism.

počinjemo eksperimentirati s nečime što zovemo dekonstruktivizmom.

We throw out historical symbols,

Izbacujemo povijesne simbole,

we rely on new, computer-aided design techniques,

oslanjamo se na nove tehnike dizajna potpomognute računalima

and we come up with new compositions,

i smišljamo nove kompozicije,

forms crashing into forms.

oblici se razbijaju o oblike.

This is academic and heady stuff,

To su akademske i intelektualne stvari,

it's super unpopular,

vrlo nepopularne

we totally alienate you.

i totalno vas udaljavamo.

Ordinarily, the pendulum would just swing back into the other direction.

Obično bi se njihalo samo vratilo u drugom smjeru.

And then, something amazing happened.

A onda se dogodilo nešto zadivljujuće.

In 1997, this building opened.

Ova je zgrada otvorena 1997.

This is the Guggenheim Bilbao, by Frank Gehry.

To je Guggenheim Bilbao Franka Gehryja.

And this building

Ta je zgrada

fundamentally changes the world's relationship to architecture.

iz temelja promijenila odnos svijeta prema arhitekturi.

Paul Goldberger said that Bilbao was one of those rare moments

Paul Goldberger rekao je da je Bilbao jedan od onih rijetkih trenutaka

when critics, academics, and the general public

kad su se kritičari, akademici i javnost

were completely united around a building.

potpuno ujedinili oko zgrade.

The New York Times called this building a miracle.

New York Times nazvao je tu zgradu čudom.

Tourism in Bilbao increased 2,500 percent

Turizam u Bilbau porastao je za 2 500 %

after this building was completed.

nakon dovršetka te zgrade.

So all of a sudden, everybody wants one of these buildings:

Odjednom su svi htjeli takvu zgradu:

L.A.,

Los Angeles,

Seattle,

Seattle,

Chicago,

Chicago,

New York,

New York,

Cleveland,

Cleveland,

Springfield.

Springfield.

(Laughter)

(Smijeh)

Everybody wants one, and Gehry is everywhere.

Svi je žele i Gehry je svugdje.

He is our very first starchitect.

On je naša prva zvijezda među arhitektima.

Now, how is it possible that these forms --

Kako je moguće da ti oblici --

they're wild and radical --

bili su divlji i radikalni --

how is it possible that they become so ubiquitous throughout the world?

kako je moguće da su oni postali tako sveprisutni u cijelom svijetu?

And it happened because media so successfully galvanized around them

To se dogodilo jer su se mediji tako uspješno aktivirali oko njih

that they quickly taught us that these forms mean culture and tourism.

da su nas brzo naučili da ti oblici znače kulturu i turizam.

We created an emotional reaction to these forms.

Stvorili smo emocionalnu reakciju na te oblike.

So did every mayor in the world.

Stvorio ju je svaki gradonačelnik na svijetu.

So every mayor knew that if they had these forms,

Svaki gradonačelnik na svijetu znao je da, ako bude imao te oblike,

they had culture and tourism.

imat će kulturu i turizam.

This phenomenon at the turn of the new millennium

Taj fenomen na početku novog milenija

happened to a few other starchitects.

dogodio se i drugim arhitektima-zvijezdama.

It happened to Zaha

Dogodio se Zahi

and it happened to Libeskind,

i Libeskindu.

and what happened to these elite few architects

To što se dogodilo toj nekolicini elitnih arhitekata

at the turn of the new millennium

na prijelazu u novi milenij

could actually start to happen to the entire field of architecture,

zapravo bi se moglo početi događati u cijelom polju arhitekture

as digital media starts to increase the speed

kako digitalni mediji počinju povećavati brzinu

with which we consume information.

kojom konzumiramo informacije.

Because think about how you consume architecture.

Razmislite kako konzumirate arhitekturu.

A thousand years ago,

Prije tisuću godina

you would have had to have walked to the village next door to see a building.

morali biste prošetati do susjednog sela da vidite zgradu.

Transportation speeds up:

Prijevoz se ubrzava:

You can take a boat, you can take a plane, you can be a tourist.

Možete ići brodom, avionom, možete biti turist.

Technology speeds up: You can see it in a newspaper, on TV,

Tehnologija se ubrzava: možete je vidjeti u novinama, na TV-u,

until finally, we are all architectural photographers,

dok na kraju svi ne postanemo fotografi arhitekture,

and the building has become disembodied from the site.

a zgrada se ne odvoji od lokacije.

Architecture is everywhere now,

Arhitektura je sada posvuda

and that means that the speed of communication

i to znači da je brzina komunikacije

has finally caught up to the speed of architecture.

napokon dostigla brzinu arhitekture.

Because architecture actually moves quite quickly.

Arhitektura se zapravo kreće vrlo brzo.

It doesn't take long to think about a building.

Razmišljanje o zgradi ne traje dugo.

It takes a long time to build a building,

Građenje zgrade traje dugo,

three or four years,

tri ili četiri godine,

and in the interim, an architect will design two or eight

a arhitekt će u međuvremenu projektirati dvije ili osam

or a hundred other buildings

ili stotinu drugih zgrada

before they know if that building that they designed four years ago

prije nego sazna je li zgrada koju je projektirao prije četiri godine

was a success or not.

bila uspješna ili nije.

That's because there's never been a good feedback loop in architecture.

To je zato što nikad nije bilo dobrih povratnih informacija o arhitekturi.

That's how we end up with buildings like this.

I zato na kraju dobijemo zgrade poput ove.

Brutalism wasn't a two-year movement,

Brutalizam nije bio pokret od dvije godine,

it was a 20-year movement.

to je bio pokret od 20 godina.

For 20 years, we were producing buildings like this

20 godina gradili smo ovakve zgrade

because we had no idea how much you hated it.

jer nismo imali pojma koliko ih mrzite.

It's never going to happen again,

To se više neće ponoviti,

I think,

ja mislim,

because we are living on the verge of the greatest revolution in architecture

jer živimo na rubu najveće revolucije u arhitekturi

since the invention of concrete,

od izuma betona,

of steel, or of the elevator,

čelika ili dizala,

and it's a media revolution.

a to je medijska revolucija.

So my theory is that when you apply media to this pendulum,

Moja je teorija da, kad dodate medije na ono njihalo,

it starts swinging faster and faster,

ono se počinje njihati sve brže,

until it's at both extremes nearly simultaneously,

sve dok gotovo istovremeno ne bude na obje krajnje točke,

and that effectively blurs the difference between innovation and symbol,

čime se praktički zamagljuje razlika između inovacije i simbola,

between us, the architects, and you, the public.

između nas, arhitekata, i vas, javnosti.

Now we can make nearly instantaneous, emotionally charged symbols

Sada možemo stvarati gotovo trenutne, emocijama nabijene simbole

out of something that's brand new.

iz nečega što je potpuno novo.

Let me show you how this plays out

Pokazat ću vam kako se to odvija

in a project that my firm recently completed.

u projektu koji je moja tvrtka nedavno završila.

We were hired to replace this building, which burned down.

Angažirani smo da zamijenimo ovu zgradu koja je izgorjela.

This is the center of a town called the Pines

To je centar grada koji se zove Pines,

in Fire Island in New York State.

na Fire Islandu u državi New York.

It's a vacation community.

To je zajednica za odmor.

We proposed a building that was audacious,

Predložili smo zgradu koja je bila smiona,

that was different than any of the forms that the community was used to,

koja je bila drugačija od bilo kojeg oblika na koji je zajednica navikla,

and we were scared and our client was scared

i bili smo prestrašeni, kao i naš klijent.

and the community was scared,

I zajednica je bila prestrašena

so we created a series of photorealistic renderings

pa smo stvorili niz fotorealističnih prikaza

that we put onto Facebook

koje smo stavili na Facebook

and we put onto Instagram,

i na Instagram,

and we let people start to do what they do:

i pustili smo ljude da rade što rade i inače:

share it, comment, like it, hate it.

podijele ih, komentiraju, da im se svide, da ih zamrze.

But that meant that two years before the building was complete,

Ali to je značilo da je dvije godine prije nego je zgrada dovršena,

it was already a part of the community,

ona već bila dio zajednice,

so that when the renderings looked exactly like the finished product,

pa kad su prikazi izgledali točno kao gotov proizvod,

there were no surprises.

nije bilo iznenađenja.

This building was already a part of this community,

Zgrada je već bila dio te zajednice

and then that first summer,

i kad su tog prvog ljeta

when people started arriving and sharing the building on social media,

ljudi počeli pristizati i dijeliti zgradu na društvenim medijima,

the building ceased to be just an edifice and it became media,

zgrada je prestala biti zdanje i postala je medij,

because these, these are not just pictures of a building,

jer ovo nisu samo slike zgrade,

they're your pictures of a building.

to su vaše slike zgrade.

And as you use them to tell your story,

I kako ih koristite da ispričate svoju priču,

they become part of your personal narrative,

one postaju dio vaše osobne pripovijesti

and what you're doing is you're short-circuiting

i vi uzrokujete kratki spoj

all of our collective memory,

u našem kolektivnom pamćenju,

and you're making these charged symbols for us to understand.

i stvarate te emotivno nabijene simbole koje ćemo mi razumjeti.

That means we don't need the Greeks anymore

To znači da više ne trebamo Grke

to tell us what to think about architecture.

da nam kažu što da mislimo o arhitekturi.

We can tell each other what we think about architecture,

Možemo reći jedni drugima što mislimo o arhitekturi

because digital media hasn't just changed the relationship between all of us,

jer digitalni mediji nisu promijenili samo veze između svih nas,

it's changed the relationship between us and buildings.

već i veze između nas i zgrada.

Think for a second about those librarians back in Livingston.

Razmislite na tren o knjižničarima u Livingstonu.

If that building was going to be built today,

Da se ta zgrada gradi danas,

the first thing they would do is go online and search "new libraries."

prvo bi na internetu potražili „nove knjižnice”.

They would be bombarded by examples of experimentation, of innovation,

Pronašli bi bezbroj primjera eksperimentiranja, inovacija,

of pushing at the envelope of what a library can be.

guranja granica onoga što knjižnica može biti.

That's ammunition.

To je municija.

That's ammunition that they can take with them

To je municija koju mogu ponijeti sa sobom

to the mayor of Livingston, to the people of Livingston,

gradonačelniku Livingstona, stanovnicima Livingstona

and say, there's no one answer to what a library is today.

i reći da ne postoji jedinstven odgovor na pitanje što je knjižnica danas.

Let's be a part of this.

Budimo dio toga.

This abundance of experimentation

Ti brojni eksperimenti

gives them the freedom to run their own experiment.

daju im slobodu da rade svoje vlastite eksperimente.

Everything is different now.

Sad je sve drugačije.

Architects are no longer these mysterious creatures

Arhitekti više nisu misteriozna bića

that use big words and complicated drawings,

koja koriste velike riječi i komplicirane crteže,

and you aren't the hapless public,

a vi niste nesretna javnost,

the consumer that won't accept anything that they haven't seen anymore.

potrošač koji ne želi prihvatiti ništa što već nije vidio.

Architects can hear you,

Arhitekti vas čuju

and you're not intimidated by architecture.

i arhitektura vas više ne plaši.

That means that that pendulum swinging back and forth

To znači da je to što se njihalo njiše naprijed - natrag,

from style to style, from movement to movement,

od stila do stila, od pokreta do pokreta,

is irrelevant.

nevažno.

We can actually move forward

Možemo se kretati naprijed

and find relevant solutions to the problems that our society faces.

i naći relevantna rješenja problema s kojima se društvo suočava.

This is the end of architectural history,

To je kraj povijesti arhitekture

and it means that the buildings of tomorrow

i to znači da će zgrade sutrašnjice

are going to look a lot different than the buildings of today.

izgledati bitno drugačije od zgrada današnjice.

It means that a public space in the ancient city of Seville

To znači da javni prostor drevnog grada Seville

can be unique and tailored to the way that a modern city works.

može biti jedinstven i prilagođen načinu na koji funkcionira moderan grad.

It means that a stadium in Brooklyn can be a stadium in Brooklyn,

To znači da stadion u Brooklynu može biti stadion u Brooklynu,

not some red-brick historical pastiche

a ne od crvene cigle izgrađena povijesna imitacija

of what we think a stadium ought to be.

onoga za što mislimo da stadion treba biti.

It means that robots are going to build our buildings,

To znači da će roboti graditi naše zgrade

because we're finally ready for the forms that they're going to produce.

jer smo napokon spremni za oblike koje će oni proizvesti.

And it means that buildings will twist to the whims of nature

To znači da će se zgrade prilagoditi hirovima prirode,

instead of the other way around.

a ne obratno.

It means that a parking garage in Miami Beach, Florida,

To znači da garaža za parking u Miami Beachu na Floridi

can also be a place for sports

može biti i mjesto za sport

and for yoga

i za jogu

and you can even get married there late at night.

i da se ondje možete čak i vjenčati kasno navečer.

(Laughter)

(Smijeh)

It means that three architects can dream about swimming

To znači da tri arhitekta mogu sanjati o plivanju

in the East River of New York,

u East Riveru u New Yorku

and then raise nearly half a million dollars

i onda skupiti gotovo pola milijuna dolara

from a community that gathered around their cause,

od zajednice koja se okupila oko njihovog cilja,

no one client anymore.

a ne više od jednog klijenta.

It means that no building is too small for innovation,

To znači da nijedna zgrada nije premala za inovacije,

like this little reindeer pavilion

kao ovaj mali prostor za promatranje sobova,

that's as muscly and sinewy as the animals it's designed to observe.

koji je mišićav i žilav kao i životinje za čije je promatranje projektiran.

And it means that a building doesn't have to be beautiful

To znači da zgrada ne mora biti prekrasna

to be lovable,

da bi se ljudima svidjela,

like this ugly little building in Spain,

kao ova ružna mala građevina u Španjolskoj,

where the architects dug a hole,

gdje su arhitekti iskopali rupu,

packed it with hay,

napunili je sijenom

and then poured concrete around it,

i onda oko nje izlilio beton.

and when the concrete dried,

Kad se beton osušio,

they invited someone to come and clean that hay out

pozvali su nekoga da očisti sijeno

so that all that's left when it's done

i na kraju je ostala

is this hideous little room

samo ova grozna mala prostorija

that's filled with the imprints and scratches of how that place was made,

koja je puna otisaka i ogrebotina od načina na koji je nastala,

and that becomes the most sublime place to watch a Spanish sunset.

i koja je ujedno najbolje mjesto za promatranje španjolskog zalaska sunca.

Because it doesn't matter if a cow builds our buildings

Nije važno gradi li naše zgrade krava

or a robot builds our buildings.

ili ih gradi robot.

It doesn't matter how we build, it matters what we build.

Nije važno kako gradimo, važno je što gradimo.

Architects already know how to make buildings that are greener

Arhitekti već znaju kako napraviti zgrade koje su zelenije

and smarter and friendlier.

i pametnije i udobnije.

We've just been waiting for all of you to want them.

Samo čekamo da ih vi svi poželite.

And finally, we're not on opposite sides anymore.

I na kraju, više nismo na suprotnim stranama.

Find an architect, hire an architect,

Pronađite arhitekta, angažirajte ga,

work with us to design better buildings, better cities, and a better world,

surađujte s nama kako bismo projektirali bolje zgrade, bolje gradove, bolji svijet,

because the stakes are high.

jer ulozi su visoki.

Buildings don't just reflect our society, they shape our society

Zgrade nisu samo odraz našeg društva, one ga i oblikuju

down to the smallest spaces:

sve do najmanjih prostora:

the local libraries,

lokalnih knjižnica,

the homes where we raise our children,

domova u kojima odgajamo djecu

and the walk that they take from the bedroom to the bathroom.

i prolaza od sobe do kupaonice.

Thank you.

Hvala vam.

(Applause)

(Pljesak)