Why great architecture should tell a story | Ole Scheeren

Prevoditelj: Mladen Barešić Recezent: Ivan Stamenković

For much of the past century,

U većem dijelu prošlog stoljeća,

architecture was under the spell of a famous doctrine.

arhitektura je bila začarana glasovitom doktrinom.

"Form follows function" had become modernity's ambitious manifesto

"Oblik prati funkciju" - bio je to ambiciozan manifest modernizma

and detrimental straitjacket,

i njegov štetan okov,

as it liberated architecture from the decorative,

jer je arhitekturu oslobodio od dekoracije,

but condemned it to utilitarian rigor and restrained purpose.

ali je i osudio na utilitarnu strogost i na suzdržanu, umjerenu namjenu.

Of course, architecture is about function,

Naravno, funkcionalnost je u arhitekturi bitna,

but I want to remember a rewriting of this phrase by Bernard Tschumi,

no prisjetio bih se parafraze Bernarda Tschumija,

and I want to propose a completely different quality.

i predložio bih potpuno drugačiju kvalitetu.

If form follows fiction,

Kad bi oblik pratio fikciju,

we could think of architecture and buildings as a space of stories --

mogli bismo o arhitekturi i o građevinama misliti kao o univerzumu priča -

stories of the people that live there,

priča ljudi koji ondje žive,

of the people that work in these buildings.

ljudi koji u tim građevinama rade.

And we could start to imagine the experiences our buildings create.

Mogli bismo početi zamišljati i iskustva koja naše građevine stvaraju.

In this sense, I'm interested in fiction

U tom smislu, zanima me fikcija,

not as the implausible but as the real,

ne ona nemoguća, već ona moguća;

as the reality of what architecture means

kao stvarno značenje arhitekture

for the people that live in it and with it.

za ljude koji u njoj i s njome žive.

Our buildings are prototypes, ideas for how the space of living

Naše su građevine praoblici, zamisli o tome kako bi životni prostor

or how the space of working could be different,

ili kako bi radni prostor mogli biti drukčiji,

and what a space of culture or a space of media could look like today.

kako bi kulturni ili medijski prostor mogli danas izgledati.

Our buildings are real; they're being built.

Naše su građevine stvarne - gradimo ih.

They're an explicit engagement in physical reality

One su eksplicitni anganžman u fizičkoj stvarnosti

and conceptual possibility.

i konceptualna mogućnost.

I think of our architecture as organizational structures.

Razmišljam o arhitekturi kao o organizacijskim strukturama.

At their core is indeed structural thinking, like a system:

U njihovoj jezgri je strukturalno razmišljanje, kao sustav:

How can we arrange things in both a functional

Kako možemo urediti stvari na istovremeno funkcionalan

and experiential way?

i iskustveni način?

How can we create structures that generate a series

Kako možemo stvoriti strukture koje će proizvoditi niz

of relationships and narratives?

odnosa i priča?

And how can fictive stories

Ili kako fiktivne priče

of the inhabitants and users of our buildings

stanovnika i korisnika naše građevine

script the architecture,

mogu biti rukopis arhitekture,

while the architecture scripts those stories at the same time?

dok je i arhitektura istovremeno rukopis za te priče?

And here comes the second term into play,

Ovdje se pojavljuje drugi pojam,

what I call "narrative hybrids" --

ono što nazivam "pripovjedni hibridi" --

structures of multiple simultaneous stories

strukture višestrukih istovremenih priča

that unfold throughout the buildings we create.

koje se odvijaju u građevinama koje stvaramo.

So we could think of architecture as complex systems of relationships,

Možemo smatrati arhitekturu složenim sustavom odnosa,

both in a programmatic and functional way

na programski i funkcionalan način

and in an experiential and emotive or social way.

i na iskustveni i emotivni ili društveni način.

This is the headquarters for China's national broadcaster,

Ovo je sjedište kineske nacionalne televizije,

which I designed together with Rem Koolhaas at OMA.

koje sam dizajnirao zajedno s Remom Koolhaasom iz OMA-e.

When I first arrived in Beijing in 2002, the city planners showed us this image:

Kad sam prvi puta stigao u Beijing 2002. gradski projektanti su nam pokazali ovu sliku:

a forest of several hundred skyscrapers

šuma nekoliko stotina nebodera

to emerge in the central business district,

koji se pojavljuju u središtu poslovnog okruga,

except at that time, only a handful of them existed.

osim što je u to vrijeme postojala samo šačica njih.

So we had to design in a context that we knew almost nothing about,

Mi smo morali dizajnirati u kontekstu o kojem ne znamo gotovo ništa,

except one thing: it would all be about verticality.

osim jedne stvari: sve će se raditi o okomitosti.

Of course, the skyscraper is vertical -- it's a profoundly hierarchical structure,

Naravno, neboder je okomit -- to je ekstremno hijerarhijska struktura,

the top always the best, the bottom the worst,

vrh je uvijek najbolji, a dno najgore,

and the taller you are, the better, so it seems.

i što ste više to bolje, tako se činilo.

And we wanted to ask ourselves,

Mi smo se zapitali,

could a building be about a completely different quality?

može li se građevina raditi o posve drukčijoj kvaliteti?

Could it undo this hierarchy, and could it be about a system

Može li poništiti ovu hijerarhiju i biti o sustavu

that is more about collaboration, rather than isolation?

koji se radi više o suradnji nego o izolaciji?

So we took this needle and bent it back into itself,

Uzeli smo iglu i savili ju natrag u sebe,

into a loop of interconnected activities.

u petlju međusobno povezanih aktivnosti.

Our idea was to bring all aspects of television-making

Naša ideja je bila da dovedemo sve aspekte televizije

into one single structure: news, program production, broadcasting,

u jednu strukturu: vijesti, produkcija programa, emitiranje,

research and training, administration --

istraživanje i trening, administracija --

all into a circuit of interconnected activities

sve u krugu međusobno povezanih aktivnosti

where people would meet in a process of exchange and collaboration.

gdje bi se ljudi sretali u procesu razmjene i suradnje.

I still very much like this image.

Još uvijek mi se veoma sviđa ova slika.

It reminds one of biology classes, if you remember the human body

Podsjeća me na sat biologije, ako se sjećate ljudskog tijela

with all its organs and circulatory systems, like at school.

sa svim organima i krvožilnim sustavom, kao u školi.

And suddenly you think of architecture no longer as built substance,

I odjednom ne mislite o arhitekturi kao o sagrađenoj materiji,

but as an organism, as a life form.

nego kao o organizmu, obliku života.

And as you start to dissect this organism,

I kako počinjete secirati ovaj organizam,

you can identify a series of primary technical clusters --

identificirate niz primarnih tehničkih grupa --

program production, broadcasting center and news.

produkcija programa, centar za emitiranje i vijesti.

Those are tightly intertwined with social clusters:

Oni su usko isprepleteni s društvenim grupama:

meeting rooms, canteens, chat areas --

sobe za sastanke, kantine, dnevni boravci --

informal spaces for people to meet and exchange.

neformalni prostori za sastajanje ljudi i razmjenu.

So the organizational structure of this building was a hybrid

Organizacijska struktura ove građevine je bila hibrid

between the technical and the social,

između tehničke i društvene,

the human and the performative.

ljudske i izvedbene.

And of course, we used the loop of the building as a circulatory system,

I naravno, iskoristili smo petlju zgrade kao krvožilni sustav,

to thread everything together and to allow both visitors and staff

da nanižemo sve zajedno i dopustimo i posjetiocima i osoblju

to experience all these different functions in a great unity.

da iskuse sve ove drukčije funkcije u velikom zajedništvu.

With 473,000 square meters,

Sa 473 000 kvadratnih metara,

it is one of the largest buildings ever built in the world.

ovo je jedna od najvećih zgrada ikad sagrađenih na svijetu.

It has a population of over 10,000 people,

Ima populaciju preko 10 000 ljudi,

and of course, this is a scale that exceeds the comprehension

i naravno, ovo je razmjer koji premašuje poimanje

of many things and the scale of typical architecture.

mnoštva stvari i razmjer tipične arhitekture.

So we stopped work for a while

Tako da smo prestali raditi nakratko

and sat down and cut 10,000 little sticks and glued them onto a model,

i sjeli i izrezali 10 000 malih štapića i zalijepili ih u model,

just simply to confront ourselves with what that quantity actually meant.

samo da se suočimo s tim što ta količina zapravo znači.

But of course, it's not a number,

Naravno, to nije broj,

it is the people, it is a community that inhabits the building,

već ljudi, zajednica koja nastanjuje ovu zgradu,

and in order to both comprehend this, but also script this architecture,

i da bi shvatili ovo, ali i napravili rukopis za arhitekturu,

we identified five characters, hypothetical characters,

identificirali smo pet likova, hipotetskih likova,

and we followed them throughout their day in a life in this building,

i pratili ih tijekom dana u životu ove građevine,

thought of where they would meet, what they would experience.

smišljali gdje bi se sreli, što bi iskusili.

So it was a way to script and design the building, but of course,

To je bio način da režiramo i dizajniramo zgradu, no naravno,

also to communicate its experiences.

i da prenesemo njena iskustva.

This was part of an exhibition with the Museum of Modern Art

Ovo je bio dio izložbe u Muzeju moderne umjetnosti

in both New York and Beijing.

u New Yorku i Pekingu.

This is the main broadcast control room,

Ovo je glavna kontrolna prostorija za emitiranje,

a technical installation so large,

tehnička instalacija toliko velika,

it can broadcast over 200 channels simultaneously.

da može emitirati preko 200 kanala istovremeno.

And this is how the building stands in Beijing today.

A ovo je kako zgrada izgleda danas u Pekingu.

Its first broadcast live was the London Olympics 2012,

Prvo emitiranje uživo su bile Olimpijske igre u Londonu 2012,

after it had been completed from the outside for the Beijing Olympics.

nakon što je završena izvana za Olimpijadu u Pekingu.

And you can see at the very tip of this 75-meter cantilever,

Možete vidjeti na na samom vrhu 75 metara visoke grede,

those three little circles.

ove tri male kružnice.

And they're indeed part of a public loop that goes through the building.

Oni su uistinu dio javne petlje koja ide kroz zgradu.

They're a piece of glass that you can stand on

To su komadi stakla na kojima možete stajati

and watch the city pass by below you in slow motion.

i gledati kako grad diše ispod vas u usporenom ritmu.

The building has become part of everyday life in Beijing.

Građevina je postala dio svakodnevnog života u Pekingu.

It is there.

Ondje je.

It has also become a very popular backdrop

Također, postala je veoma popularno mjesto

for wedding photography.

za fotografije s vjenčanja.

(Laughter)

(Smijeh)

But its most important moment is maybe sill this one.

No, najvažniji trenutak je vjerojatno još uvijek ovaj.

"That's Beijing" is similar to "Time Out,"

"That's Beijing" je sličan "Time Out-u"

a magazine that broadcasts what is happening in town during the week,

časopisu koji pokriva događanja u gradu tijekom tjedna,

and suddenly you see the building portrayed no longer as physical matter,

i odjednom vidite zgradu prikazanu ne kao fizički objekt,

but actually as an urban actor,

nego kao, zapravo, urbani sudionik,

as part of a series of personas that define the life of the city.

kao dio niza persona koje definiraju život grada.

So architecture suddenly assumes the quality of a player,

Arhitektura odjednom poprima kvalitetu igrača,

of something that writes stories and performs stories.

nečega što piše priče i izvodi te priče.

And I think that could be one of its primary meanings

Ja mislim da bi to mogla biti jedno od primarnih značenja

that we believe in.

u koje vjerujemo.

But of course, there's another story to this building.

No, naravno, postoji druga priča ove građevine.

It is the story of the people that made it --

To je priča ljudi koji su ju napravili --

400 engineers and architects that I was guiding

400 inženjera i arhitekata koje sam vodio

over almost a decade of collaborative work

preko gotovo desetljeća zajedničkog rada

that we spent together in scripting this building,

koje smo proveli zajedno u pravljenju ove zgrade,

in imagining its reality

u zamišljanju njene stvarnosti

and ultimately getting it built in China.

i konačno sagradnje u Kini.

This is a residential development in Singapore, large scale.

Ovo je stambeni razvoj u Singapuru, u velikom razmjeru.

If we look at Singapore like most of Asia and more and more of the world,

Ako pogledamo Singapur kao ostatak Azije i sve više dijelova svijeta,

of course, it is dominated by the tower,

naravno, dominiraju tornjevi,

a typology that indeed creates more isolation than connectedness,

tipologija koja stvara izolaciju, a ne povezanost,

and I wanted to ask, how could we think about living,

i pitao sam se, kako da razmišljamo o življenju,

not only in terms of the privacy and individuality of ourselves

ne samo u smislu privatnosti i naše individualnosti

and our apartment,

i našeg stana,

but in an idea of a collective?

nego kao o ideji kolektiva?

How could we think about creating a communal environment

Kako možemo razmišljati o stvaranju zajedničkog okružja

in which sharing things was as great as having your own?

u kojem je dijeljenje stvari jednako odlično kao i posjedovanje vlastitih?

The typical answer to the question -- we had to design 1,040 apartments --

Tipični odgovor na to pitanje -- morali smo dizajnirali 1040 stanova --

would have looked like this:

bi izgledao ovako:

24-story height limit given by the planning authorities,

24-katno ograničenje visine koje su nam dali vlasti,

12 towers with nothing but residual in between --

12 tornjeva s ničim osim ostataka u sredini --

a very tight system that, although the tower isolates you,

vrlo tijesan sustav koji osim što vas izolira,

it doesn't even give you privacy, because you're so close to the next one,

ne dopušta ni privatnost, jer ste preblizu jedni drugima,

that it is very questionable what the qualities of this would be.

vrlo je upitna kakva će biti kvaliteta ovoga.

So I proposed to topple the towers, throw the vertical into the horizontal

Tako da sam predložio srušiti tornjeve, pretvoriti vertikalu u horizontalu

and stack them up,

i poslagati ih,

and what looks a bit random from the side,

što izgleda nasumično sa strane,

if you look from the viewpoint of the helicopter,

ako pogledate iz gledišta helikoptera,

you can see its organizational structure is actually a hexagonal grid,

možete vidjeti da je organizacijska struktura zapravo šesterokutna mreža,

in which these horizontal building blocks are stacked up

u kojoj su ovi horizontalni blokovi poslagani

to create huge outdoor courtyards -- central spaces for the community,

da tvore ogromna vanjska dvorišta -- središnji prostor za zajednicu,

programmed with a variety of amenities and functions.

programiran s različitim sadržajima i funkcijama.

And you see that these courtyards are not hermetically sealed spaces.

I vidite da ova dvorišta nisu hermetički zatvoreni prostori.

They're open, permeable; they're interconnected.

Otvoreni su, propusni; međusobno povezani.

We called the project "The Interlace,"

Projekt smo nazvali "Prepletanje,"

thinking that we interlace and interconnect

sa mišlju da isprepletemo i međusobno povežemo

the human beings and the spaces alike.

ljudska bića i prostore.

And the detailed quality of everything we designed

Detaljna kvaliteta svega što smo dizajnirali

was about animating the space and giving the space to the inhabitants.

se radi o animaciji prostora i pružanja prostora stanarima.

And, in fact, it was a system

Ustvari, to je sustav

where we would layer primarily communal spaces,

gdje bi prvo stavili sloj javnih prostora,

stacked to more and more individual and private spaces.

te slagali sve više individualnih i privatnih prostora.

So we would open up a spectrum

Tako da bi otvorili spektar

between the collective and the individual.

između kolektivnog i individualnog.

A little piece of math:

Malo matematike:

if we count all the green that we left on the ground,

ako izbrojimo svo zelenilo koje smo ostavili na tlu,

minus the footprint of the buildings,

minus otisak zgrada,

and we would add back the green of all the terraces,

i ako dodamo natrag svo zelenilo terasa,

we have 112 percent green space,

imamo 112 posto zelene površine,

so more nature than not having built a building.

prema tome više prirode nego da nismo sagradili zgradu.

And of course this little piece of math shows you that we are multiplying

I naravno, ovo malo matematike nam pokazuje da umnožavamo

the space available to those who live there.

prostor dostupan za život ondje.

This is, in fact, the 13th floor of one of these terraces.

Ovo je, zapravo, 13. kat jedne od ovih terasa.

So you see new datum planes, new grounds planes for social activity.

Vidite nove ravnine, novo tlo za društvene aktivnosti.

We paid a lot of attention to sustainability.

Obratili smo mnogo pozornosti na održivost.

In the tropics, the sun is the most important thing to pay attention to,

U tropskim krajevima, sunce je najbitnija stvar na koju treba obratiti pozornost,

and, in fact, it is seeking protection from the sun.

i, zapravo, traži zaštitu od sunca.

We first proved that all apartments would have sufficient daylight

Prvo smo dokazali da će svi stanovi imati dovoljno dnevne svjetlosti

through the year.

tijekom godine.

We then went on to optimize the glazing of the facades

Onda smo krenuli na optimiranje ostakljenja fasada

to minimize the energy consumption of the building.

da bi smanjili potrošnju energije zgrade na minimum.

But most importantly, we could prove that through the geometry

No, najbitnije je da smo pokazali da kroz geometriju

of the building design,

dizajna zgrade,

the building itself would provide sufficient shading to the courtyards

sama zgrada pruža dovoljno hlada dvorištima

so that those would be usable throughout the entire year.

tako da se mogu koristiti tijekom cijele godine.

We further placed water bodies along the prevailing wind corridors,

Zatim smo postavili vodena tijela uz prevladavajuće kanale zraka,

so that evaporative cooling would create microclimates

tako da isparavajuće hlađenje stvara mikroklimu

that, again, would enhance the quality of those spaces

što, opet, povećava kvalitetu ovih prostora

available for the inhabitants.

dostupnih za stanare.

And it was the idea of creating this variety of choices,

Ideja za stvaranje ove raznovrsnosti izbora,

of freedom to think where you would want to be,

slobode da razmislite gdje želite biti,

where you would want to escape, maybe,

gdje želite pobjeći, možda,

within the own complexity of the complex in which you live.

unutar složenosti kompleksa u kojem živite.

But coming from Asia to Europe:

No iz Azije u Europu je došla:

a building for a German media company based in Berlin,

zgrada za njemačku medijsku tvrtku iz Berlina,

transitioning from the traditional print media to the digital media.

prelazeći iz tradicionalnog medija koji printa u digitalni medij.

And its CEO asked a few very pertinent questions:

Njihov CEO je postavio par značajnih pitanja:

Why would anyone today still want to go to the office,

Zašto bi itko još uvijek htio ići u ured,

because you can actually work anywhere?

jer zapravo možeš raditi bilo gdje?

And how could a digital identity of a company be embodied

I kako se digitalni identitet tvrtke može utjeloviti

in a building?

u zgradu?

We created not only an object, but at the center of this object

Stvorili smo ne samo objekt, nego u središtu ovog objekta

we created a giant space,

smo stvorili ogroman prostor,

and this space was about the experience of a collective,

ovaj prostor se radi o iskustvu zajednice,

the experience of collaboration and of togetherness.

iskustvu suradnje i zajedništva.

Communication, interaction as the center of a space

Komunikacija, interakcija kao središte ovog prostora

that in itself would float,

koji pluta,

like what we call the collaborative cloud,

ono što nazivamo suradnički oblak,

in the middle of the building,

u središtu zgrade,

surrounded by an envelope of standard modular offices.

okružen omotom standardnih modularnih ureda.

So with only a few steps from your quiet work desk,

Tako da sa samo par koraka od svog mirnog radnog stola,

you could participate in the giant collective experience

možete sudjelovati u ogromnom kolektivnom iskustvu

of the central space.

središnjeg prostora.

Finally, we come to London, a project commissioned

Konačno, došli smo u London, do projekta koji je naručila

by the London Legacy Development Corporation

Londonska korporacija za razvoj nasljeđa

of the Mayor of London.

gradonačelnika Londona.

We were asked to undertake a study

Trebali smo provesti studiju

and investigate the potential of a site

i istražiti potencijal položaja

out in Stratford in the Olympic Park.

u Stratfordu u Olimpijskom parku.

In the 19th century, Prince Albert had created Albertopolis.

U 19. stoljeću, princ Albert je napravio Albertopolis.

And Boris Johnson thought of creating Olympicopolis.

A Boris Johnson je mislio napraviti Olympicopolis.

The idea was to bring together some of Britain's greatest institutions,

Ideja je bila povezati neke od najboljih britanskih institucija,

some international ones, and to create a new system of synergies.

neke internacionalne i stvoriti novi sustav sinergija.

Prince Albert, as yet, created Albertopolis in the 19th century,

Princ Albert je sagradio Albertopolis u 19. stoljeću,

thought of showcasing all achievements of mankind,

mislio je prikazati sva postignuća čovječanstva,

bringing arts and science closer together.

približiti umjetnost i znanost.

And he built Exhibition Road, a linear sequence of those institutions.

Te je izgradio Ulicu izložbe, linearni slijed tih institucija.

But of course, today's society has moved on from there.

No naravno, današnje društvo je napredovalo odatle.

We no longer live in a world

Više ne živimo u svijetu

in which everything is as clearly delineated

u kojem je sve jasno ocrtano

or separated from each other.

ili odvojeno jedno od drugog.

We live in a world in which boundaries start to blur

Živimo u svijetu u kojem se granice između pojedinih domena

between the different domains,

počinju zamagljivati,

and in which collaboration and interaction becomes far more important

i u kojem suradnja i interakcija postaju važniji

than keeping separations.

od održavanja razdvojenosti.

So we wanted to think of a giant culture machine,

Pa sam htio smisliti ogromni kulturni stroj,

a building that would orchestrate and animate the various domains,

zgradu koja bi upravljala i pokretala različite domene,

but allow them to interact and collaborate.

no dopuštala im da međusobno djeluju i surađuju.

At the base of it is a very simple module,

U temelju je veoma jednostavan modul,

a ring module.

prstenasti modul.

It can function as a double-loaded corridor, has daylight, has ventilation.

Može djelovati kao dvostruki hodnik, ima pristup dnevnom svjetlu, ima ventilaciju.

It can be glazed over

Može se zamagliti

and turned into a giant exhibitional performance space.

i pretvoriti u ogromni izložbeni prostor za izvođenje.

These modules were stacked together

Ovi moduli su poslagani zajedno

with the idea that almost any function could, over time,

uz ideju da gotovo sve funkcije mogu, tijekom vremena,

occupy any of these modules.

zauzeti bilo koji od tih modula.

So institutions could shrink or contract,

Tako da se institucije mogu smanjiti ili skupiti,

as, of course, the future of culture is, in a way, the most uncertain of all.

jer je, naravno, budućnost kulture, na neki način, najnesigurnija.

This is how the building sits, adjacent to the Aquatics Centre,

Ovako zgrada stoji, susjedno Centru za vodene sportove,

opposite the Olympic Stadium.

nasuprot Olimpijskom stadionu.

And you can see how its cantilevering volumes

I možete vidjeti kako se noseći volumen

project out and engage the public space

projicira i uključuje javni prostor

and how its courtyards animate the public inside.

i kako dvorišta animiraju javnost unutra.

The idea was to create a complex system

Ideja je bila stvoriti složen sustav

in which institutional entities could maintain their own identity,

u kojem institucionalni entiteti mogu zadržati svoj vlastiti identitet,

in which they would not be subsumed in a singular volume.

u kojem se neće svesti na pojedinačni volumen.

Here's a scale comparison to the Centre Pompidou in Paris.

Ovo je razmjer za usporedbu s centrom Pompidou u Parizu.

It both shows the enormous scale and potential of the project,

Istovremeno pokazuje ogromni razmjer i potencijal projekta,

but also the difference:

no, također, i razliku:

here, it is a multiplicity of a heterogeneous structure,

to je raznovrsnost heterogene strukture,

in which different entities can interact

u kojoj različiti entiteti stupaju u interakciju

without losing their own identity.

bez gubitka vlastitog identiteta.

And it was this thought: to create an organizational structure

Ovo je bila misao: stvoriti organizacijsku strukturu

that would allow for multiple narratives to be scripted --

koja omogućuje višestruke priče --

for those in the educational parts that create and think culture;

za one u obrazovnim dijelovima koji stvaraju i misle o kulturi;

for those that present the visual arts, the dance;

za one koji predstavljaju vizualne umjetnosti, ples;

and for the public to be admitted into all of this

i za gledatelje da se propuste u sve ovo

with a series of possible trajectories,

s nizom mogućih putanja,

to script their own reading of these narratives

da naprave vlastiti rukopis ovih priča

and their own experience.

i vlastitih iskustava.

And I want to end on a project that is very small,

Želim završiti na projektu koji je veoma mali,

in a way, very different:

i na neki način veoma drukčiji:

a floating cinema in the ocean of Thailand.

plutajuća kino dvorana u oceanu na Tajlandu.

Friends of mine had founded a film festival,

Moj prijatelj je osnovao filmski festival,

and I thought,

i pomislio sam,

if we think of the stories and narratives of movies,

ako razmislimo o pričama i pripovijestima u filmovima,

we should also think of the narratives of the people that watch them.

trebamo, također, razmisliti o pričama ljudi koji ih gledaju.

So I designed a small modular floating platform,

Tako da sam dizajnirao malu modularnu plutajuću platformu,

based on the techniques of local fishermen,

temeljenu na tehnikama lokalnih ribara,

how they built their lobster and fish farms.

kako su sagradili svoje farme jastoga i riba.

We collaborated with the local community

Surađivali smo s lokalnom zajednicom

and built, out of recycled materials of their own,

i sagradili od recikliranih materijala,

this fantastical floating platform

ovu fantastičnu plutajuću platformu

that gently moved in the ocean

koja se nježno kreće u oceanu

as we watched films from the British film archive,

dok gledamo filmove iz britanske arhive.

[1903] "Alice in Wonderland," for example.

[1904] "Alisa u zemlji čudesa," na primjer.

The most primordial experiences of the audience

Najiskonskije iskustvo gledaoca

merged with the stories of the movies.

stopljeno s pričom filmova.

So I believe that architecture exceeds the domain of physical matter,

Vjerujem da arhitektura premašuje domene fizičke materije.

of the built environment,

izgrađenog okoliša,

but is really about how we want to live our lives,

radi se o tome kako želimo živjeti svoje živote,

how we script our own stories and those of others.

kako upravljamo vlastitim pričama i pričama drugih.

Thank you.

Hvala vam.

(Applause)

(Pljesak)