Liz Diller: A giant bubble for debate

40,562 views ใƒป 2012-04-30

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Orr Schlesinger
00:15
We conventionally divide space
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ืื ื—ื ื• ื‘ื“ืจืš ื›ืœืœ ืžื—ืœืงื™ื ื—ืœืœื™ื
00:18
into private and public realms,
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ืœืื–ื•ืจื™ื ืคืจื˜ื™ื™ื ื•ืฆื™ื‘ื•ืจื™ื™ื,
00:20
and we know these legal distinctions very well
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ื•ืื ื—ื ื• ื™ื•ื“ืขื™ื ืืช ื”ื”ื‘ื“ืœื™ื ื”ืžืฉืคื˜ื™ื™ื ื”ื™ื˜ื‘
00:23
because we've become experts
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ืžืคื ื™ ืฉื”ืคื›ื ื• ืœืžื•ืžื—ื™ื
00:25
at protecting our private property and private space.
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ื‘ื”ื’ื ื” ืขืœ ื”ืจื›ื•ืฉ ื•ื”ืžืจื—ื‘ ื”ืคืจื˜ื™ ืฉืœื ื•.
00:29
But we're less attuned
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ืื‘ืœ ืื ื—ื ื• ืคื—ื•ืช ืžื—ื•ื‘ืจื™ื
00:31
to the nuances of the public.
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ืœื“ืงื•ื™ื•ืช ืฉืœ ื”ืฆื™ื‘ื•ืจ.
00:34
What translates generic public space into qualitative space?
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ืžื” ื”ื•ืคืš ืžืจื—ื‘ ืฆื™ื‘ื•ืจื™ ืจื’ื™ืœ ื—ืžืจื—ื‘ ืื™ื›ื•ืชื™?
00:38
I mean, this is something
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ืื ื™ ืžืชื›ื•ื•ื ืช, ื–ื” ืžืฉื”ื•
00:40
that our studio has been working on
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ืฉื”ืกื˜ื•ื“ื™ื• ืฉืœื ื• ืขื‘ื“ ืขืœื™ื•
00:42
for the past decade.
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ื‘ืขืฉื•ืจ ื”ืื—ืจื•ืŸ.
00:43
And we're doing this through some case studies.
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ื•ืื ื—ื ื• ืขื•ืฉื™ื ืืช ื–ื” ื“ืจืš ืžืงืจื™ ืžื—ืงืจ.
00:45
A large chunk of our work
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ื—ืœืง ื’ื“ื•ืœ ืฉืœ ื”ืขื‘ื•ื“ื” ืฉืœื ื•
00:47
has been put into transforming
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ื ื›ื ืก ืœื”ืคื™ื›ืช
00:48
this neglected industrial ruin
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ื”ื—ื•ืจื‘ื” ื”ืชืขืฉื™ื™ืชื™ืช ื”ื–ื•
00:51
into a viable post-industrial space
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ืœืžืจื—ื‘ ืคื•ืกื˜ ืชืขืฉื™ืชื™ ื ื’ื™ืฉ
00:54
that looks forward and backward
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ืฉืžื‘ื™ื˜ ืงื“ื™ืžื” ื•ืื—ื•ืจื”
ื‘ืื•ืชื• ื”ื–ืžืŸ.
00:56
at the same time.
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ื•ื—ืœืง ื’ื“ื•ืœ ืื—ืจ ืฉืœ ื”ืขื‘ื•ื“ื” ืฉืœื ื•
00:57
And another huge chunk of our work
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01:00
has gone into making relevant
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ื”ืœืš ืœื”ืคื™ื›ืช ืืชืจ ืœืจืœื•ื•ื ื˜ื™
01:02
a site that's grown out of sync with its time.
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ืฉืื™ื‘ื“ ืืช ื”ืงืฉืจ ืฉืœื• ืœื–ืžืŸ.
01:04
We've been working on democratizing Lincoln Center
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ืขื‘ื“ื ื• ืขืœ ืœื”ืคื•ืš ืืช ื›ื™ื›ืจ ืœื™ื ืงื•ืœืŸ ืœื“ืžื•ืงืจื˜ื™ืช
01:07
for a public that doesn't usually have $300
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ืœืฆื™ื‘ื•ืจ ืฉื‘ื“ืจืš ื›ืœืœ ืื™ืŸ ืœื• 300$
01:11
to spend on an opera ticket.
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ืœื”ื•ืฆื™ื ืขืœ ื›ืจื˜ื™ืก ืœืื•ืคืจื”.
01:15
So we've been eating, drinking,
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ืื– ืื›ืœื ื•, ืฉืชื™ื ื•,
01:16
thinking, living public space
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ื—ืฉื‘ื ื•, ื—ื™ื™ื ื• ืžืจื—ื‘ ืฆื™ื‘ื•ืจื™
01:19
for quite a long time.
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ื›ื‘ืจ ื“ื™ ื”ืจื‘ื” ื–ืžืŸ.
01:21
And it's taught us really one thing,
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ื•ื–ื” ืœื™ืžื“ ืื•ืชื ื• ื‘ืืžืช ืจืง ื“ื‘ืจ ืื—ื“,
01:23
and that is to truly make good public space,
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ื•ื–ื” ื‘ืืžืช ืœื™ืฆื•ืจ ืžืจื—ื‘ื™ื ืฆื™ื‘ื•ืจื™ื™ื ื˜ื•ื‘ื™ื,
01:27
you have to erase the distinctions
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ื—ื™ื™ื‘ื™ื ืœืžื—ื•ืง ืืช ื”ื”ื‘ื—ื ื•ืช
01:30
between architecture, urbanism,
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ื‘ื™ืŸ ืืจื›ื™ื˜ืงื˜ื•ืจื”, ืื•ืจื‘ื ื™ื•ืช,
01:33
landscape, media design
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ื ื•ืฃ, ืขื™ืฆื•ื‘ ืžื“ื™ื”
01:35
and so on.
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ื•ืขื•ื“.
01:36
It really goes beyond distinction.
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ื–ื” ื‘ืืžืช ื”ื•ืœืš ืžืขื‘ืจ ืœื”ื‘ื—ื ื•ืช.
01:38
Now we're moving onto Washington, D.C.
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ืขื›ืฉื™ื• ืื ื—ื ื• ืขื•ื‘ืจื™ื ืœืชื•ืš ื•ื•ืฉื™ื ื’ื˜ื•ืŸ,
01:41
and we're working on another transformation,
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ื•ืื ื—ื ื• ืขื•ื‘ื“ื™ื ืขืœ ืžื”ืคืš ืื—ืจ,
01:44
and that is for the existing Hirshhorn Museum
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ื•ื–ื” ืœืžื•ื–ืื•ืŸ ื”ื™ืจืฉื”ื•ืจืŸ ื”ืงื™ื™ื
01:46
that's sited
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ืฉืžืžื•ืงื
01:48
on the most revered public space in America,
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ื‘ืžืจื—ื‘ ื”ืฆื™ื‘ื•ืจื™ ื”ื›ื™ ืžื•ืขืจืš ื‘ืืžืจื™ืงื”,
01:50
the National Mall.
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ื ืฉื™ื•ื ืœ ืžื•ืœ.
01:53
The Mall is a symbol
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ื”ืžื•ืœ ื”ื•ื ืกื™ืžืŸ
01:55
of American democracy.
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ืฉืœ ื”ื“ืžื•ืงืจื˜ื™ื” ื”ืืžืจื™ืงืื™ืช.
01:58
And what's fantastic is that this symbol
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ื•ืžื” ืฉืคื ื˜ืกื˜ื™ ื”ื•ื ืฉื”ืกืžืœ ื”ื–ื”
02:01
is not a thing, it's not an image,
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ื”ื•ื ืœื ื“ื‘ืจ, ื”ื•ื ืœื ืชืžื•ื ื”,
02:03
it's not an artifact,
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ื–ื” ืœื ืคืจื™ื˜,
02:05
actually it's a space,
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ืœืžืขืฉื” ื–ื” ื—ืœืœ,
02:06
and it's kind of just defined by a line of buildings
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ื•ื”ื•ื ืžื•ื’ื“ืจ ืขืœ ื™ื“ื™ ืฉื•ืจืช ื‘ื ื™ื™ื ื™ื
02:09
on either side.
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ื‘ื›ืœ ืฆื“.
02:11
It's a space where citizens can voice their discontent
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ื–ื” ืžืจื—ื‘ ื‘ื• ืื–ืจื—ื™ื ื™ื›ื•ืœื™ื ืœื”ื‘ื™ืข ืืช ื—ื•ืกืจ ืฉื‘ื™ืขื•ืช ืจืฆื•ื ื
02:15
and show their power.
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ื•ืœื”ืจืื•ืช ืืช ื›ื•ื—ื.
02:16
It's a place where pivotal moments in American history
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ื–ื” ืžืงื•ื ื‘ื• ืจื’ืขื™ื ืžื›ืจื™ืขื™ื ื‘ื”ืกื˜ื•ืจื™ื” ื”ืืžืจื™ืงืื™ืช
02:19
have taken place.
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ืงืจื•.
02:21
And they're inscribed in there forever --
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ื•ื”ื ื—ืจื•ื˜ื™ื ืฉื ืœืขื•ืœื --
02:24
like the march on Washington for jobs and freedom
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ื›ืžื• ื”ืžืฆืขื“ ืขืœ ื•ื•ืฉื™ื ื’ื˜ื•ืŸ ืœืžืฉืจื•ืช ื•ื—ื•ืคืฉ
02:26
and the great speech that Martin Luther King gave there.
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ื•ื”ื ืื•ื ื”ื’ื“ื•ืœ ืฉืžืจื˜ื™ืŸ ืœื•ืชืจ ืงื™ื ื’ ื ืฉื ืฉื.
02:29
The Vietnam protests, the commemoration of all that died
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ืžื—ืืช ื•ื™ืื˜ื ืื, ื”ื–ื™ื›ืจื•ืŸ ืฉืœ ื›ืœ ืืœื” ืฉืžืชื•
02:33
in the pandemic of AIDS,
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ืžืžื’ืคืช ื”ืื™ื™ื“ืก,
02:36
the march for women's reproductive rights,
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ื”ืžืฆืขื“ ืœื–ื›ื•ื™ื•ืช ื”ื”ืชืจื‘ื•ืช ืฉืœ ื ืฉื™ื,
02:38
right up until almost the present.
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ืขื“ ื›ืžืขื˜ ืœื”ื•ื•ื”,
02:42
The Mall is the greatest civic stage
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ื”ืžื•ืœ ื”ื•ื ื”ื‘ืžื” ื”ืื–ืจื—ื™ืช ื”ื’ื“ื•ืœื” ื‘ื™ื•ืชืจ
02:45
in this country for dissent.
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ื‘ืืจืฅ ื”ื–ื• ืœืžื—ืœื•ืงื•ืช.
02:48
And it's synonymous with free speech,
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ื•ื”ื•ื ืžื™ืœื” ื ืจื“ืคืช ืœื—ื•ืคืฉ ื”ื“ื™ื‘ื•ืจ,
02:52
even if you're not sure what it is that you have to say.
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ืืคื™ืœื• ืื ืืชื ืœื ื™ื•ื“ืขื™ื ืžื” ื™ืฉ ืœื›ื ืœื”ื’ื™ื“.
02:55
It may just be a place for civic commiseration.
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ืื•ืœื™ ื–ื” ืจืง ืžืงื•ื ืœื ื™ื—ื•ืžื™ื ืฆื™ื‘ื•ืจื™ื™ื.
03:00
There is a huge disconnect, we believe,
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ื™ืฉ ื ืชืง ื’ื“ื•ืœ, ืื ื—ื ื• ืžืืžื™ื ื™ื,
03:04
between the communicative and discursive space of the Mall
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ื‘ื™ืŸ ื”ื—ืœืœ ื”ืžืชืงืฉืจ ืฉืงื•ืคืฅ ืžื ื•ืฉื ืœื ื•ืฉื ืฉืœ ื”ืžื•ืœ
03:08
and the museums that line it to either side.
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ื•ื”ืžื•ื–ืื•ื ื™ื ืฉื ืžืฆืื™ื ืžืฉื ื™ ืฆื“ื“ื™ื•.
03:12
And that is that those museums are usually passive,
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ื•ื–ื” ื ื•ื‘ืข ืžื”ืขื•ื‘ื“ื” ืฉื”ืžื•ื–ืื•ื ื™ื ื”ืืœื” ื‘ื“ืจืš ื›ืœืœ ืคืกื™ื‘ื™ื™ื,
03:15
they have passive relationships between the museum
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ื™ืฉ ืœื”ื ื™ื—ืกื™ื ืคืกื™ื‘ื™ื™ื ื‘ื™ืŸ ื”ืžื•ื–ืื•ื ื™ื
03:19
as the presenter and the audience,
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ื›ืžืฆื™ื’ ื•ื”ืงื”ืœ,
03:20
as the receiver of information.
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ื›ืžืงื‘ืœ ื”ืžื™ื“ืข.
03:23
And so you can see dinosaurs
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ืื– ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ื“ื™ื ื•ื–ืื•ืจื™ื
03:24
and insects and collections of locomotives
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ื•ื—ืจืงื™ื ื•ืื•ืกืคื™ื ืฉืœ ืงื˜ืจื™ื
03:29
and all of that,
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ื•ื›ืœ ื–ื”,
03:30
but you're really not involved;
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ืื‘ืœ ืืชื ืœื ื‘ืืžืช ืžืขื•ืจื‘ื™ื;
03:31
you're being talked to.
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ืžื“ื‘ืจื™ื ืืœื™ื›ื.
03:33
When Richard Koshalek took over as director of the Hirshhorn
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ื›ืฉืจื™ืฆ'ืจื“ ืงื•ืฉืœืง ืœืงื— ืขืœ ืขืฆืžื• ืืช ื ื™ื”ื•ืœ ื”ื”ื™ืจืฉื”ื•ืจืŸ
03:38
in 2009,
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ื‘ 2009,
03:40
he was determined to take advantage
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ื”ื•ื ื”ื™ื” ื ื—ื•ืฉ ืœื ืฆืœ
03:42
of the fact that this museum was sited
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ืืช ื”ืขื•ื‘ื“ื” ืฉื”ืžื•ื–ืื•ืŸ ื”ื–ื” ื”ื™ื” ืžืžื•ืงื
03:45
at the most unique place:
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ื‘ืžืงื•ื ื”ื›ื™ ื™ื—ื•ื“ื™:
03:47
at the seat of power in the U.S.
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ืžื•ืฉื‘ ื”ื›ื•ื— ืฉืœ ืืจื”"ื‘
03:49
And while art and politics
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ื•ื‘ืขื•ื“ ืฉืื•ืžื ื•ืช ื•ืคื•ืœื™ื˜ื™ืงื”
03:51
are inherently and implicitly together always and all the time,
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ืžื™ืกื•ื“ื ื•ืœื—ืœื•ื˜ื™ืŸ ื™ื—ื“ ืชืžื™ื“ ื•ื›ืœ ื”ื–ืžืŸ,
03:57
there could be some very special relationship
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ื™ื›ื•ืœื™ื ืœื”ื™ื•ืช ื™ื—ืกื™ื ืžื™ื•ื—ื“ื™ื
04:01
that could be forged here in its uniqueness.
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ืฉื™ื›ื•ืœื™ื ืœื”ืชื—ืฉืœ ืคื” ื‘ื™ื—ื•ื“ ื”ื–ื”.
04:05
The question is, is it possible ultimately
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ื”ืฉืืœื” ื”ื™ื, ื”ืื ื–ื” ืืคืฉืจื™ ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ
04:07
for art to insert itself
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ืœืื•ืžื ื•ืช ืœื”ื—ื“ื™ืจ ืืช ืขืฆืžื”
04:09
into the dialogue of national and world affairs?
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ืœืชื•ืš ื”ื“ื™ืืœื•ื’ ืฉืœ ื™ื—ืกื™ื ืœืื•ืžื™ื™ื ื•ืขื•ืœืžื™ื™ื?
04:12
And could the museum be an agent of cultural diplomacy?
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ื•ื”ืื ื”ืžื•ื–ืื•ื ื™ื ื™ื›ื•ืœื™ื ืœื”ื™ื•ืช ืกื•ื›ื ื™ื ืฉืœ ื“ื™ืคืœื•ืžื˜ื™ื” ืชืจื‘ื•ืชื™ืช?
04:16
There are over 180 embassies in Washington D.C.
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ื™ืฉ ื™ื•ืชืจ ืž 180 ืฉื’ืจื™ืจื•ื™ื•ืช ื‘ื•ื•ืฉื™ื ื’ื˜ื•ืŸ.
04:21
There are over 500 think tanks.
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ื™ืฉ ื™ื•ืชืจ ืž 500 ื—ื‘ื•ืจื•ืช ื—ืฉื™ื‘ื”.
04:24
There should be a way
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ืฆืจื™ื›ื” ืœื”ื™ื•ืช ื“ืจืš
04:26
of harnessing all of that intellectual and global energy
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ืœื ืฆืœ ืืช ื›ืœ ื”ืื™ื ื˜ืœืงื˜ ื•ืื ืจื’ื™ื” ื’ืœื•ื‘ืœื™ืช
04:28
into, and somehow through, the museum.
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ืœืชื•ืš, ื•ืื™ืš ืฉื”ื• ื“ืจืš, ื”ืžื•ื–ืื•ืŸ.
04:31
There should be some kind of brain trust.
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ืฆืจื™ืš ืœื”ื™ื•ืช ืื™ื–ื” ืฉื”ื•ื ืžืื’ืจ ืžื•ื—ื•ืช.
04:34
So the Hirshhorn, as we began to think about it,
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ืื– ื”ื”ื™ืจืฉื”ื•ืจืŸ, ื›ืฉื”ืชื—ืœื ื• ืœื—ืฉื•ื‘ ืขืœ ื–ื”,
04:37
and as we evolved the mission,
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ื•ืฉืคื™ืชื—ื ื• ืืช ื”ืžืฉื™ืžื”,
04:39
with Richard and his team --
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ืขื ืจื™ืฆ'ืืจื“ ื•ื”ืฆื•ื•ืช ืฉืœื• --
04:41
it's really his life blood.
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ื–ื” ื‘ืืžืช ื”ื—ื™ื™ื ืฉืœื•.
04:43
But beyond exhibiting contemporary art,
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ืื‘ืœ ืžืขื‘ืจ ืœื”ืฆื’ืช ืื•ืžื ื•ืช ืžื•ื“ืจื ื™ืช,
04:48
the Hirshhorn will become a public forum,
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ื”ื”ื™ืจืฉื”ื•ืจืŸ ื™ื”ืคื•ืš ืœืคื•ืจื•ื ืฆื™ื‘ื•ืจื™,
04:50
a place of discourse
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ืžืงื•ื ืœื•ื•ื™ื›ื•ื—
04:52
for issues around arts,
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ืœื ื•ืฉืื™ื ืฉืงืฉื•ืจื™ื ืœืืžื ื•ืช,
04:55
culture, politics and policy.
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ืชืจื‘ื•ืช, ืคื•ืœื™ื˜ื™ืงื” ื•ืžื“ื™ื ื™ื•ืช.
05:00
It would have the global reach of the World Economic Forum.
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ื™ื”ื™ื” ืœื• ืืช ื”ื”ืฉืคืขื” ื”ื’ืœื•ื‘ืœื™ืช ืฉืœ ื”ืคื•ืจื•ื ื”ืืงื•ื ื•ืžื™ ื”ืขื•ืœืžื™.
05:04
It would have the interdisciplinarity of the TED Conference.
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ื™ื”ื™ื” ืœื• ืืช ืจื™ื‘ื•ื™ ื”ืชื—ื•ืžื™ื ืฉืœ TED.
ื™ื”ื™ื” ืœื• ืืช ื—ื•ืกืจ ื”ืจืฉืžื™ื•ืช ืฉืœ ื›ื™ื›ืจ ื”ืขื™ืจ.
05:07
It would have the informality of the town square.
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05:11
And for this new initiative,
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ื•ื‘ืฉื‘ื™ืœ ื”ื™ื•ื–ืžื” ื”ื—ื“ืฉื” ื”ื–ื•,
05:13
the Hirshhorn would have to expand
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ื”ื”ื™ืจืฉื”ื•ืจืŸ ื™ืฆื˜ืจืš ืœื”ืชืจื—ื‘
05:15
or appropriate a site
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ืื• ืœื”ืฉื™ื’ ืืชืจ
05:16
for a contemporary, deployable structure.
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ืœื‘ื ื™ื™ืŸ ื‘ืŸ ื–ืžื ื•, ืฉื™ื›ื•ืœ ืœื”ื™ืขืจืš ืœื›ืš.
05:19
This is it. This is the Hirshhorn --
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ื–ื” ื”ื•ื. ื–ื” ื”ื”ื™ืจืฉื”ื•ืจืŸ --
05:21
so a 230-foot-diameter concrete doughnut
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ื‘ื ื™ื™ืŸ ื‘ืฆื•ืจืช ื“ื•ื ืื˜ ื‘ืงื•ื˜ืจ 80 ืžื˜ืจ ืžื‘ื˜ื•ืŸ
05:24
designed in the early '70s
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ืฉืขื•ืฆื‘ ื‘ืชื—ื™ืœืช ืฉื ื•ืช ื” 70
05:26
by Gordon Bunshaft.
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ืขืœ ื™ื“ื™ ื’ื•ืจื“ื•ืŸ ื‘ื•ื ืฉืคื˜.
05:28
It's hulking, it's silent,
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ื”ื•ื ืžื’ื•ืฉื, ื”ื•ื ื“ื•ืžื,
05:29
it's cloistered, it's arrogant,
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ื”ื•ื ืžืกื•ื’ืจ, ื”ื•ื ืžืชื ืฉื,
05:31
it's a design challenge.
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ื”ื•ื ืืชื’ืจ ืขื™ืฆื•ื‘ื™.
05:33
Architects love to hate it.
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ืื“ืจื™ื›ืœื™ื ืื•ื”ื‘ื™ื ืœืฉื ื•ื ืื•ืชื•.
05:35
One redeeming feature
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ืชื›ื•ื ื” ืžื–ื›ื” ืื—ืช
05:37
is it's lifted up off the ground
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ื”ื™ื ืฉื”ื•ื ืžื•ืจื ืžื”ืงืจืงืข
05:39
and it's got this void,
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ื•ื™ืฉ ืœื• ืืช ื”ื—ืœืœ ื”ื–ื”,
05:40
and it's got an empty core
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ื•ื™ืฉ ืœื• ืœื™ื‘ื” ืจื™ืงื”
05:42
kind of in the spirit and that facade
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ืžืขื™ืŸ ื‘ืจื•ื— ื”ื–ื• ื•ื”ื—ื–ื•ืช
05:45
very much corporate and federal style.
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ื”ืžืื•ื“ ืคื“ืจืœื™ืช ื•ืชืื’ื™ื“ื™ืช.
05:49
And around that space,
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ื•ืžืกื‘ื™ื‘ ืœืžืจื—ื‘ ื”ื–ื”,
05:51
the ring is actually galleries.
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ื”ื˜ื‘ืขืช ื”ื™ื ืœืžืขืฉื” ื’ืœืจื™ื•ืช.
05:52
Very, very difficult to mount shows in there.
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ืžืื•ื“ ืžืื•ื“ ืงืฉื” ืœื”ืงื™ื ื”ื•ืคืขื•ืช ืฉื.
05:55
When the Hirshhorn opened,
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ื›ืฉื”ื”ื™ืจืฉื”ื•ืจืŸ ื ืคืชื—,
05:57
Ada Louise Huxstable, the New York Times critic,
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ืœืื“ื” ืœื•ืื™ืก ื”ืงืกื˜ื‘ืœ, ืžื‘ืงืจืช ื”ื ื™ื• ื™ื•ืจืง ื˜ื™ื™ืžืก,
ื”ื™ื• ื›ืžื” ื‘ื—ื™ืจื•ืช ืžื™ืœื™ื:
05:59
had some choice words:
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06:00
"Neo-penitentiary modern."
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"ื‘ื™ืช ืกื•ื”ืจ ื ื™ืื• ืžื•ื“ืจื ื™."
06:02
"A maimed monument and a maimed Mall
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"ืžืฆื‘ืช ื–ื™ื›ืจื•ืŸ ืคื’ื•ืขื” ื•ืžื•ืœ ืคื’ื•ืข
06:05
for a maimed collection."
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ืœืื•ืกืฃ ืคื’ื•ืข."
06:07
Almost four decades later,
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ื›ืžืขื˜ ืืจื‘ืขื” ืขืฉื•ืจื™ื ืœืื—ืจ ืžื›ืŸ,
06:08
how will this building expand
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ืื™ืš ื”ื‘ื ื™ื™ืŸ ื”ื–ื” ื™ืชืจื—ื‘
06:10
for a new progressive program?
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ืœืชื•ื›ื ื™ืช ื—ื“ืฉื” ืคืจื•ื’ืจืกื™ื‘ื™ืช?
06:12
Where would it go?
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ืœืืŸ ื”ื•ื ื™ืœืš?
06:14
It can't go in the Mall.
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ื”ื•ื ืœื ื™ื›ื•ืœ ืœื”ื›ื ืก ืœืชื•ืš ื”ืžื•ืœ.
06:15
There is no space there.
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ืื™ืŸ ืฉื ืžืงื•ื.
06:16
It can't go in the courtyard.
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ื”ื•ื ืœื ื™ื›ื•ืœ ืœืœื›ืช ืœื—ืฆืจ.
06:18
It's already taken up by landscape and by sculptures.
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ื”ื™ื ื›ื‘ืจ ืชืคื•ืกื” ืขืœ ื™ื“ื™ ื”ืคื™ืชื•ื— ื”ืกื‘ื™ื‘ืชื™ ื•ืคืกืœื™ื.
06:23
Well there's always the hole.
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ื•ื‘ื›ืŸ ืชืžื™ื“ ื™ืฉ ืืช ื”ื—ื•ืจ.
06:24
But how could it take the space of that hole
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ืื‘ืœ ืื™ืš ื ื•ื›ืœ ืœืงื—ืช ืืช ื”ื—ืœืœ ืฉืœ ื”ื—ื•ืจ
06:29
and not be buried in it invisibly?
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ื•ืœื ืœื”ื™ื•ืช ืงื‘ื•ืจื™ื ื‘ื• ื‘ืœืชื™ ื ืจืื™ื?
06:31
How could it become iconic?
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ืื™ืš ื”ื•ื ื™ื›ื•ืœ ืœื”ืคื•ืš ืœืื™ืงื•ื ื™?
06:33
And what language would it take?
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ื•ื‘ืื™ื–ื” ืฉืคื” ื”ื•ื ื™ื“ื‘ืจ?
06:36
The Hirshhorn sits among the Mall's monumental institutions.
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ื”ื”ื™ืจืฉื”ื•ืจืŸ ื™ื•ืฉื‘ ื‘ื™ืŸ ื”ืžื•ืกื“ื•ืช ื”ื›ื‘ื™ืจื™ื ืฉืœ ื”ืžื•ืœ.
06:39
Most are neoclassical, heavy and opaque,
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ืจื•ื‘ื ื ืื•ืงืœืกื™ื™ื, ื›ื‘ื“ื™ื ื•ืื˜ื•ืžื™ื,
06:42
made of stone or concrete.
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ืขืฉื•ื™ื™ื ืžืื‘ืŸ ืื• ื‘ื˜ื•ืŸ.
06:45
And the question is,
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ื•ื”ืฉืืœื” ื”ื™ื,
06:47
if one inhabits that space,
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ืื ืžืฉื”ื• ื ืžืฆื ื‘ื—ืœืœ ื”ื”ื•ื,
06:48
what is the material of the Mall?
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ืžื” ื”ื—ื•ืžืจ ืžืžื ื• ืขืฉื•ื™ ื”ืžื•ืœ?
06:52
It has to be different from the buildings there.
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ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ืฉื•ื ื” ืžื”ื‘ื ื™ื™ื ื™ื ืฉื.
06:54
It has to be something entirely different.
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ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ืžืฉื”ื• ืฉื•ื ื” ืœื—ืœื•ื˜ื™ืŸ.
06:56
It has to be air.
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ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ืื•ื™ืจ.
06:58
In our imagination, it has to be light.
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ื‘ื“ืžื™ื•ืŸ ืฉืœื ื•, ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ืงืœ,
07:01
It has to be ephemeral. It has to be formless.
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ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ื‘ืจ ื—ืœื•ืฃ. ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ื—ืกืจ ืฆื•ืจื”.
ื•ื”ื•ื ื—ื™ื™ื‘ ืœื”ื™ื•ืช ื—ื•ืคืฉื™.
07:03
And it has to be free.
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07:05
(Video)
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(ื•ื™ื“ืื•)
07:16
So this is the big idea.
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ืื– ื–ื” ื”ืจืขื™ื•ืŸ ื”ื’ื“ื•ืœ.
07:19
It's a giant airbag.
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ื–ื• ื›ืจื™ืช ืื•ื™ืจ ื’ื“ื•ืœื”.
07:22
The expansion takes the shape of its container
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ื”ื”ืจื—ื‘ื” ืžืงื‘ืœืช ืืช ื”ืฆื•ืจื” ืฉืœ ื”ืžื™ื›ืœ ืฉืœื”
07:25
and it oozes out wherever it can --
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ื•ื”ื™ื ื ื•ื–ืœืช ื”ื—ื•ืฆื” ื”ื™ื›ืŸ ืฉื”ื™ื ื™ื›ื•ืœื” --
07:27
the top and sides.
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ืœืžืขืœื” ื•ื‘ืฆื“ื“ื™ื.
07:29
But more poetically,
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ืื‘ืœ ื™ื•ืชืจ ืคื•ืื˜ื™ืช,
07:31
we like to think of the structure
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ืื ื—ื ื• ืจื•ืฆื™ื ืœื—ืฉื•ื‘ ืขืœ ื”ืžื‘ื ื”
07:33
as inhaling the democratic air of the Mall,
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ื›ืฉื•ืืฃ ืืช ื”ืื•ื™ืจ ื”ื“ืžื•ืงืจื˜ื™ ืฉืœ ื”ืžื•ืœ,
07:35
bringing it into itself.
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ื•ืžื‘ื™ื ืื•ืชื• ืœืขืฆืžื•.
07:39
The before and the after.
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ืœืคื ื™ ื•ืื—ืจื™.
07:43
It was dubbed "the bubble" by the press.
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ื”ืขื™ืชื•ื ื•ืช ืงืจืื” ืœื• "ื”ื‘ื•ืขื”".
07:46
That was the lounge.
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ื–ื” ื”ื™ื” ื—ื“ืจ ื”ื›ื ื™ืกื”.
07:49
It's basically one big volume of air
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ื–ื” ื‘ืขื™ืงืจื•ืŸ ื ืคื— ืื—ื“ ื’ื“ื•ืœ ืฉืœ ืื•ื™ืจ
07:52
that just oozes out in every direction.
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ืฉืคืฉื•ื˜ ื ื•ื–ืœ ืžื›ืœ ื›ื™ื•ื•ืŸ.
07:54
The membrane is translucent.
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ื”ืžืžื‘ืจื ื” ืฉืงื•ืคื”.
07:56
It's made of silcon-coated glass fiber.
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ื–ื” ืขืฉื•ื™ ืžืกื™ื‘ื™ ื–ื›ื•ื›ื™ืช ืžืฆื•ืคื™ ืกื™ืœื™ืงื•ืŸ.
08:00
And it's inflated twice a year for one month at a time.
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ื•ืžื ืคื—ื™ื ืืช ื–ื” ืคืขืžื™ื™ื ื‘ืฉื ื” ืœื—ื•ื“ืฉ ืื—ื“ ื›ืœ ืคืขื.
08:04
This is the view from the inside.
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ื›ืš ื–ื” ื ืจืื” ืžื‘ืคื ื™ื.
08:07
So you might have been wondering
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ืื– ืื•ืœื™ ืชื”ื™ืชื
08:09
how in the world
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ืื™ืš
08:11
did we get this approved by the federal government.
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ื”ืฆืœื—ื ื• ืœืืฉืจ ืืช ื–ื” ืขืœ ื™ื“ื™ ื”ืžืžืฉืœ ื”ืคื“ืจืœื™.
08:13
It had to be approved by actually two agencies.
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ื–ื” ื”ื™ื” ืฆืจื™ืš ืœื”ื™ื•ืช ืžืื•ืฉืจ ืœืžืขืฉื” ืขืœ ื™ื“ื™ ืฉืชื™ ืกื•ื›ื ื•ื™ื•ืช.
08:17
And one is there to preserve
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ื•ืื—ืช ืงื™ื™ืžืช ื›ื“ื™ ืœืฉืžืจ
08:21
the dignity and sanctity of the Mall.
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ืืช ื”ื›ื‘ื•ื“ ื•ื”ืงื“ื•ืฉื” ืฉืœ ื”ืžื•ืœ.
08:23
I blush whenever I show this.
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ืื ื™ ืžืกืžื™ืงื” ื›ืœ ืคืขื ืฉืื ื™ ืžืจืื” ืืช ื–ื”.
08:26
It is yours to interpret.
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ืืชื ืชืคืจืฉื• ืืช ื–ื”.
08:30
But one thing I can say
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ืื‘ืœ ื“ื‘ืจ ืื—ื“ ืฉืื ื™ ื™ื›ื•ืœื” ืœื”ื’ื™ื“
08:32
is that it's a combination
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ื”ื•ื ืฉื–ื” ืฉื™ืœื•ื‘
08:34
of iconoclasm
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ืฉืœ ื”ืชื ื’ื“ื•ืช ืœืืžื•ื ื•ืช ื”ืžืงื•ื‘ืœื•ืช
08:37
and adoration.
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ื•ื”ืขืจืฆื”.
08:40
There was also some creative interpretation involved.
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ื”ื™ื” ื’ื ืงืฆืช ืคืจื•ืฉ ื™ืฆื™ืจืชื™ ืžืขื•ืจื‘.
08:43
The Congressional Buildings Act of 1910
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ื—ื•ืง ื”ื‘ื ื™ื™ื ื™ื ืฉืœ ื”ืงื•ื ื’ืจืก ืž 1910
08:46
limits the height of buildings in D.C.
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ืžื’ื‘ื™ืœ ืืช ื’ื•ื‘ื” ื”ื‘ื ื™ื™ื ื™ื ื‘ื•ื•ืฉื™ื ื’ื˜ื•ืŸ
08:48
to 130 feet,
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ืœ 42 ืžื˜ืจ,
08:50
except for spires, towers, domes and minarets.
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ื—ื•ืฅ ืžืžื’ื“ืœื™ ื›ื ืกื™ื•ืช, ืžื’ื“ืœื™ื, ื›ื™ืคื•ืช ื•ืฆืจื™ื—ื™ ืžืกื’ื“.
08:53
This pretty much exempts monuments of the church and state.
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ื–ื” ื‘ืขื™ืงืจื•ืŸ ืžื•ืฆื™ื ืžื”ื—ื•ืง ื›ื ืกื™ื•ืช ื•ืžื‘ื ื™ื ืฉืœ ื”ืžื“ื™ื ื”.
08:58
And the bubble is 153 ft.
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ื•ื’ื•ื‘ื” ื”ื‘ื•ืขื” 51 ืžื˜ืจ.
09:01
That's the Pantheon next to it.
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ื–ื” ื”ืคื ื˜ืื•ืŸ ืœื™ื“ื”.
09:03
It's about 1.2 million cubic feet of compressed air.
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ื–ื” ื‘ืขืจืš 34,000 ืžื˜ืจื™ื ืžืขื•ืงื‘ื™ื ืฉืœ ืื•ื™ืจ ื“ื—ื•ืก.
09:07
And so we argued it
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ืื– ื˜ืขื ื• ืฉื–ื”
09:09
on the merits of being a dome.
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ืฆืจื™ืš ืœื”ื—ืฉื‘ ื›ื›ื™ืคื”.
09:11
So there it is,
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ืื– ื”ื ื” ื–ื”,
09:13
very stately,
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ืžืื•ื“ ืžื›ื•ื‘ื“,
09:14
among all the stately buildings in the Mall.
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ื‘ื™ืŸ ื›ืœ ื‘ื ื™ื™ื ื™ ื”ืžืžืฉืœ ื‘ืžื•ืœ.
09:17
And while this Hirshhorn is not landmarked,
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ื•ื‘ืขื•ื“ ืฉื”ื”ื™ืจืฉื”ื•ืจืŸ ื”ื•ื ืœื ื ืงื•ื“ืช ืฆื™ื•ืŸ,
09:20
it's very, very historically sensitive.
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ื”ื•ื ืžืื•ื“ ืžืื•ื“ ืจื’ื™ืฉ ื”ืกื˜ื•ืจื™ืช.
09:23
And so we couldn't really touch its surfaces.
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ื›ืš ืฉืœื ืžืžืฉ ื™ื›ื•ืœื ื• ืœื’ืขืช ื‘ืฉื˜ื— ืคื ื™ื•.
09:25
We couldn't leave any traces behind.
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ืœื ื™ื›ื•ืœื ื• ืœื”ืฉืื™ืจ ืกื™ืžื ื™ื ืื—ืจื™ื ื•.
09:27
So we strained it from the edges,
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ืื– ืžืชื—ื ื• ืื•ืชื• ืžื”ืงืฆื•ื•ืช,
09:29
and we held it by cables.
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ื•ื”ื—ื–ืงื ื• ืื•ืชื• ืขื ื›ื‘ืœื™ื,
09:31
It's a study of some bondage techniques,
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ื–ื” ืžื—ืงืจ ืขืœ ื˜ื›ื ื™ืงื•ืช ื”ืงืฉื™ืจื”,
09:35
which are actually very important
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ืฉื”ืŸ ืœืžืขืฉื” ืžืื•ื“ ืžืื•ื“ ื—ืฉื•ื‘ื•ืช
09:36
because it's hit by wind all the time.
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ืžืคื ื™ ืฉืคื•ื’ืขืช ื‘ื• ืจื•ื— ื›ืœ ื”ื–ืžืŸ.
09:38
There's one permanent steel ring at the top,
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ื™ืฉ ื˜ื‘ืขืช ืคืœื“ื” ืงื‘ื•ืขื” ืื—ืช ืœืžืขืœื”,
09:40
but it can't be seen from any vantage point on the Mall.
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ืื‘ืœ ืื™ ืืคืฉืจ ืœืจืื•ืช ืื•ืชื” ืžืืฃ ื ืงื•ื“ื” ื‘ืžื•ืœ.
09:43
There are also some restrictions
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ื™ืฉ ื’ื ื›ืžื” ื”ื’ื‘ืœื•ืช
09:45
about how much it could be lit.
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ืขืœ ื›ืžื” ืืคืฉืจ ืœื”ืื™ืจ ืื•ืชื”.
09:47
It glows from within, it's translucent.
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ื”ื™ื ื–ื•ื”ืจืช ืžื‘ืคื ื™ื, ื”ื™ื ืฉืงื•ืคื”.
09:49
But it can't be more lit than the Capitol
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ืื‘ืœ ื”ื™ื ืœื ื™ื›ื•ืœื” ืœื”ื™ื•ืช ืžื•ืืจืช ื™ื•ืชืจ ืžื”ืงืคื™ื˜ื•ืœ
09:52
or some of the monuments.
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ืื• ื›ืžื” ืžื”ืื ื“ืจื˜ืื•ืช.
09:53
So it's down the hierarchy on lighting.
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ืื–ื” ื”ื™ื ืœืžื˜ื” ื‘ื”ื™ืจืจื›ื™ืช ื”ื”ืืจื”.
ืื– ื”ื™ื ืžื’ื™ืขื” ืœืืชืจ ืคืขืžื™ื™ื ื‘ืฉื ื”.
09:56
So it comes to the site twice a year.
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09:58
It's taken off the delivery truck.
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ื”ื™ื ืžื•ืจื“ืช ืžื”ืžืฉืื™ืช.
10:01
It's hoisted.
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ื”ื™ื ืžื•ืจืžืช.
10:02
And then it's inflated
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ื•ืื– ื”ื™ื ืžื ื•ืคื—ืช
10:05
with this low-pressure air.
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ืขื ืื•ื™ืจ ื‘ืœื—ืฅ ื ืžื•ืš.
10:06
And then it's restrained with the cables.
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ื•ืื– ื”ื™ื ืžืจื•ืกื ืช ืขื ื”ื›ื‘ืœื™ื.
10:08
And then it's ballasted with water at the very bottom.
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ื•ืื– ื”ื™ื ืžืขื•ื’ื ืช ืขื ืžื™ื ื‘ืชื—ืชื™ืช.
10:11
This is a very strange moment
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ื–ื” ืจื’ืข ืžืžืฉ ืžื•ื–ืจ
10:16
where we were asked by the bureaucracy at the Mall
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ื›ืฉื ืฉืืœื ื• ืขืœ ื™ื“ื™ ื”ื‘ื™ืจื•ืงืจื˜ื™ื” ื‘ืžื•ืœ
10:18
how much time would it take to install.
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ื›ืžื” ื–ืžืŸ ื™ืงื— ืœื”ืชืงื™ืŸ ืื•ืชื”.
10:21
And we said, well the first erection would take one week.
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ื•ืืžืจื ื•, ื•ื‘ื›ืŸ ื”ื”ืจืžื” ื”ืจืืฉื•ื ื•ื” ืชื™ืงื— ืฉื‘ื•ืข.
10:24
And they really connected with that idea.
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ื•ื”ื ืžืžืฉ ื”ืชื—ื‘ืจื• ืœืจืขื™ื•ืŸ ื”ื–ื”.
10:27
And then it was really easy all the way through.
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ื•ืื– ื–ื” ื”ื™ื” ืžืžืฉ ืงืœ ืœืื•ืจืš ื›ืœ ื”ื“ืจืš.
10:31
So we didn't really have that many hurdles, I have to say,
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ืื– ืœื ื”ื™ื• ืœื ื• ืžืžืฉ ื”ืจื‘ื” ืžื›ืฉื•ืœื™ื, ืื ื™ ื—ื™ื™ื‘ืช ืœื•ืžืจ,
10:35
with the government and all the authorities.
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ืขื ื”ืžืžืฉืœ ื•ื”ืจืฉื•ื™ื•ืช.
10:37
But some of the toughest hurdles
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ืื‘ืœ ื›ืžื” ืžื”ืžื›ืฉื•ืœื™ื ื”ื›ื™ ืงืฉื™ื
10:39
have been the technical ones.
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ื”ื™ื• ื˜ื›ื ื™ื™ื.
10:40
This is the warp and weft.
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ืืœื” ื”ืฉืชื™ ื•ื”ืขืจื‘.
10:42
This is a point cloud.
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ื–ื” ืขื ืŸ ื ืงื•ื“ื•ืช.
10:44
There are extreme pressures.
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ื™ืฉ ืœื—ืฆื™ื ืื“ื™ืจื™ื.
10:46
This is a very, very unusual building
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ื–ื” ื‘ื ื™ื™ืŸ ืžืื•ื“ ืžืื•ื“ ืœื ืจื’ื™ืœ
ื‘ื–ื” ืฉืื™ืŸ ืœื• ืœื—ืฅ ื›ืœืคื™ ื”ืงืจืงืข,
10:48
in that there's no gravity load,
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10:50
but there's load in every direction.
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ืื‘ืœ ื™ืฉ ืœื—ืฅ ืœื›ืœ ื›ื™ื•ื•ืŸ.
10:51
And I'm just going to zip through these slides.
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ื•ืื ื™ ืืจื•ืฅ ืขืœ ื”ืฉืงื•ืคื™ื•ืช ื”ืืœื•.
10:56
And this is the space in action.
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ื–ื” ื”ื—ืœืœ ื‘ืคืขื•ืœื”.
10:59
So flexible interior for discussions,
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ืื– ืคื ื™ื ื’ืžื™ืฉ ืœื“ื™ื•ื ื™ื,
11:02
just like this, but in the round --
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ื‘ื“ื™ื•ืง ื›ืžื• ื–ื”, ืื‘ืœ ื‘ืขื™ื’ื•ืœ --
11:04
luminous and reconfigurable.
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ืžื•ืืจ ื•ื ื™ืชืŸ ืœืืจื’ื•ืŸ ืžื—ื“ืฉ.
11:06
Could be used for anything,
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ื™ื›ื•ืœ ืœืฉืžืฉ ืœื›ืœ ื“ื‘ืจ,
11:08
for performances, films,
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ืœื”ืคืขื•ืช, ืกืจื˜ื™ื,
11:10
for installations.
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ืœื”ืชืงื ื•ืช.
11:12
And the very first program
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ื•ื”ืชื•ื›ื ื™ืช ื”ืจืืฉื•ื ื”
11:15
will be one of cultural dialogue and diplomacy
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ืชื”ื™ื” ืฉืœ ื“ื™ืืœื•ื’ ืชืจื‘ื•ืชื™ ื•ื“ื™ืคืœื•ืžื˜ื™
11:17
organized in partnership
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ืžืื•ืจื’ืŸ ื”ืฉื™ืชื•ืฃ
11:18
with the Council on Foreign Relations.
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ืขื ื”ืžื•ืขืฆื” ืœื™ื—ืกื™ ื—ื•ืฅ.
11:21
Form and content are together here.
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ืฆื•ืจื” ื•ืชื•ื›ืŸ ื‘ื™ื—ื“ ื›ืืŸ.
11:23
The bubble is an anti-monument.
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ื”ื‘ื•ืขื” ื”ื™ื ืื ื˜ื™ ืื ื“ืจื˜ื”.
11:25
The ideals of participatory democracy
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ื”ืจืขื™ื•ื ื•ืช ืฉืœ ืฉืœ ื“ืžื•ืงืจื˜ื™ื” ื”ืฉืชืชืคื•ืชื™ืช
11:28
are represented through suppleness
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ืžื•ืฆื’ื™ื ื“ืจืš ื’ืžื™ืฉื•ืช
11:30
rather than rigidity.
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ื‘ืžืงื•ื ืงืฉื™ื—ื•ืช.
11:31
Art and politics
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ืื•ืžื ื•ืช ื•ืคื•ืœื™ื˜ื™ืงื”
11:33
occupy an ambiguous site outside the museum walls,
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ืชื•ืคืกื™ื ืืชืจ ื“ื• ืžืฉืžืขื™ ืžื—ื•ืฅ ืœืงื™ืจื•ืช ื”ืžื•ื–ืื•ืŸ,
11:37
but inside of the museum's core,
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ืื‘ืœ ื‘ืชื•ืš ืœื™ื‘ืช ื”ืžื•ื–ืื•ืŸ,
11:40
blending its air
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ืžืขืจื‘ื‘ื™ื ืืช ื”ืื•ื™ืจ ืฉืœื•
11:42
with the democratic air of the Mall.
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ืขื ื”ืื•ื™ืจ ื”ื“ืžื•ืงืจื˜ื™ ืฉืœ ื”ืžื•ืœ.
11:44
And the bubble will inflate
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ื•ื”ื‘ื•ืขื” ืชื ื•ืคื—
11:50
hopefully for the first time
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ื‘ืชืงื•ื” ื‘ืคืขื ื”ืจืืฉื•ื ื”
11:52
at the end of 2013.
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ื‘ืกื•ืฃ 2013.
11:54
Thank you.
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ืชื•ื“ื” ืœื›ื.
11:56
(Applause)
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ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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