Frank Gehry: From 1990, defending a vision for architecture

Traducător: diana voinea Corector: Laszlo Kereszturi

I'm going to go right into the slides.

O sa incep direct cu imaginile.

And all I'm going to try and prove to you with these slides

Si tot ce voi incerca sa va demonstrez cu ele

is that I do just very straight stuff.

este ca fac lucruri foarte precise.

And my ideas are --

Iar ideile mele sunt --

in my head, anyway -- they're very logical

cel putin in capul meu -- foarte logice si

and relate to what's going on and problem solving for clients.

legate de ceea ce se intampla, incearca sa rezolve problemele clientilor.

I either convince clients at the end that I solve their problems,

Fie la sfarsit conving clientii ca le voi rezolva problemele,

or I really do solve their problems,

fie chiar le rezolv problemele,

because usually they seem to like it.

pentru ca de obicei le place.

Let me go right into the slides.

Si acum sa incep cu imaginile.

Can you turn off the light? Down.

Puteti sa inchideti lumina? Jos.

I like to be in the dark.

Imi place sa stau in intuneric.

I don't want you to see what I'm doing up here.

Nu vreau sa vedeti ce fac aici.

(Laughter)

(Rasete)

Anyway, I did this house in Santa Monica,

Asa deci. Am facut o casa in Santa Monica

and it got a lot of notoriety.

si a devenit foarte cunoscuta.

In fact, it appeared in a porno comic book,

De fapt, a aparut in reviste porno cu benzi desenate,

which is the slide on the right.

vedeti in imaginea din dreapta.

(Laughter)

(Rasete)

This is in Venice.

Asta e in Venetia.

I just show it because I want you to know

O arat doar pentru ca vreau sa stiti ca

I'm concerned about context.

me preocupa contextul.

On the left-hand side,

In imaginea din stanga,

I had the context of those little houses,

aveam contextul casutelor acelea,

and I tried to build a building that fit into that context.

si am incercat sa construiesc ceva care sa se potriveasca in context.

When people take pictures of these buildings out of that context

Cand oamenii fotografiaza acele cladiri in afara contextului,

they look really weird,

arata foarte bizar,

and my premise is that they make a lot more sense

iar parerea mea este ca au mai mult sens

when they're photographed or seen in that space.

cand sunt fotografiate in spatiul lor.

And then, once I deal with the context,

Iar apoi, odata ce lucrez cu contextul,

I then try to make a place that's comfortable and private and fairly serene,

incerc sa creez un spatiu confortabil si intim si senin,

as I hope you'll find that slide on the right.

si sper ca asa vi se va parea imaginea din dreapta.

And then I did a law school for Loyola in downtown L.A.

Apoi am construit o scoala de drept pentru Loyola, in centrul Los Angeles-ului.

I was concerned about making a place for the study of law.

Eram ingrijorat sa fac un loc unde sa se studieze dreptul.

And we continue to work with this client.

Si inca lucram cu acest client.

The building on the right at the top is now under construction.

Cladirea din dreapta sus este in constructie acum.

The garage on the right -- the gray structure -- will be torn down,

Garajul din dreapta -- structura gri -- va fi daramat in final,

finally, and several small classrooms will be placed

si vom construi cateva mici sali de curs

along this avenue that we've created, this campus.

de-a lungul acestui bulevard pe care l-am creat, campusul acesta.

And it all related to the clients and the students

Si totul s-a raportat la clientii si studentii care

from the very first meeting saying they felt denied a place.

de la prima intalnire unde au spus ca simt lipsa unui spatiu.

They wanted a sense of place.

Voiau sa aiba un simt al spatiului.

And so the whole idea here was to create that kind of space

Asa ca ideea a fost sa cream acel tip de spatiu

in downtown, in a neighborhood that was difficult to fit into.

in centrul orasului, intr-un cartier unde era greu sa te acomodezi.

And it was my theory, or my point of view,

Si teoria mea, sau punctul de vedere, era ca

that one didn't upstage the neighborhood --

nu poti sa fii superior cartierului --

one made accommodations.

ci sa te acomodezi cu el.

I tried to be inclusive, to include the buildings in the neighborhood,

Am incercat sa fiu cuprinzator, sa includ cladirile in cartier,

whether they were buildings I liked or not.

fie ca erau cladiri care imi placeau sau nu.

In the '60s I started working with paper furniture

In anii 60 am inceput sa lucrez cu mobila din hartie

and made a bunch of stuff that was very successful in Bloomingdale's.

si am facut multe lucruri ce au avut succes la Bloomingdale.

We even made flooring, walls and everything, out of cardboard.

Am facut chiar si podele, pereti si restul, din placaj.

And the success of it threw me for a loop.

Si succesul pe care l-au avut m-a aruncat intr-o bucla.

I couldn't deal with the success of furniture --

N-am putut face fata succesului pe care l-a avut mobila --

I wasn't secure enough as an architect --

nu eram un arhitect suficient de sigur --

and so I closed it all up and made furniture that nobody would like.

asa ca am inchis tot si am facut mobila care nu place nimanui.

(Laughter)

(Rasete)

So, nobody would like this.

Asa ca nimanui nu i-a placut.

And it was in this, preliminary to these pieces of furniture,

Si abia atunci, inaintea acelor piese de mobilier,

that Ricky and I worked on furniture by the slice.

am inceput eu si Ricky sa lucram cu mobila.

And after we failed, I just kept failing.

Si dupa ce am esuat, eu am continuat sa esuez.

(Laughter)

(Rasete)

The piece on the left --

Piesa din stanga,

and that ultimately led to the piece on the right --

care a dus in final la piesa din dreapta,

happened when the kid that was working on this

s-a nascut cand pustiul care lucra la ea

took one of those long strings of stuff and folded it up

a luat una dintre fasiile acelea lungi din material si

to put it in the wastebasket.

a indoit-o pentru a o pune in cos.

And I put a piece of tape around it,

Asa ca o leg cu o panglica,

as you see there, and realized you could sit on it,

dupa cum puteti vedea, si imi dau seama ca poti sa stai pe ea,

and it had a lot of resilience and strength and so on.

ca elastica si rezistenta si asa mai departe.

So, it was an accidental discovery.

Deci a fost o descoperire accidentala.

I got into fish.

Au inceput sa ma intereseze pestii.

(Laughter)

(Rasete)

I mean, the story I tell is that I got mad at postmodernism -- at po-mo --

Adica, povestea e ca m-am enervat pe postmodernism

and said that fish were 500 million years earlier than man,

si mi-am zis ca pestii au venit cu 500 de milioane mai devreme decat noi

and if you're going to go back, we might as well go back to the beginning.

si daca ne uitam in urma, putem sa ne intoarcem pana la inceputuri.

And so I started making these funny things.

Asa ca am inceput sa fac aceste lucruri amuzante.

And they started to have a life of their own and got bigger --

Si au inceput sa aiba o viata proprie si sa creasca --

as the one glass at the Walker.

precum in reclama de la Walker.

And then, I sliced off the head and the tail and everything

Iar apoi am taiat capul si coada si tot asa,

and tried to translate what I was learning

si am incercat sa traduc ce invatam

about the form of the fish and the movement.

despre forma pestelui si miscarea sa.

And a lot of my architectural ideas that came from it --

Si multe dintre ideile legate de arhitectura care s-au nascut din asta --

accidental, again --

din nou, accidental --

it was an intuitive kind of thing, and I just kept going with it,

sunt legate de intuitie, si am mers mai departe cu ele,

and made this proposal for a building, which was only a proposal.

si am facut o propunere pentru o cladire, o propunere doar.

I did this building in Japan.

Am facut o cladire in Japonia.

I was taken out to dinner after the contract

M-au scos la cina dupa ce am semnat

for this little restaurant was signed.

contractul pentru acest mic restaurant.

And I love sake and Kobe and all that stuff.

Si imi plac sake-ul si kobe si tot restul.

And after I got -- I was really drunk --

Si dupa aceea -- eram foarte beat --

I was asked to do some sketches on napkins.

mi s-a cerut sa fac niste schite pe servetele.

(Laughter)

(Rasete)

And I made some sketches on napkins --

Si le-am facut --

little boxes and Morandi-like things that I used to do.

cutiute si lucruri de genul Morandi, de care faceam eu.

And the client said, "Why no fish?"

Si clientul spune "De ce nu pesti?"

And so I made a drawing with a fish, and I left Japan.

Asa ca am facut un desen cu un peste, si am plecat din Japonia.

Three weeks later, I received a complete set of drawings

Trei saptamani mai tarziu primesc un set complet de desene

saying we'd won the competition.

care spunea ca am castigat concursul.

(Laughter)

(Rasete)

Now, it's hard to do. It's hard to translate a fish form,

Acum, e greu de pus in practica. E greu sa dai unei cladiri

because they're so beautiful -- perfect --

sau altui obiect, forma unui peste

into a building or object like this.

pentru ca sunt atat de frumosi, perfecti.

And Oldenburg, who I work with a little once in a while,

Iar Oldenburg, cu care mai lucrez uneori,

told me I couldn't do it, and so that made it even more exciting.

mi-a spus ca nu voi putea sa o fac, ceea ce m-a entuziasmat si mai mult.

But he was right -- I couldn't do the tail.

Dar avea dreptate, nu am putut face coada.

I started to get the head OK, but the tail I couldn't do.

Capul imi iesea bine, dar nu puteam face coada.

It was pretty hard.

Era destul de greu.

The thing on the right is a snake form, a ziggurat.

Chestia din dreapta e o forma de sarpe, un zigurat.

And I put them together, and you walk between them.

Si le pun cap la cap si mergi printre ele.

It was a dialog with the context again.

A fost, din nou, un dialog cu contextul.

Now, if you saw a picture of this

Acum, daca vedeati imaginea cladirii

as it was published in Architectural Record --

publicata in Architectural Record,

they didn't show the context, so you would think,

unde nu au aratat si contextul, ai crede

"God, what a pushy guy this is."

"Doamne, ce tip exagerat".

But a friend of mine spent four hours wandering around here

Dar un prieten al meu s-a plimbat patru ore pe acolo

looking for this restaurant.

cautand restaurantul.

Couldn't find it.

Nu l-a putut gasi.

So ...

Asa ca --

(Laughter)

(Rasete)

As for craft and technology and all those things

in ceea ce priveste tehnica si tehnologia si tot restul

that you've all been talking about, I was thrown for a complete loop.

despre care a vorbit toata lumea, am fost aruncat intr-un vartej.

This was built in six months.

Aceasta a fost construita in sase luni.

The way we sent drawings to Japan:

Pentru a trimite desenele clientului --

we used the magic computer in Michigan that does carved models,

am folosit calculatorul magic din Michigan care face modele sculptate,

and we used to make foam models, which that thing scanned.

si am facut modele din spuma pe care le scana apoi computerul ala.

We made the drawings of the fish and the scales.

Am facut desenele cu pesti si solzi.

And when I got there, everything was perfect --

Si cand am ajuns acolo, totul era perfect --

except the tail.

in afara de coada.

So, I decided to cut off the head and the tail.

Asa ca m-am hotarat sa tai capul si coada.

And I made the object on the left for my show at the Walker.

Si am facut obiectul din stanga pentru expozitia de la Walker.

And it's one of the nicest pieces I've ever made, I think.

Si cred ca este una din cele mai frumoase creatii ale mele.

And then Jay Chiat, a friend and client,

Iar apoi Jay Chiat, un prieten si client,

asked me to do his headquarters building in L.A.

mi-a cerut sa-i construiesc sediul companiei din LA.

For reasons we don't want to talk about, it got delayed.

Din motive despre care nu dorim sa vorbim, constructia a fost intarziata.

Toxic waste, I guess, is the key clue to that one.

Reziduuri toxice, cred, este indiciul cheie in cazul ala.

And so we built a temporary building -- I'm getting good at temporary --

Asa ca am construit o cladire temporara -- incep sa fiu bun la chestii temporare --

and we put a conference room in that's a fish.

si am pus o camera de conferinte in acel peste.

And, finally, Jay dragged me to my hometown, Toronto, Canada.

Iar in final Jay m-a tarat in orasul meu natal, Toronto, in Canada.

And there is a story -- it's a real story -- about my grandmother

Si am o poveste -- una adevarata -- despre bunica mea

buying a carp on Thursday, bringing it home,

care a cumparat un crap joia, l-a adus acasa,

putting it in the bathtub when I was a kid.

si l-a pus in casa, asta cand eram copil.

I played with it in the evening.

M-am jucat cu el seara.

When I went to sleep, the next day it wasn't there.

Dupa ce m-am trezit, nu mai era acolo.

And the next night, we had gefilte fish.

A doua zi am mancat peste umplut.

(Laughter)

(Rasete)

And so I set up this interior for Jay's offices

Asa ca am aranjat interiorul asta pentru birourile lui Jay

and I made a pedestal for a sculpture.

si am facut un piedestal pentru o sculptura.

And he didn't buy a sculpture, so I made one.

Si el nu a cumparat nicio sculptura, asa ca am facut eu una.

I went around Toronto and found a bathtub like my grandmother's,

M-am dus pe langa Toronto si am gasit o cada ca a bunicii mele

and I put the fish in.

si am pus pestele in ea.

It was a joke.

Era o gluma.

(Laughter)

(Rasete)

I play with funny people like [Claes] Oldenburg.

Ma joc cu oameni nostimi precum Oldenburg.

We've been friends for a long time.

Suntem prieteni de mult timp.

And we've started to work on things.

Si am inceput sa lucram impreuna.

A few years ago, we did a performance piece in Venice, Italy,

Acum cativa ani am facut o piesa in Venetia, Italia,

called "Il Corso del Coltello" -- the Swiss Army knife.

numita "Il Corso del Coltello" -- briceagul elvetian.

And most of the imagery is --

Si cea mai mare parte din imagini sunt --

(Laughter)

(Rasete)

Claes', but those two little boys are my sons,

ale lui Claes, dar cei doi baietei sunt copiii mei,

and they were Claes' assistants in the play.

si ei erau asistentii lui Claes in piesa.

He was the Swiss Army knife.

El era briceagul elvetian.

He was a souvenir salesman who always wanted to be a painter,

Era un vanzator de suveniruri care voise mereu sa fie pictor

and I was Frankie P. Toronto.

iar eu eram Frankie P. Toronto.

P for Palladio.

P de la Palladio.

Dressed up like the AT&T building by Claes --

Gatit precum cladirea AT&T a lui Claes --

(Laughter)

(Rasete)

with a fish hat.

cu o palarie-peste.

The highlight of the performance was at the end.

Punctul forte al piesei a fost la sfarsit.

This beautiful object, the Swiss Army knife,

Acest obiect minunat, briceagul elvetian,

which I get credit for participating in.

pentru care mi-a fost recunoscuta participarea.

And I can tell you -- it's totally an Oldenburg.

Si va asigur -- este total Oldeburg.

I had nothing to do with it.

Eu n-am avut nimic de-a face.

The only thing I did was, I made it possible for them

Tot ce am facut a fost sa fac posibila rotirea acelor

to turn those blades so you could sail this thing in the canal,

elice pentru a putea naviga cu chestia asta pe canal,

because I love sailing.

pentru ca imi place sa navighez.

(Laughter)

(Rasete)

We made it into a sailing craft.

L-am transformat într-o ambarcaţiune.

I've been known to mess with things like chain link fencing.

Se ştie că m-am ocupat cu lucruri precum gardul de sârmă.

I do it because it's a curious thing in the culture,

O fac pentru că este un lucru curios în cultură,

when things are made in such great quantities,

când lucrurile se fac în cantităţi atât de mari,

absorbed in such great quantities,

sunt absorbite în cantităţi atât de mari,

and there's so much denial about them.

şi sunt atât de contestate.

People hate it.

Oamenii le urăsc.

And I'm fascinated with that, which, like the paper furniture --

Şi mă fascinează cu ceea ce, precum mobila din "hârtie" --

it's one of those materials.

este unul din acele materiale.

And I'm always drawn to that.

Şi mereu m-au atras.

And so I did a lot of dirty things with chain link,

Şi aşa că am făcut o mulţime de lucruri murdare cu sârma împletită,

which nobody will forgive me for.

pentru care n-o să mă ierte nimeni vreodată.

But Claes made homage to it in the Loyola Law School.

Dar Claes a acceptat să o folosim la Şcoala de Drept Loyola.

And that chain link is really expensive.

Şi sârma aceea împletită e foarte scumpă.

It's in perspective and everything.

E în perspectivă şi aşa mai departe.

And then we did a camp together for children with cancer.

Şi apoi am făcut împreună o tabără pentru copiii cu cancer.

And you can see, we started making a building together.

După cum puteţi vedea, am început să construim o clădire împreună.

Of course, the milk can is his.

Bineînteles, cutia de lapte e a lui.

But we were trying to collide our ideas,

Dar am încercat să ne confruntăm ideile,

to put objects next to each other.

să punem obiectele unele lângă altele.

Like a Morandi -- like the little bottles -- composing them like a still life.

Precum o pictură de Morandi, ca sticlele acelea mici pictate ca natură moartă.

And it seemed to work as a way to put he and I together.

Şi părea că ne leagă pe amândoi.

Then Jay Chiat asked me to do this building

Apoi Jay Chiat mi-a cerut să fac clădirea asta

on this funny lot in Venice, and I started with this three-piece thing,

pe un domeniu nostim din Veneţia şi am început cu o clădire cu trei camere

and you entered in the middle.

în care se intra prin mijloc.

And Jay asked me what I was going to do with the piece in the middle.

Şi Jay m-a întrebat ce aveam să fac cu camera din mijloc.

And he pushed that.

Şi a insistat.

And one day I had a -- oh, well, the other way.

Şi într-o zi am avut o -- mă rog, a fost invers.

I had the binoculars from Claes, and I put them there,

Mi-a dat Claes un binoclu, şi l-am pus acolo,

and I could never get rid of them after that.

şi de atunci nu am mai scăpat de el.

Oldenburg made the binoculars incredible

Oldenburg a făcut un binoclu nemaipomenit,

when he sent me the first model of the real proposal.

când mi-a trimis primul model al propunerii adevărate.

It made my building look sick.

Ce a facut ca clădirea mea sa arate bizar.

And it was this interaction between

Şi tocmai această interacţiune dintre

that kind of, up-the-ante stuff that became pretty interesting.

chestia aia de sus, ce a devenit interesanta.

It led to the building on the left.

A dus la cladirea din stanga.

And I still think the Time magazine picture will be of the binoculars, you know,

Inca cred ca fotografia din Time Magazine va fi cu binoclul, stiti,

leaving out the -- what the hell.

fara restul -- ce naiba.

I use a lot of metal in my work,

Folosesc mult metal in munca mea

and I have a hard time connecting with the craft.

si imi e greu sa stabilesc o legatura cu mestesugul.

The whole thing about my house,

In ceea ce priveste casa mea,

the whole use of rough carpentry and everything,

faptul ca folosesc lemnarie bruta si tot restul,

was the frustration with the crafts available.

e vorba despre frustrarea legata de materialele disponibile.

I said, "If I can't get the craft that I want,

Si am spus : "Daca nu pot sa gasesc materialul pe care il vreau,

I'll use the craft I can get."

o sa folosesc ce gasesc".

There were plenty of models for that,

Si existau o multime de modele pentru asta

in Rauschenberg and Jasper Johns, and many artists

in Rauschenberg si Jasper Johns sau multi alti artisti

who were making beautiful art and sculpture with junk materials.

care faceau o arta si sculpturi impresionante din deseuri.

I went into the metal because it was a way of building a building

Am ales metalul pentru ca era o metoda de a face o cladire

that was a sculpture.

care sa fie o sculptura.

And it was all of one material,

Si era toata dintr-un singur material,

and the metal could go on the roof as well as the walls.

iar metalul putea fi folosit atat pentru acoperis cat si pentru pereti.

The metalworkers, for the most part,

Iar cea mai mare parte din muncitorii metalurgi

do ducts behind the ceilings and stuff.

pun conductele in spatele tavanului si tot asa.

I was given an opportunity to design an exhibit

Am avut sansa de a monta o expozitie pentru

for the metalworkers' unions of America and Canada in Washington,

sindicatele metalurgice din America si Canada, in Washington,

and I did it on the condition that they become my partners

si am facut-o cu conditia ca acestia sa imi devina parteneri

in the future and help me with all future metal buildings, etc. etc.

in viitor si sa ma ajute cu toate cladirile viitoare din metal, etc etc

And it's working very well

Si este foarte bine

to have these people, these craftsmen, interested in it.

ca toti acesti mestesugari sunt interesati.

I just tell the stories.

Eu doar spun povesti.

It's a way of connecting, at least, with some of those people

E o un fel a interactiona, cel putin; cu unii dintre acesti oameni

that are so important to the realization of architecture.

atat de importanti in realizarea arhitecturii.

The metal continued into a building -- Herman Miller, in Sacramento.

Metalul a mai fost folosit intr-o cladire - Herman Miller, in Sacramento.

And it's just a complex of factory buildings.

Si este un complex de cladiri pentru o fabrica.

And Herman Miller has this philosophy of having a place --

Iar Herman Miller are filosofia asta de a avea un loc --

a people place.

un loc pentru oameni.

I mean, it's kind of a trite thing to say,

Adica, poate parea un lucru banal,

but it is real that they wanted to have a central place

dar este adevarat ca vor sa aiba un loc central

where the cafeteria would be, where the people would come

unde sa fie cantina, unde sa vina oamenii

and where the people working would interact.

si unde muncitorii sa interactioneze.

So it's out in the middle of nowhere, and you approach it.

Si e in mijlocul nimanui si te apropii.

It's copper and galvanize.

E din cupru si galvanizata.

I used the galvanize and copper

Am folosit cuprul si l-am galvanizat

in a very light gauge, so it would buckle.

cu finete, ca sa se lege.

I spent a lot of time undoing Richard Meier's aesthetic.

Am petrecut mult timp incercand sa scap de estetica lui Richard Meier.

Everybody's trying to get the panels perfect,

Toata lumea incearca sa faca cadrele perfecte,

and I always try to get them sloppy and fuzzy.

si eu mereu incerc sa le fac dezordonate si neclare.

And they end up looking like stone.

Si la sfarsit, arata ca piatra.

This is the central area.

Asta este zona centrala.

There's a ramp.

Acolo e o rampa.

And that little dome in there is a building by Stanley Tigerman.

Si micul dom de acolo este o cladire a lui Stanley Tigerman.

Stanley was instrumental in my getting this job.

Stanley a fost esential pentru mine ca sa gasesc proiectul asta.

And when I was awarded the contract I, at the very beginning,

Si cand mi s-a acordat contractul, la inceput,

asked the client if they would let Stanley do a cameo piece with me.

l-am intrebat pe client daca il lasa pe Stanley sa faca o piesa cu mine.

Because these were ideas that we were talking about,

Pentru ca erau idei despre care discutasem,

building things next to each other, making --

sa construim cladiri unele langa altele, sa facem --

it's all about [a] metaphor for a city, maybe.

un fel de metafora a unui oras, poate.

And so Stanley did the little dome thing.

Asa ca Stanley a facut micul dom.

And we did it over the phone and by fax.

Si l-am facut la telefon si prin fax.

He would send me a fax and show me something.

Imi mai trimitea cate un fax si-mi arata ceva.

He'd made a building with a dome and he had a little tower.

Facuse o cladire cu o bolta si era si avea si un mic turn.

I told him, "No, no, that's too ongepotchket.

I-am spus "Nu, nu, e prea mult.

I don't want the tower."

Nu vreau turnul".

So he came back with a simpler building,

Asa ca a venit cu o cladire mai simpla,

but he put some funny details on it,

dar a adaugat cateva detalii amuzante

and he moved it closer to my building.

si a apropiat-o de cladirea mea.

And so I decided to put him in a depression.

Asa ca m-am hotarat sa-l pun intr-o vale.

I put him in a hole and made a kind of a hole that he sits in.

L-am pus intr-o gaura si am facut un fel de vale in care sta.

And so then he put two bridges -- this all happened on the fax,

Si apoi el a adaugat doua poduri -- toate astea prin fax,

going back and forth over a couple of weeks' period.

pe perioada a cateva saptamani.

And he put these two bridges with pink guardrails on it.

Si a pus acolo doua poduri delimitate de un gard de protectie roz.

And so then I put this big billboard behind it.

Si apoi am pus reclama asta mare in spate.

And I call it, "David and Goliath."

Si am numit-o "David si Goliath".

And that's my cafeteria.

Si asta e cantina mea.

In Boston, we had that old building on the left.

In Boston am avut cladirea aia veche din stanga.

It was a very prominent building off the freeway,

Era o cladire foarte impunatoare in afara autostrazii,

and we added a floor and cleaned it up and fixed it up

si am adaugat o podea si am curatat-o si reparat-o

and used the kind of -- I thought -- the language of the neighborhood,

si am folosit tipul ala de -- credeam eu -- limbaj al imprejurimilor,

which had these cornices, projecting cornices.

care continea cornise care ieseau.

Mine got a little exuberant, but I used lead copper,

A mea a iesit mai extravaganta, dar am folosit aliaj de cupru,

which is a beautiful material, and it turns green in 100 years.

un material foarte frumos, care devine verde peste 100 de ani.

Instead of, like, copper in 10 or 15.

In loc de cupru, in 10-15 ani.

We redid the side of the building

Am refacut partea laterala a cladirii

and re-proportioned the windows so it sort of fit into the space.

si am reproportionat dimensiunile ferestrelor ca sa se potriveasca in spatiu.

And it surprised both Boston and myself that we got it approved,

Si ne-a surprins si pe mine si pe Boston ca a fost acceptat,

because they have very strict kind of design guideline,

pentru ca au un model de design foarte strict,

and they wouldn't normally think I would fit them.

si in mod normal nu ar crede ca sunt bun pentru ei.

The detailing was very careful with the lead copper

Am fost foarte atenti cu detaliile din aliajul de cupru

and making panels and fitting it tightly

la fel si cu confectionarea cadrelor si cum sa le potrivim la fix

into the fabric of the existing building.

in materialul cladirii existente.

In Barcelona, on Las Ramblas for some film festival,

In Barcelona, pe Las Ramblas pentru un festival de film.

I did the Hollywood sign going and coming,

Am facut semnul Hollywood venind si plecand,

made a building out of it, and they built it.

am facut o cladire din el si ei au construit-o.

I flew in one night and took this picture.

Am luat avionul pana acolo intr-o seara si am facut o poza.

But they made it a third smaller than my model without telling me.

Dar ei au facut-o de trei ori mai mica decat modelul meu, fara sa-mi spuna.

And then more metal and some chain link in Santa Monica --

Iar apoi mai mult metal si niste lant impletit in Santa Monica --

a little shopping center.

un mic centru comercial.

And this is a laser laboratory at the University of Iowa,

Si aici este un laborator laser din Universitatea din Iowa,

in which the fish comes back as an abstraction in the back.

in care pestele se intoarce abstractizat, in spate.

It's the support labs, which, by some coincidence, required no windows.

In laboratoarele care, printr-o coincidenta, nu au nevoie de ferestre.

And the shape fit perfectly.

Si forma se potriveste perfect.

I just joined the points.

Am legat doar punctele.

In the curved part there's all the mechanical equipment.

In partea curbata se afla echipamentul mecanic.

That solid wall behind it is a pipe chase -- a pipe canyon --

Si zidul acela solid din spate este un spatiu pentru tevi -- o vale pentru tevi --

and so it was an opportunity that I seized,

asa ca a fost o sansa pe care am apucat-o,

because I didn't have to have any protruding ducts or vents or things in this form.

pentru ca nu aveam tevi care ieseau sau canale de aerisire au lucruri de genul asta.

It gave me an opportunity to make a sculpture out of it.

Mi-a permis sa fac o sculptura din cladire.

This is a small house somewhere.

Asta e o casa micuta pe undeva.

They've been building it so long I don't remember where it is.

Au construit-o demult asa ca nu mai stiu unde e.

It's in the West Valley.

E in West Valley.

And we started with the stream

Am inceput cu cursul de apa

and built the house along the stream -- dammed it up to make a lake.

si am construit casa de-a lungul acestuia -- l-am inchis pentru a face un lac.

These are the models.

Acestea sunt modelele.

The reality, with the lake --

Realitatea, cu lacul --

the workmanship is pretty bad.

calitatea executiei este destul de slaba.

And it reminded me why I play defensively in things like my house.

Si mi-a amintit de ce am o atitudine defensiva, cum e cazul casei mele.

When you have to do something really cheaply,

Cand trebuie sa faci ceva cu bani putini,

it's hard to get perfect corners and stuff.

e greu sa obtii colturi perfecte si asa mai departe.

That big metal thing is a passage, and in it is --

Chestia mare de metal este un pasaj, si in el --

you go downstairs into the living room and then down into the bedroom,

cobori pana in sufragerie si apoi in dormitor,

which is on the right.

care e la dreapta.

It's kind of like a whole built town.

E ca un fel de oras intreg.

I was asked to do a hospital for schizophrenic adolescents at Yale.

Mi s-a cerut sa fac un spital pentru adolescentii schizofrenici la Yale.

I thought it was fitting for me to be doing that.

Si am crezut ca pot sa fac asta.

This is a house next to a Philip Johnson house in Minnesota.

Asta e o casa langa o casa a lui Philip Johnson din Minnesota.

The owners had a dilemma -- they asked Philip to do it.

Proprietarii aveau o dilema -- l-au rugat pe Philip sa o faca.

He was too busy.

El era prea ocupat.

He didn't recommend me, by the way.

Nu m-a recomandat pe mine, apropo.

(Laughter)

(Rasete)

We ended up having to make it a sculpture, because the dilemma was,

In final, am facut-o ca o sculptura pentru ca dilema era urmatoarea:

how do you build a building that doesn't look like the language?

cum construiesti o cladire care nu se aseamana limbajului?

Is it going to look like this beautiful estate is sub-divided?

O sa arate cum e divizata acea proprietate impresionanta?

Etc. etc.

etc, etc.

You've got the idea.

Ati prins ideea.

And so we finally ended up making it.

Asa ca in final, am facut-o.

These people are art collectors.

Oamenii acestia sunt colectionari de arta.

And we finally made it so it appears very sculptural

Si am facut-o foarte sculpturala

from the main house and all the windows are on the other side.

pornind de la casa principala, si toate ferestrele sunt pe cealalta parte.

And the building is very sculptural as you walk around it.

Si casa este foarte sculpturala, pe masura ce te plimbi in jurul ei.

It's made of metal and the brown stuff is Fin-Ply --

E facuta din metal si chestia aia maro este Fin-Ply --

it's that formed lumber from Finland.

e cherestea formata din Finlanda.

We used it at Loyola on the chapel, and it didn't work.

Am folosit-o la Loyola, pe capela, si nu a mers.

I keep trying to make it work.

Tot incerc sa o fac sa mearga.

In this case we learned how to detail it.

In cazul asta am invatat cum sa o folosim.

In Cleveland, there's Burnham Mall, on the left.

In stanga e Bumham Mall, in Cleveland.

It's never been finished.

Nu a fost niciodata terminat.

Going out to the lake, you can see all those new buildings we built.

Se pot vedea pe langa lac toate cladirile noi pe care le-am construit.

And we had the opportunity to build a building on this site.

Si am avut sansa de a construi o cladire in locul acesta.

There's a railroad track.

Aceea este o cale ferata.

This is the city hall over here somewhere, and the courthouse.

Pe aici pe undeva este primaria, aici judecatoria.

And the centerline of the mall goes out.

Iar linia de mijloc a centrului comercial iese in afara.

Burnham had designed a railroad station that was never built,

Bumham a facut modelul unei gari care nu a fost niciodata construita,

and so we followed.

asa ca am urmat noi.

Sohio is on the axis here,

Sohio e pe aceasta axa,

and we followed the axis, and they're two kind of goalposts.

si noi am urmat axa, si sunt ca doua porti de fotbal.

And this is our building,

Si aceasta este cladirea noastra,

which is a corporate headquarters for an insurance company.

sediul unei companiii de asigurari.

We collaborated with Oldenburg and put the newspaper on top, folded.

Am colaborat cu Oldenburg si am pus ziarul in varf, l-am pliat.

The health club is fastened to the garage

Clubul de ingrijire a sanatatii este lipit de garaj

with a C-clamp, for Cleveland.

cu un sistem de prindere in forma de C, de la Cleveland.

(Laughter)

(Rasete)

You drive down.

Mergi in jos.

So it's about a 10-story C-clamp.

E o clema in forma de C de 10 etaje.

And all this stuff at the bottom is a museum,

Si chestia de dedesubt este un muzeu,

and an idea for a very fancy automobile entry.

si o idee pentru o intrare pentru masini, fantezista.

This owner has a pet peeve about bad automobile entries.

Pe proprietar il enervau intrarile proaste pentru masini.

And this would be a hotel.

Si asta urma sa fie un hotel.

So, the centerline of this thing -- we'd preserve it,

Deci, am pastrat linia de mijloc pentru aceasta cladire,

and it would start to work with the scale of the new buildings

si de aici a pornit modelul cladirilor noi

by Pelli and Kohn Pederson Fox, etc., that are underway.

facute de Pelli si Kohn Pederson Fox etc, care sunt in constructie.

It's hard to do high-rise.

E greu sa faci cladiri inalte.

I feel much more comfortable down here.

Ma simt mult mai confortabil aici jos.

This is a piece of property in Brentwood.

Aceasta este o proprietate din Brentwood.

And a long time ago, about '82 or something, after my house --

Si acum mult timp, prin '82, dupa casa mea --

I designed a house for myself

am proiectat o casa pentru mine,

that would be a village of several pavilions around a courtyard --

ce avea sa fie un sat de cateva pavilioane in jurul unei curti --

and the owner of this lot worked for me

iar proprietarul acestui lot a lucrat pentru mine

and built that actual model on the left.

si a construit modelul din stanga.

And she came back,

Iar ea s-a intors,

I guess wealthier or something -- something happened --

mai instarita sau ceva de genul asta -- ceva se intamplase --

and asked me to design a house for her on this site.

si m-a rugat sa-i proiectez o casa in locul acesta.

And following that basic idea of the village,

Si avand in minte ideea aceea de baza de sat,

we changed it as we got into it.

am schimbat-o cand am patruns in el.

I locked the house into the site by cutting the back end --

Am blocat casa in acel loc taindu-i partea de la capat --

here you see on the photographs of the site --

puteti vedea aici fotografii de pe santier --

slicing into it and putting all the bathrooms and dressing rooms

am taiat din ea si am pus toate baile si garderobele

like a retaining wall, creating a lower level zone for the master bedroom,

ca un zid de sprijin, creand astfel o zona mai joasa pentru dormitorul principal,

which I designed like a kind of a barge,

pe care l-am proiectat ca pe un fel de salupa,

looking like a boat.

aratand ca o barca.

And that's it, built.

Si asta e tot, gata construit.

The dome was a request from the client.

Cupola a fost o cerere din partea clientului.

She wanted a dome somewhere in the house.

Si-a dorit o cupola undeva in casa.

She didn't care where.

Nu i-a pasat unde.

When you sleep in this bedroom, I hope --

Cand dormi in dormitorul asta, sper --

I mean, I haven't slept in it yet.

adica, n-am dormit in el inca.

I've offered to marry her so I could sleep there,

M-am oferit sa ma casatoresc cu ea, ca sa pot astfel dormi acolo,

but she said I didn't have to do that.

dar mi-a spus ca nu trebuie sa o fac.

But when you're in that room,

Cand esti, insa, in camera aceea,

you feel like you're on a kind of barge on some kind of lake.

simti ca esti pe un fel de salupa pe un lac.

And it's very private.

Si e foarte intim.

The landscape is being built around to create a private garden.

Peisajul din jur e construit pentru a crea o gradina privata.

And then up above there's a garden on this side of the living room,

Si deasupra e o gradina pe partea aceasta a camerei de zi,

and one on the other side.

si una pe cealalta parte.

These aren't focused very well.

Acestea nu sunt foarte clare.

I don't know how to do it from here.

Nu stiu cum sa fac de aici.

Focus the one on the right.

Apropie pe cea din dreapta.

It's up there.

Acolo sus.

Left -- it's my right.

Stanga -- e dreapta mea.

Anyway, you enter into a garden with a beautiful grove of trees.

Ma rog, intrii intr-o gradina cu o dumbrava frumoasa.

That's the living room.

Acolo e camera de zi.

Servants' quarters.

Camerele servitorilor.

A guest bedroom, which has this dome with marble on it.

Un dormitor pentru oaspeti, care are cupola cu marmura pe ea.

And then you enter into the living room and then so on.

Si apoi intrii in camera de zi si asa mai departe.

This is the bedroom.

Acesta e dormitorul.

You come down from this level along the stairway,

Coborati de la nivelul asta pe scari

and you enter the bedroom here, going into the lake.

si intrati in dormitor, aici, in lac.

And the bed is back in this space,

Iar patul este in spate in acest spatiu,

with windows looking out onto the lake.

cu ferestre ce dau spre lac.

These Stonehenge things were designed to give foreground

Obiectele acestea de tip Stonehenge au fost proiectate pentru a sta in prim plan

and to create a greater depth in this shallow lot.

si a crea o adancime in aceasta portiune fara adancime.

The material is lead copper, like in the building in Boston.

Materialul este aliaj de cupru, precum in cladirea din Boston.

And so it was an intent to make this small piece of land --

Si asa a fost intentia de a transforma aceasta mica bucata de pamant --

it's 100 by 250 -- into a kind of an estate by separating these areas

100 pe 250 -- intr-un fel de domeniu, separand aceste zone

and making the living room and dining room into this pavilion

si punand camera de zi si sufrageria in acest pavilion

with a high space in it.

cu mult spatiu in el.

And this happened by accident that I got this right on axis

Si a fost din intamplare ca am nimerit-o pe aceeasi axa

with the dining room table.

cu masa din sufragerie.

It looks like I got a Baldessari painting for free.

Pare ca am primit o pictura de Baldessari pe gratis.

But the idea is, the windows are all placed

Dar ideea e ca toate ferestrele sunt puse

so you see pieces of the house outside.

astfel incat sa se vada parti din casa in afara.

Eventually this will be screened -- these trees will come up --

Intr-un final, acestea vor fi ascunse -- vor creste copacii --

and it will be very private.

si totul va fi foarte intim.

And you feel like you're in your own kind of village.

Si simti ca esti in propriul tau sat.

This is for Michael Eisner -- Disney.

Asta e pentru Michael Eisner -- Disney.

We're doing some work for him.

Lucram si pentru el.

And this is in Anaheim, California, and it's a freeway building.

Iar asta e in Anaheim, California, si este o cladire pe langa autostrada.

You go under this bridge at about 65 miles an hour,

Treci pe sub podul asta cu vreo suta km la ora

and there's another bridge here.

si aici e alt pod.

And you're through this room in a split second,

Si ai trecut prin camera intr-o milisecunda,

and the building will sort of reflect that.

iar cladirea va reflecta acest lucru.

On the backside, it's much more humane -- entrance,

In partea din spate, e mult mai uman -- intrarea,

dining hall, etc.

sala de mese, etc.

And then this thing here -- I'm hoping as you drive by you'll hear

Si apoi ce-i aici -- sper ca pe masura ce veti conduce veti auzi

the picket fence effect of the sound hitting it.

efectul "gard de tarusi" produs de sunet cand il loveste.

Kind of a fun thing to do.

Destul de amuzant.

I'm doing a building in Switzerland, Basel,

Construiesc o cladire in Basel, Elvetia,

which is an office building for a furniture company.

o cladire de birouri pentru o companie de mobila.

And we struggled with the image.

Si ne-am luptat cu imaginea.

These are the early studies, but they have to sell furniture

Acestea sunt studiile initiale, insa ei trebuie sa vanda mobila

to normal people, so if I did the building and it was too fancy,

oamenilor obisnuiti, deci daca cladirea imi iesea prea extravaganta,

then people might say, "Well, the furniture looks OK in his thing,

atunci oamenii ar fi spus "Ei bine, mobila arata bine aici,

but no, it ain't going to look good in my normal building."

dar nu o sa arate la fel in cladirea mea normala".

So we've made a kind of pragmatic slab in the second phase here,

Asa ca am facut o parte pragmatica in a doua faza aici,

and we've taken the conference facilities and made a villa out of them

si am luat echipamentul din sala de conferinte si am facut o vila din el

so that the communal space is very sculptural and separate.

astfel incat spatiul comun sa fie sculptural si separat.

And you're looking at it from the offices and you create a kind of

Si te uiti la el din birouri si se creeaza un fel de

interaction between these pieces.

interactiune intre aceste camere.

This is in Paris, along the Seine.

Asta e in Paris, de-a lungul Senei.

Palais des Sports, the Gare de Lyon over here.

Palais des Sports, Gara Lyon aici.

The Minister of Finance -- the guy that moved from the Louvre -- goes in here.

Ministerul de Finante -- tipul care s-a mutat de la Luvru -- vine aici.

There's a new library across the river.

De cealalta parte a raului este o noua biblioteca.

And back in here, in this already treed park,

Si aici, in parcul acesta plini de copaci deja,

we're doing a very dense building called the American Center,

facem o cladire foarte densa numita Centrul American,

which has a theater, apartments, dance school, an art museum,

care are un teatru, apartamente, o scoala de dans, un muzeu de arta,

restaurants and all kinds of -- it's a very dense program --

restaurante si tot felul de -- este un proiect foarte compact --

bookstores, etc.

librarii, etc.

In a very tight, small --

Intr-un foarte mic, stramt --

this is the ground level.

aici e nivelul de la sol.

And the French have this extraordinary way of screwing things up

Si francezii au stilul asta nemaipomenit de a incurca lucrurile

by taking a beautiful site and cutting the corner off.

luind un loc frumos si ii taie coltul.

They call it the plan coupe.

O numesc plan coupe - planul taiat.

And I struggled with that thing --

Si m-am luptat cu asta --

how to get around the corner.

cum sa treci dincolo de colt.

These are the models for it.

Acestea sunt modelele.

I showed you the other model, the one --

V-am aratat si celalalt model, cel --

this is the way I organized myself so I could make the drawing --

asa m-am organizat pentru a putea face desenul --

so I understood the problem.

asa ca am inteles problema.

I was trying to get around this plan coupe -- how do you do it?

Incercam sa trec peste acest plan coupe -- cum o faci?

Apartments, etc.

Apartamente, etc.

And these are the kind of study models we did.

Si acestea sunt tipurile de modele de studiu pe care le-am facut.

And the one on the left is pretty awful.

Si cel din stanga e destul de prost.

You can see why I was ready to commit suicide when this one was built.

Va puteti da seama de ce am fost gata sa ma sinucid cand a fost construit.

But out of it came finally this resolution, where the elevator piece

Dar din el am obtinut acest rezultat, unde liftul

worked frontally to this, parallel to this street,

functiona in paralel cu asta, paralel cu strada asta,

and also parallel to here.

si paralel cu ce-i aici.

And then this kind of twist, with this balcony and the skirt,

Si apoi tipul acesta de rasucire, cu balconul si fusta,

kind of like a ballerina lifting her skirt to let you into the foyer.

cam ca o balerina care isi ridica fusta sa imi permita sa intru in hol.

The restaurants here -- the apartments and the theater, etc.

Restaurantele aici -- apartamentele si teatrul, etc.

So it would all be built in stone, in French limestone,

Totul urma sa fie construit din piatra, calcar din Franta,

except for this metal piece.

in afara de aceasta incapere din metal.

And it faces into a park.

Si da spre un parc.

And the idea was to make this express the energy of this.

Si ideea de baza era sa o facem sa exprime energia prezenta aici.

On the side facing the street it's much more normal,

Pe partea care da spre strada e mai normal,

except I slipped a few mansards down, so that coming on the point,

exceptand faptul ca am mai scapat eu niste mansarde, ca sa fiu sincer,

these housing units made a gesture to the corner.

casele acestea s-au strambat la colt.

And this will be some kind of high-tech billboard.

Iar asta va fi un fel de panou de afise de inalta tehnologie.

If any of you guys have any ideas for it, please contact me.

Daca are cineva dintre voi vreo idee, va rog contactati-ma.

I don't know what to do.

Nu stiu ce sa fac.

Jay Chiat is a glutton for punishment, and he hired me

Jay Chiat este lacom de pedepse si m-a angajat

to do a house for him in the Hamptons.

sa ii fac o casa in Hamptons.

And it's got a fish.

Si are un peste.

And I keep thinking, "This is going to be the last fish."

Si ma tot gandesc: "Asta va fi ultimul peste".

It's like a drug addict.

E ca si cum ai fi dependent de droguri.

I say, "I'm not going to do it anymore -- I don't want to do it anymore --

Imi spun ca n-o s-o mai fac -- nu mai vreau sa o fac --

I'm not going to do it."

nu o sa o mai fac.

And then I do it.

Si apoi o fac.

(Laughter)

(Rasete)

There it is.

Asta e.

But it's the living room.

Dar este camera de zi.

And this piece here is --

Si camera de aici --

I don't know what it is.

nu stiu ce e.

I just added it so that we'd have enough money in the budget

Am adaugat-o ca sa avem destui bani in buget

so we could take something out.

pentru a putea scoate ceva.

(Applause)

(Aplauze)

This is Euro Disney, and I've worked with all of the guys

Aici e EuroDisney, si am lucrat cu toate persoanele

that presented to you earlier.

pe care le-am prezentat mai devreme.

We've had a lot of fun working together.

Ne-am distrat lucrand impreuna.

I think I'm from Mars for them, and they are for me,

Cred ca pentru ei sunt de pe Marte, si ei pentru mine,

but somehow we all manage to work together,

dar cumva am reusit sa lucram impreuna,

and I think, productively.

si productiv, cred eu.

So far.

Pana acum.

This is a shopping thing.

Aici e un centru comercial.

You come into the Magic Kingdom

Intrii in Regatul Magic

and the hotel that Tony Baxter's group is doing out here.

si hotelul pe care grupul lui Tony Bater il face aici --

And then this is a kind of a shopping mall,

Apoi, asta e un fel de mall,

with a rodeo and restaurants.

cu un rodeo si restaurante.

And another restaurant.

Inca un restaurant.

What I did -- because of the Paris skies being quite dull,

Ce am facut -- pentru ca cerul Parisului este destul de anost,

I made a light grid that's perpendicular to the train station,

este o retea de iluminat perpendiculara pe gara,

to the route of the train.

pe mersul trenului.

It looks like it's kind of been there,

Arata de parca e de acolo,

and then crashed all these simpler forms into it.

si apoi am incorporat toate formele astea simple in ea.

The light grid will have a light, be lit up at night and give a

Reteaua va avea lumina, va fi luminata noaptea

kind of light ceiling.

si va da un fel de tavan luminos.

In Switzerland -- Germany, actually -- on the Rhine across from Basel,

In Elvetia -- de fapt Germania -- pe Rin linga Basel,

we did a furniture factory and a furniture museum.

am facut o fabrica de mobila si un muzeu de mobila.

And I tried to -- there's a Nick Grimshaw building over here,

Si am incercat -- aici e o cladire a lui Nick Grimshaw,

there's an Oldenburg sculpture over here --

acolo o sculptura a lui Oldenburg --

I tried to make a relationship urbanistically.

am incercat sa construiesc o relatie din punct de vedere urban.

And I don't gave good slides to show -- it's just been completed --

Si nu am poze bune care sa arate -- abia a fost terminata --

but this piece here is this building, and these pieces here and here.

dar aici este cladirea, si ce-i aici si aici.

And as you pass by it's always part -- you see it as all of these pieces

Si cand treci pe acolo e mereu -- o vezi ca si cum toate obiectele

accrue and become part of an overall neighborhood.

se maresc si devin parte dintr-un cartier.

It's plaster and just zinc.

E ipsos si zinc.

And you wonder, if this is a museum,

Si te intrebi, daca asta e un muzeu,

what it's going to be like inside?

cum o sa fie inauntru?

If it's going to be so busy and crazy that you wouldn't show anything,

Daca o sa fie atat de aglomerat si nebunesc incat n-o sa expui nimic,

and just wait.

ci doar sa astepti.

I'm so cunning and clever -- I made it quiet and wonderful.

Sunt atat de destept si viclean -- l-am facut linistit si nemaipomenit.

But on the outside it does scream out at you a bit.

Dar pe exterior, e putin tipator.

It's actually basically three square rooms

Practic, are trei camere patrate

with a couple of skylights and stuff.

cu cateva lucarne.

And from the building in the back, you see it as

Si din cladirea din spate, o vezi ca si cum ar fi

an iceberg floating by in the hills.

un inceberg care pluteste pe dealuri.

I know I'm over time.

Stiu ca am depasit timpul.

See, that skylight goes down and becomes that one.

Vedeti, fereastra aceea coboara si devine cealalta.

So it's pretty quiet inside.

E destul de calm inauntru.

This is the Disney Hall -- the concert hall.

Aici e Disney Hall -- sala de concerte.

It's a complicated project.

E un proiect complicat.

It has a chamber hall.

Are un amfiteatru.

It's related to an existing Chandler Pavilion that was built

Are legatura cu un pavilion Chandler construit deja,

with a lot of love and tears and caring.

cu multa dragoste si lacrimi si atentie.

And it's not a great building, but I approached it optimistically,

Nu e o cladire mareata, dar am fost optimist in ceea ce o priveste,

that we would make a compositional relationship between us

anume ca o sa avem o relatie de integrare

that would strengthen both of us.

care ne-ar fi intarit pe amandoi.

And the plan of this -- it's a concert hall.

Si planul acesteia -- e o sala de concerte.

This is the foyer, which is kind of a garden structure.

Aici e foaierul, un fel de structura gradina.

There's commercial at the ground floor.

La parter e spatiu comercial.

These are offices, which, really, in the competition,

Aici sunt birouri, pe care, in cadrul competitiei,

we didn't have to design.

nu a trebuit sa le proiectam.

But finally, there's a hotel there.

Si in final, aici e hotelul.

These were the kind of relationships made to the Chandler,

Asta e tipul de relatii stabilite cu Chandler,

composing these elevations together and relating them

compunerea acestor inaltimi si faptul ca le-am legat de

to the buildings that existed -- to MOCA, etc.

cladirile care existau -- de MOCA de exemplu, etc.

The acoustician in the competition gave us criteria,

Acusticianul ne-a oferit criteriile care

which led to this compartmentalized scheme,

au condus la aceasta schema compartimentata,

which we found out after the competition would not work at all.

care, dupa competitie, am aflat ca nu ar fi mers deloc.

But everybody liked these forms and liked the space,

Dar tuturor le-au placut aceste forme si spatiul,

and so that's one of the problems of a competition.

asa ca asta e una din problemele unei competitii.

You have to then try and get that back in some way.

Trebuie apoi sa incerci sa recuperezi cumva acel lucru.

And we studied many models.

Si am studiat multe modele.

This was our original model.

Acesta a fost modelul nostru original.

These were the three buildings that were the ideal --

Acestea au fost cele trei cladiri care erau ideale --

the Concertgebouw, Boston and Berlin.

Concertgebouw, Boston si Berlin.

Everybody liked the surround.

Tuturor le-a placut ambianta.

Actually, this is the smallest hall in size,

De fapt, aceasta e cea mai mica sala,

and it has more seats than any of these

si are mai multe locuri decat oricare alta,

because it has double balconies.

pentru ca are balcoane duble.

Our client doesn't want balconies, so --

Clientul nostru nu vrea balcoane, asa ca --

and when we met our new acoustician, he told us

si cand l-am intalnit pe noul acustician, ne-a spus

this was the right shape or this was the right shape.

ca aceea era forma potrivita, or aceea era forma potrivita.

And we tried many shapes, trying to get the energy

Si am incercat multe forme, incercand sa obtinem energia

of the original design within an acoustical, acceptable format.

modelului original intr-un format acustic si acceptabil.

We finally settled on a shape that was

Ne-am hotarat in final pentru o forma cam

the proportion of the Concertgebouw

de marimea salii Concertgebouw,

with the sloping outside walls, which the acoustician said

cu peretii exteriori in panta, despre care acusticianul a spus ca

were crucial to this and later decided they weren't,

erau cruciali si apoi a decis ca nu erau,

but now we have them.

dar acum ii avem.

(Laughter)

(Rasete)

And our idea is to make the seating carriage very sculptural

Si ideea noastra este sa facem tot cadrul scaunelor foarte sculptural,

and out of wood and like a big boat sitting in this plaster room.

din lemn si asemeni unei barci in mjlocul acestei camere de ipsos.

That's the idea.

Asta e ideea.

And the corners would have skylights

Iar colturile ar avea lucarne

and these columns would be structural.

iar aceste coloane ar fi structurale.

And the nice thing about introducing columns is they give you a

Si lucrul interesant despre introducerea coloanelor e ca iti dau

kind of sense of proscenium from wherever you sit,

un fel de impresie de avanscena de oriunde ai sta,

and create intimacy.

si creeaza intimitate.

Now, this is not a final design -- these are just on the way to being --

Acum, asta nu e desenul final -- acestea sunt pe cale sa fie --

and so I wouldn't take it literally, except the feeling of the space.

asa ca nu as lua-o de buna, in afara de sentimentul de spatiu.

We studied the acoustics with laser stuff,

Am studiat acustica cu chestii laser,

and they bounce them off this and see where it all works.

si le resping pe toate si vedem unde merge.

But you get the sense of the hall in section.

Dar intelegi amfiteatrul abia in sectiune.

Most halls come straight down into a proscenium.

Cele mai multe dintre acestea o iau in jos spre o avanscena.

In this case we're opening it back up

In cazul acesta, il deschidem in spate

and getting skylights in the four corners.

si punem lucarne in cele patru colturi.

And so it will be quite a different shape.

Asa ca o sa aiba o forma diferita.

(Laughter)

(Rasete)

The original building, because it was frog-like,

Cladirea originala, pentru ca semana cu o broasca,

fit nicely on the site and cranked itself well.

s-a potrivit perfect si s-a strecurat la fix.

When you get into a box, it's harder to do it -- and here we are,

Cand esti intr-o cutie, e mai greu sa o faci -- si iata-ne,

struggling with how to put the hotel in.

gandindu-ne cum sa integram hotelul.

And this is a teapot I designed for Alessi.

Iar acesta e un ceainic pe care l-am desenat pentru Alessi.

I just stuck it on there.

L-am infipt acolo, pur si simplu.

But this is how I do work. I do take pieces and bits and look at it

Dar asa lucrez eu. Iau bucati si bucatele si ma uit la ele

and struggle with it and cut it away.

si ma lupt cu ele si le resping.

And of course it's not going to look like that,

Si bineinteles ca nu o sa arate asa,

but it is the crazy way I tend to work.

dar e felul nebunesc in care tind sa lucrez.

And then finally, in L.A. I was asked to do a sculpture

Si apoi, in final, in L.A., mi s-a cerut sa fac o sculptura

at the foot of Interstate Bank Tower, the highest building in L.A.

la baza Interstate BAnk Tower, cea mai inalta cladire din L.A..

Larry Halprin is doing the stairs.

Larry Halprin face scarile.

And I was asked to do a fish, and so I did a snake.

Si mi s-a cerut sa fac un peste, asa ca am facut un sarpe.

(Laughter)

(Rasete)

It's a public space, and I made it kind of a garden structure,

E un spatiu public, si i-am facut o structura tip gradina,

and you can go in it.

si poti sa intrii.

It's a kiva, and Larry's putting some water in there,

E un loc de rugaciune si Larry pune putina apa acolo

and it works much better than a fish.

si merge mai bine decat un peste.

In Barcelona I was asked to do a fish, and we're working on that,

In Barcelona mi s-a cerut sa fac un peste, si am lucrat la proiect

at the foot of a Ritz-Carlton Tower being done by

la baza turnului Ritz-Carlton, facut de

Skidmore, Owings and Merrill.

Skidmore, Owings si Merrill.

And the Ritz-Carlton Tower is being designed with exposed steel,

Iar turnul Ritz-Carlton e proiectat cu otel neacoperit,

non-fire proof, much like those old gas tanks.

care nu e impotriva incendiilor, ca si rezervoarele alea vechi de combustibil.

And so we took the language of this exposed steel and used it,

Asa ca am luat limbajul otelului expus si l-am folosit,

perverted it, into the form of the fish, and created a kind of

l-am schimbat, in forma unui peste si am creat un fel de

a 19th-century contraption that looks like, that will sit --

dracie de secolul XIX care arata ca, care o sa se aseze,

this is the beach and the harbor out in front,

asta e plaja si portul din fata,

and this is really a shopping center with department stores.

si asta chiar e un centru comercial cu magazine.

And we split these bridges.

Si am impartit podurile.

Originally, this was all solid with a hole in it.

Initial, asta era solid si avea o deschizatura.

We cut them loose and made several bridges and created a kind of

Le desfacem si facem cateva poduri si cream un fel de

a foreground for this hotel.

prim plan pentru hotel.

We showed this to the hotel people the other day,

Le-am aratat asta oamenilor de la hotel zilele trecute

and they were terrified and said that nobody would come

si au fost oripilati, au spus ca nu va mai veni nimeni

to the Ritz-Carlton anymore, because of this fish.

la Ritz-Carlton din cauza pestelui.

(Laughter)

(Rasete)

And finally, I just threw these in -- Lou Danziger.

Si in final, am aruncat astea inauntru -- Lou Danziger.

I didn't expect Lou Danziger to be here,

Nu ma asteptam ca Lou Daniger sa fie aici,

but this is a building I did for him in 1964, I think.

dar asta e o cladire pe care am facut-o pentru el in 1964, cred.

A little studio -- and it's sadly for sale.

Un mic studio -- din pacate e scos la vanzare.

Time goes on.

Timpul trece.

And this is my son working with me on a small fast-food thing.

Si aici e fiul meu care lucreaza cu mine pentru o chestie mica fast-food.

He designed the robot as the cashier, and the head moves,

El a proiectat robotul-casier, si capul i se misca,

and I did the rest of it.

iar eu am facut restul.

And the food wasn't as good as the stuff, and so it failed.

Iar mancarea nu a fost la fel de buna ca restul, asa ca a esuat.

It should have been the other way around --

Ar fi trebuit sa fie invers --

the food should have been good first.

mancarea sa fie prima buna.

It didn't work.

N-a mers.

Thank you very much.

Va multumesc foarte mult.