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

Translator: Joseph Geni Reviewer: Krystian Aparta

Translator: Matej Divjak Reviewer: Nika Kotnik

Today I'm going to speak to you

Danes vam bom govoril o zadnjih 30 letih arhitekturne zgodovine.

about the last 30 years of architectural history.

That's a lot to pack into 18 minutes.

To je dosti za samo 18 minut.

It's a complex topic,

Je kompleksna tema,

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

zato bomo vanjo skočili na kompleksnem mestu:

New Jersey.

New Jersey.

Because 30 years ago, I'm from Jersey,

Zato, ker pred 30 leti, jaz sem iz Jerseyja,

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

bil sem šest let star, živel pa sem pri starših

in a town called Livingston,

v mestecu Livingston

and this was my childhood bedroom.

in to je bila moja otroška spalnica.

Around the corner from my bedroom

Za vogalom moje sobe

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

je bila kopalnica, ki sem si jo delil s svojo sestro.

And in between my bedroom and the bathroom

Med mojo sobo in kopalnico

was a balcony that overlooked the family room.

je bil balkon, ki je nudil razgled na dnevno sobo.

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

Tam so se vsi družili in gledali TV,

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

tako da vsakič, ko sem šel od sobe do kopalnice,

everyone would see me,

so me vsi videli,

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

in vsakič, ko sem se stuširal in se vrnil v brisači,

everyone would see me.

so me vsi videli.

And I looked like this.

Izgledal pa sem takole.

I was awkward,

Bil sem neroden,

insecure, and I hated it.

negotov in sovražil sem to.

I hated that walk, I hated that balcony,

Sovražil sem tisto hojo, sovražil sem tisti balkon,

I hated that room, and I hated that house.

sovražil sem tisto sobo in sovražil sem tisto hišo.

And that's architecture.

No, to je arhitektura.

(Laughter)

(smeh)

Done.

Končano.

That feeling, those emotions that I felt,

Ta občutek, ta čustva, ki sem jih občutil,

that's the power of architecture,

to je moč arhitekture,

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

ker pri arhitekturi ne gre za matematiko in ne gre za coniranje,

it's about those visceral, emotional connections

ampak za tiste visceralne, čustvene povezave

that we feel to the places that we occupy.

ki jih čutimo do prostorov, v katerih smo.

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

In nobeno presenečenje ni, da tako čutimo,

because according to the EPA,

saj ameriška agencija za varovanje okolja (EPA) pravi,

Americans spend 90 percent of their time indoors.

da Američani 90 odstotkov svojega časa preživijo v zaprtih prostorih.

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

To je 90 odstotkov našega časa obkroženi z arhitekturo.

That's huge.

To je ogromno.

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

To pomeni, da nas arhitektura oblikuje na načine, ki se jih sploh ne zavedamo.

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

To nas naredi nekoliko lahkoverne in zelo zelo predvidljive.

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

To pomeni, da ko vam pokažem takšno zgradbo,

I know what you think:

vem, kaj si mislite:

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

Mislite si "moč" in "stabilnost" in "demokracija."

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

In vem, da si to mislite, ker temelji na zgradbi,

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

ki so je Grki zgradili pred 2.500 leti.

This is a trick.

In v tem je trik.

This is a trigger that architects use

To je sprožilec, ki ga arhitekti uporabijo,

to get you to create an emotional connection

da bi ustvarili čustveno povezavo

to the forms that we build our buildings out of.

z oblikami, iz katerih gradimo svoje zgradbe.

It's a predictable emotional connection,

To je predvidljiva čustvena povezava

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

in ta trik uporabljamo že zelo zelo dolgo.

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

Pred [200] leti smo ga uporabili za gradnjo bank.

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

V 19. stoletju smo ga uporabili za gradnjo muzejev.

And in the 20th century in America,

In v 20. stoletju ga v Ameriki

we used it to build houses.

uporabljamo za gradnjo hiš.

And look at these solid, stable little soldiers

Poglejte te trdne, neomajne majhne vojake,

facing the ocean and keeping away the elements.

obrnjene proti oceanu, zadržujoč vremenske neprilike.

This is really, really useful,

To je res res uporabno,

because building things is terrifying.

saj je gradnja grozljiva.

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

Je draga, zahteva veliko časa in je zelo komplicirana.

And the people that build things --

Ljudje, ki gradijo -

developers and governments --

razvijalci in vlade -

they're naturally afraid of innovation,

pa se po naravi bojijo inovacij

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

in raje uporabijo kar oblike, za katere vedo, da se boste odzvali nanje.

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

Zato končamo z zgradbami, kot je ta.

This is a nice building.

To je prijetna zgradba.

This is the Livingston Public Library

To je Livingstonska javna knjižnica,

that was completed in 2004 in my hometown,

ki so jo dokončali v 2004 v mojem rojstnem mestecu

and, you know, it's got a dome

in, veste, ima kupolo

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

in tole okroglo zadevo in stebre, rdeče opeke,

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

in nekako lahko uganete, kaj poskuša Livingstone s to zgradbo sporočiti:

children, property values and history.

otroci, vrednosti nepremičnin in zgodovina.

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

Vendar to nima veliko veze s tem, kar knjižnica danes dejansko počne.

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

Istega leta, 2004, na drugi strani države

another library was completed,

so dokončali še eno knjižnico,

and it looks like this.

ki zgleda takole.

It's in Seattle.

Je v Seattlu.

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

Ta knjižnica predstavlja, kako v digitalni dobi konzumiramo medije.

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

Gre za novo vrsto javnega dobra za mesto,

a place to gather and read and share.

kraj za zbiranje, branje in deljenje.

So how is it possible

Kako je torej mogoče,

that in the same year, in the same country,

da v istem letu v isti državi

two buildings, both called libraries,

dve zgradbi, obe knjižnici,

look so completely different?

izgledata tako različno?

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

Odgovor je ta, da arhitektura deluje po principu nihala.

On the one side is innovation,

Na eni strani je inovacija

and architects are constantly pushing, pushing for new technologies,

in arhitekti konstantno težijo k novim tehnologijam,

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

novim tipologijam, novim rešitvam za načine, kako danes živimo.

And we push and we push and we push

In pritiskamo, pritiskamo, pritiskamo,

until we completely alienate all of you.

dokler vas vseh popolnoma ne odtujimo.

We wear all black, we get very depressed,

Oblečeni smo v črno, postanemo zelo depresivni,

you think we're adorable,

zdimo se vam prisrčni,

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

navznoter smo mrtvi, ker nimamo izbire.

We have to go to the other side

Moramo na drugo stran

and reengage those symbols that we know you love.

in ponovno uporabiti simbole, za katere vemo, da jih imate radi.

So we do that, and you're happy,

To naredimo in vi ste srečni,

we feel like sellouts,

mi pa se počutimo prodane

so we start experimenting again

in znova začnemo eksperimentirati

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

in potisnemo nihalo nazaj, naprej in nazaj, naprej in nazaj,

we've gone for the last 300 years,

in to že zadnjih 300 let

and certainly for the last 30 years.

in zagotovo zadnjih 30 let.

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

V redu, pred 30 leti smo prihajali iz sedemdesetih.

Architects had been busy experimenting with something called brutalism.

Arhitekti so eksperimentirali s tako imenovanim brutalizmom.

It's about concrete.

Gre za beton.

(Laughter)

(smeh)

You can guess this.

To lahko uganete.

Small windows, dehumanizing scale.

Majhna okna, razčlovečena merila.

This is really tough stuff.

To je res surovo.

So as we get closer to the '80s,

Ko pa se bližamo osemdesetim,

we start to reengage those symbols.

ponovno začnemo uporabljati tiste simbole.

We push the pendulum back into the other direction.

Nihalo potisnemo nazaj v drugo smer.

We take these forms that we know you love

Vzamemo oblike, za katere vemo, da jih imate radi

and we update them.

in jih posodobimo.

We add neon

Dodamo neonke

and we add pastels

in dodamo pastelne barve

and we use new materials.

in uporabimo nove materiale.

And you love it.

In vi to obožujete.

And we can't give you enough of it.

In ne moremo vam dati dovolj tega.

We take Chippendale armoires

Vzamemo Chippendale omare

and we turned those into skyscrapers,

in jih spremenimo v nebotičnike,

and skyscrapers can be medieval castles made out of glass.

nebotičniki pa so lahko srednjeveški gradovi iz stekla.

Forms got big,

Oblike so postale velike,

forms got bold and colorful.

pogumne in barvite.

Dwarves became columns.

Škrati so postali stebri.

(Laughter)

(smeh)

Swans grew to the size of buildings.

Labodi so zrasli do velikosti zgradb.

It was crazy.

Noro je bilo.

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

A osemdeseta so, to je kul.

(Laughter)

(smeh)

We're all hanging out in malls

Vsi se družimo v nakupovalnih središčih

and we're all moving to the suburbs,

in vsi se selimo v predmestja,

and out there, out in the suburbs,

tam zunaj v predmestjih pa

we can create our own architectural fantasies.

lahko ustvarjamo lastne arhitekturne fantazije.

And those fantasies,

Te fantazije

they can be Mediterranean

pa so lahko mediteranske

or French

ali francoske

or Italian.

ali italijanske.

(Laughter)

(smeh)

Possibly with endless breadsticks.

Po možnosti z neomejeno količino krušnih palčk.

This is the thing about postmodernism.

Tako je to s postmodernizmom.

This is the thing about symbols.

Tako je to s simboli.

They're easy, they're cheap,

Preprosti so, poceni,

because instead of making places,

ker namesto ustvarjanja prostorov,

we're making memories of places.

ustvarjamo spomine na prostore.

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

Ker vem, in vem, da tudi vsi vi veste,

this isn't Tuscany.

da to ni Toskana.

This is Ohio.

To je Ohio.

(Laughter)

(smeh)

So architects get frustrated,

Arhitekti postanejo frustrirani

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

in začnemo potiskati nihalo nazaj v drugo smer.

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

V poznih osemdesetih in zgodnjih devetdesetih

we start experimenting with something called deconstructivism.

začnemo eksperimentirati s tako imenovanim dekonstruktivizmom.

We throw out historical symbols,

Znebimo se zgodovinskih simbolov,

we rely on new, computer-aided design techniques,

zanašamo se na nove, računalniško podprte tehnike oblikovanja

and we come up with new compositions,

in pridemo do novih kompozicij,

forms crashing into forms.

kjer oblike trčijo v oblike.

This is academic and heady stuff,

To so akademske in močne stvari,

it's super unpopular,

zelo nepriljubljene,

we totally alienate you.

popolnoma vas odtujimo.

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

Navadno bi nihalo zanihalo nazaj v drugo smer.

And then, something amazing happened.

A potem se je zgodilo nekaj neverjetnega.

In 1997, this building opened.

Leta 1997 so odprli to zgradbo.

This is the Guggenheim Bilbao, by Frank Gehry.

To je Guggenheim Bilbao, Franka Gehryja.

And this building

In ta zgradba

fundamentally changes the world's relationship to architecture.

je do temeljev spremenila odnos sveta do arhitekture.

Paul Goldberger said that Bilbao was one of those rare moments

Paul Goldberger je rekel, da je bil Bilbao eden od tistih redkih trenutkov,

when critics, academics, and the general public

ko so se kritiki, akademiki in splošna javnost

were completely united around a building.

popolnoma zedinili glede zgradbe.

The New York Times called this building a miracle.

New York Times je to zgradbo oklical za čudež.

Tourism in Bilbao increased 2,500 percent

Turizem v Bilbau se je povišal za 2.500 odstotkov,

after this building was completed.

ko je bila ta zgradba končana.

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

Tako kar naenkrat vsi želijo eno od teh zgradb:

L.A.,

Los Angeles,

Seattle,

Seattle,

Chicago,

Chicago,

New York,

New York,

Cleveland,

Cleveland,

Springfield.

Springfield.

(Laughter)

(smeh)

Everybody wants one, and Gehry is everywhere.

Vsi želijo svojo in Gehry je povsod.

He is our very first starchitect.

Je naš čisto prvi zvezdniški arhitekt.

Now, how is it possible that these forms --

Kako je mogoče, da te oblike -

they're wild and radical --

divje so in radikalne -

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

kako je mogoče, da postanejo tako vseprisotne širom po svetu?

And it happened because media so successfully galvanized around them

To se je zgodilo zato, ker so se mediji tako uspešno navduševali nad njimi,

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

da so nas hitro naučili, da te oblike pomenijo kulturo in turizem.

We created an emotional reaction to these forms.

Ustvarili smo čustven odziv na te oblike.

So did every mayor in the world.

Tako kot vsak župan na svetu.

So every mayor knew that if they had these forms,

Vsak župan je torej vedel, da če bodo imeli te oblike,

they had culture and tourism.

bodo imeli kulturo in turizem.

This phenomenon at the turn of the new millennium

Ta fenomen se je na prelomu tisočletja

happened to a few other starchitects.

zgodil še nekaj zvezdniškim arhitektom.

It happened to Zaha

Zgodilo se je Zahi

and it happened to Libeskind,

in zgodilo se je Libeskindu,

and what happened to these elite few architects

in kar se je zgodilo nekaterim od teh elitnih arhitektov

at the turn of the new millennium

na prelomu tisočletja,

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

bi se v resnici lahko začelo dogajati celotnemu področju arhitekture,

as digital media starts to increase the speed

ker digitalni mediji začenjajo zviševati hitrost,

with which we consume information.

s katero konzumiramo informacije.

Because think about how you consume architecture.

Razmislite, kako konzumirate arhitekturo.

A thousand years ago,

Pred tisoč leti

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

bi se morali sprehoditi do sosednje vasi, da bi videli zgradbo.

Transportation speeds up:

Prevoz se pohitri:

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

lahko greste s čolnom ali letalom, lahko postanete turist.

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

Tehnologija se pohitri: lahko jo vidite v časopisu, na TV,

until finally, we are all architectural photographers,

dokler nismo na koncu vsi arhitekturni fotografi

and the building has become disembodied from the site.

in zgradba postane izvzeta iz svojega mesta.

Architecture is everywhere now,

Arhitektura je zdaj povsod

and that means that the speed of communication

in to pomeni, da je hitrost komunikacije

has finally caught up to the speed of architecture.

končno dosegla hitrost arhitekture.

Because architecture actually moves quite quickly.

Arhitektura se namreč kar hitro premika.

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

Ne traja dolgo, da si zamislite zgradbo.

It takes a long time to build a building,

Dolgo traja, da jo zgradite,

three or four years,

tri ali štiri leta,

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

vmes pa bo arhitekt oblikoval dve ali osem

or a hundred other buildings

ali sto drugih zgradb,

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

preden bo vedel, ali je tista zgradba, ki jo je oblikoval pred štirimi leti,

was a success or not.

bila uspešna ali ne.

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

To pa zato, ker v arhitekturi nikoli ni bilo dobre povratne informacije.

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

Zato končamo z zgradbami, kot je ta.

Brutalism wasn't a two-year movement,

Brutalizem ni bil dveletno gibanje,

it was a 20-year movement.

bil je 20-letno gibanje.

For 20 years, we were producing buildings like this

20 let smo gradili zgradbe, kot je ta,

because we had no idea how much you hated it.

ker nismo vedeli, kako zelo jih sovražite.

It's never going to happen again,

To se ne bo nikoli več zgodilo,

I think,

vsaj mislim,

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

ker živimo na pragu največje revolucije v arhitekturi

since the invention of concrete,

od izuma betona,

of steel, or of the elevator,

jekla ali dvigala,

and it's a media revolution.

in sicer revolucije medijev.

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

Moja teorija je, da ko na to nihalo dodate medije,

it starts swinging faster and faster,

začne vedno hitreje nihati,

until it's at both extremes nearly simultaneously,

dokler ni na obeh ekstremih skoraj sočasno,

and that effectively blurs the difference between innovation and symbol,

to pa uspešno zamegli razliko med inovacijo in simbolom,

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

med nami, arhitekti, in vami, javnostjo.

Now we can make nearly instantaneous, emotionally charged symbols

Zdaj lahko skoraj v hipu naredimo čustveno nabite simbole

out of something that's brand new.

iz nečesa, kar je popolnoma novo.

Let me show you how this plays out

Naj vam pokažem, kako se to odvije

in a project that my firm recently completed.

na projektu, ki ga je moje podjetje nedavno zaključilo.

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

Najeli so nas, da nadomestimo to zgradbo, ki je pogorela.

This is the center of a town called the Pines

To je center mesteca Pines

in Fire Island in New York State.

na otoku Fire v zvezni državi New York.

It's a vacation community.

To je dopustniško naselje.

We proposed a building that was audacious,

Predlagali smo zgradbo, ki je bila drzna,

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

ki je bila drugačna od vseh oblik, ki jih je skupnost bila vajena

and we were scared and our client was scared

in bilo nas je strah in našo stranko je bilo strah

and the community was scared,

in skupnost je bilo strah,

so we created a series of photorealistic renderings

zato smo pripravili serijo fotorealističnih upodobitev,

that we put onto Facebook

ki smo jih dali na Facebook

and we put onto Instagram,

in na Instragram

and we let people start to do what they do:

in pustili, da ljudje začnejo početi, kar počnejo:

share it, comment, like it, hate it.

delijo, komentirajo, všečkajo, sovražijo.

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

A to je pomenilo, da je dve leti, preden je bila zgradba dokončana,

it was already a part of the community,

že bila del skupnosti,

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

tako da, ko so upodobitve izgledale natanko tako kot končni produkt,

there were no surprises.

ni bilo presenečenj.

This building was already a part of this community,

Ta zgradba je že bila del te skupnosti

and then that first summer,

in potem tisto prvo poletje,

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

ko so ljudje začeli prihajati in deliti zgradbo na družbenih omrežjih,

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

je zgradba prenehala biti samo stavba in je postala medij,

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

ker to niso samo slike zgradbe,

they're your pictures of a building.

to so vaše slike zgradbe.

And as you use them to tell your story,

In ko jih uporabljate, da poveste svojo zgodbo,

they become part of your personal narrative,

postanejo del vaše osebne pripovedi

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

in s tem v bistvu delate kratek stik

all of our collective memory,

v našem kolektivnem spominu

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

in ustvarjate te naelektrene simbole, ki jih razumemo.

That means we don't need the Greeks anymore

To pomeni, da več ne potrebujemo Grkov,

to tell us what to think about architecture.

da nam povedo, kaj si naj mislimo o arhitekturi.

We can tell each other what we think about architecture,

Lahko drug drugemu povemo, kaj si mislimo o arhitekturi,

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

ker digitalni mediji niso spremenili samo odnosov med vsemi nami,

it's changed the relationship between us and buildings.

spremenili so tudi odnos med nami in zgradbami.

Think for a second about those librarians back in Livingston.

Za trenutek pomislite na tiste knjižničarje v Livingstonu.

If that building was going to be built today,

Če bi tisto zgradbo želeli zgraditi danes,

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

bi najprej šli na splet in poiskali "nove knjižnice".

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

Preplavili bi jih primeri eksperimentiranja in inovacij,

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

premikanja mej tega, kar je lahko knjižnica.

That's ammunition.

To je strelivo.

That's ammunition that they can take with them

To je strelivo, ki ga lahko vzamejo in nesejo

županu Livingstona, ljudem Livingstona

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

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

in rečejo, da ne obstaja enoten odgovor na to, kaj vse je lahko knjižnica danes.

Let's be a part of this.

Bodimo del tega.

This abundance of experimentation

To obilje eksperimentiranja

gives them the freedom to run their own experiment.

jim daje svobodo, da naredijo svoj eksperiment.

Everything is different now.

Zdaj je vse drugače.

Architects are no longer these mysterious creatures

Arhitekti niso več ta skrivnostna bitja,

that use big words and complicated drawings,

ki uporabljajo velike besede in komplicirane risbe,

and you aren't the hapless public,

in vi niste več nesrečna javnost,

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

potrošniki, ki ne bodo sprejeli ničesar, kar še niso videli.

Architects can hear you,

Arhitekti vas lahko slišijo

and you're not intimidated by architecture.

in vas arhitektura ne ustrahuje.

That means that that pendulum swinging back and forth

To pomeni, da nihalo, ki niha naprej in nazaj,

from style to style, from movement to movement,

od stila k stilu, od gibanja k gibanju,

is irrelevant.

ni več pomembno.

We can actually move forward

Lahko gremo naprej

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

in najdemo ustrezne rešitve za težave, s katerimi se sooča naša družba.

This is the end of architectural history,

To je konec arhitekturne zgodovine

and it means that the buildings of tomorrow

in pomeni, da bodo jutrišnje zgradbe

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

videti precej drugačne od današnjih.

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

To pomeni, da je javni prostor v starodavnem mestu Sevilji

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

lahko edinstven in prikrojen načinu, kako funkcionira moderno mesto.

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

To pomeni, da je stadion v Brooklynu lahko stadion v Brooklynu

not some red-brick historical pastiche

in ne nek posnetek zgodovine iz rdečih opek,

of what we think a stadium ought to be.

za kar mislimo, da predstavlja, kako bi stadion naj izgledal.

It means that robots are going to build our buildings,

To pomeni, da bodo roboti gradili naše zgradbe,

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

ker smo končno pripravljeni na oblike, ki jih bodo proizvajali.

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

In to pomeni, da se bodo zgradbe prilagajale kapricam narave

instead of the other way around.

in ne obratno.

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

To pomeni, da je parkirna hiša na Miami Beach na Floridi

can also be a place for sports

lahko tudi prostor za šport

and for yoga

in za jogo,

and you can even get married there late at night.

pozno ponoči pa se lahko tam tudi poročite.

(Laughter)

(smeh)

It means that three architects can dream about swimming

To pomeni, da lahko trije arhitekti sanjajo o plavanju

in the East River of New York,

v reki East River v New Yorku,

and then raise nearly half a million dollars

potem pa zberejo skoraj pol milijona dolarjev

from a community that gathered around their cause,

od skupnosti, ki je podprla njihov namen,

no one client anymore.

ni več samo enega naročnika.

It means that no building is too small for innovation,

To pomeni, da nobena zgradba ni premajhna za inovacijo,

like this little reindeer pavilion

kot tale paviljon za severne jelene,

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

ki je mišičast in žilav kot živali, za opazovanje katerih je narejen.

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

In to pomeni, da zgradba ne rabi biti lepa,

to be lovable,

da bi jo lahko imeli radi,

like this ugly little building in Spain,

kot ta grda mala zgradba v Španiji,

where the architects dug a hole,

kjer so arhitekti izkopali luknjo,

packed it with hay,

jo napolnili s senom,

and then poured concrete around it,

potem pa okoli tega nalili beton

and when the concrete dried,

in ko se je beton posušil,

they invited someone to come and clean that hay out

so povabili nekoga, da pride počistit to seno,

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

tako da je na koncu ostala le

is this hideous little room

ta majhna nagravžna sobica,

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

ki je napolnjena z odtisi in praskami od tega, kako je bila narejena

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

in to postane najbolj sublimno mesto za opazovanje španskega sončnega zahoda.

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

Ker ni pomembno, ali naše zgradbe gradi krava

or a robot builds our buildings.

ali robot.

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

Ni pomembno, kako gradimo, pomembno je, kaj gradimo.

Architects already know how to make buildings that are greener

Arhitekti že vedo, kako narediti zgradbe, ki bodo bolj ekološke

and smarter and friendlier.

in pametnejše in prijaznejše.

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

Čakali smo le na vas, da si jih želite.

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

In končno nismo več na nasprotnih straneh.

Find an architect, hire an architect,

Najdite arhitekta, najemite arhitekta,

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

delajte z nami na oblikovanju boljših zgradb, boljših mest in boljšega sveta,

because the stakes are high.

ker je veliko na kocki.

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

Zgradbe niso samo odraz družbe, ampak oblikujejo našo družbo

down to the smallest spaces:

vse do najmanjših prostorov:

the local libraries,

lokalnih knjižnic,

the homes where we raise our children,

domov, v katerih vzgajamo svoje otroke,

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

in njihove hoje od spalnice do kopalnice.

Thank you.

Hvala.

(Applause)

(aplavz)