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

Translator: Joseph Geni Reviewer: Krystian Aparta

Prevodilac: Mile Živković Lektor: Ivana Korom

Today I'm going to speak to you

Danas ću vam pričati

about the last 30 years of architectural history.

o poslednjih 30 godina u istoriji arhitekture.

That's a lot to pack into 18 minutes.

To je mnogo toga za 18 minuta.

It's a complex topic,

Tema je kompleksna,

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

pa ćemo se samo upustiti u nju na kompleksnom mestu:

New Jersey.

Nju Džerzi.

Because 30 years ago, I'm from Jersey,

Ja sam iz Nju Džerzija, i pre 30 godina

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

imao sam šest godina i živeo sam tamo u kući svojih roditelja

in a town called Livingston,

u gradu Livingstonu

and this was my childhood bedroom.

i ovo je bila moja spavaća soba iz detinjstva.

Around the corner from my bedroom

Na ćošku pored moje spavaće sboe

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

bilo je kupatilo koje sam delio sa sestrom.

And in between my bedroom and the bathroom

Između moje spavaće sobe i kupatila

was a balcony that overlooked the family room.

nalazio se balkon koji je nadgledao dnevnu sobu.

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

Tu bi svi provodili vreme i gledali TV,

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

tako da bi me svaki put kada bih prošao od spavaće sobe do kupatila

everyone would see me,

svako video

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

i svaki put kada bih se istuširao i vratio se obmotan peškirom,

everyone would see me.

svako bi me video.

And I looked like this.

A izgledao sam ovako.

I was awkward,

Bilo mi je neprijatno,

insecure, and I hated it.

bio sam nesiguran i mrzeo sam taj osećaj.

I hated that walk, I hated that balcony,

Mrzeo sam da hodam tu, mrzeo sam taj balkon,

I hated that room, and I hated that house.

tu sobu i tu kuću.

And that's architecture.

To je arhitektura.

(Laughter)

(Smeh)

Done.

Gotovo.

That feeling, those emotions that I felt,

To osećanje, te emocije koje sam osećao,

that's the power of architecture,

to je moć arhitekture,

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

jer se u arhitekturi ne radi o matematici niti o podeli na zone,

it's about those visceral, emotional connections

radi se o tim ključnim, emotivnim vezama

that we feel to the places that we occupy.

koje osećamo u vezi sa mestima koja nastanjujemo.

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

Nije čudno što se tako osećamo,

because according to the EPA,

jer po navodima Agencije za zaštitu okoline,

Americans spend 90 percent of their time indoors.

Amerikanci 90% svog vremena provode unutra.

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

To je 90% našeg vremena gde smo okruženi arhtekturom.

That's huge.

To je ogromno.

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

To znači da nas arhitektura oblikuje na načine koje nismo ni shvatali.

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

To nas čini pomalo lakovernim i veoma, veoma predvidljivim.

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

To znači da kada vam pokažem zgradu poput ove,

I know what you think:

znam šta mislite:

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

mislite "moć", "stabilnost" i "demokratija".

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

I znam da to mislite jer je zasnovana na zgradi koju su pre 2500 godina

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

sagradili Grci.

This is a trick.

To je trik.

This is a trigger that architects use

Ovo je okidač koji arhitekte koriste

to get you to create an emotional connection

da bi vas navele da stvorite emotivnu vezu

to the forms that we build our buildings out of.

sa formama od kojih stvaramo naše zgrade.

It's a predictable emotional connection,

To je predvidljiva emotivna veza

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

i taj trik koristimo već veoma dugo.

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

Koristili smo ga pre 200 godina da bismo gradili banke.

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

Koristili smo ga u 19. veku kada smo gradili muzeje umetnosti.

And in the 20th century in America,

A u 20. veku u Americi,

we used it to build houses.

koristili smo ga za gradnju kuća.

And look at these solid, stable little soldiers

Pogledajte samo ove čvrste, stabilne male vojnike

facing the ocean and keeping away the elements.

okrenute ka okeanu kako odbijaju vremenske prilike.

This is really, really useful,

Ovo je veoma korisno,

because building things is terrifying.

zato što je građenje zastrašujuće.

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

Skupo je, traje veoma dugo, i veoma je komplikovano.

And the people that build things --

A ljudi koji se bave gradnjom -

developers and governments --

graditelji i vlade -

they're naturally afraid of innovation,

po prirodi se plaše inovacija

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

i radije bi samo koristili one forme za koje znaju da će izazvati reakciju.

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

Tako dobijemo ovakve zgrade.

This is a nice building.

Ovo je fina zgrada.

This is the Livingston Public Library

To je gradska biblioteka u Livingstonu

that was completed in 2004 in my hometown,

koja je završena 2004. u mom rodnom gradu

and, you know, it's got a dome

i znate, ima kulu

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

i ovu okruglu stvar i stubove, crvenu ciglu i nekako

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

možete pretpostaviti šta Livingston pokušava da kaže ovom zgradom:

children, property values and history.

deca, vrednost nekretnina i istorija.

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

Ali to zapravo nema puno veze s time čime se biblioteka danas bavi.

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

Iste te godine, 2004, na drugoj strani zemlje,

another library was completed,

završena je još jedna biblioteka

and it looks like this.

i ona izgleda ovako.

It's in Seattle.

Nalazi se u Sijetlu.

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

Ovde se radi o tome kako konzumiramo medije u digitalnom dobu.

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

Radi se o novom prijatnom mestu u gradu,

a place to gather and read and share.

mestu za okupljanje, čitanje i deljenje.

So how is it possible

Kako je onda moguće

that in the same year, in the same country,

da iste godine, u istoj zemlji,

two buildings, both called libraries,

dve zgrade, obe biblioteke,

look so completely different?

izgledaju potpuno drugačije?

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

Odgovor je taj da arhitektura funkcioniše na principu klatna.

On the one side is innovation,

Sa jedne strane je inovacija

and architects are constantly pushing, pushing for new technologies,

i arhitekte stalno guraju ka novim tehnologijama,

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

novim tipologijama, rešenjima za načine na koje danas živimo.

And we push and we push and we push

I guramo, guramo i guramo

until we completely alienate all of you.

dok se potpuno ne udaljimo od svih vas.

We wear all black, we get very depressed,

Nosimo samo crnu odeću, postanemo veoma depresivni,

you think we're adorable,

mislite da smo simpatični,

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

iznutra smo mrtvi jer nemamo izbora.

We have to go to the other side

Moramo da odemo na drugu stranu

and reengage those symbols that we know you love.

i ponovo koristimo te simbole koje znamo da volite.

So we do that, and you're happy,

Uradimo to i vi ste srećni,

we feel like sellouts,

a mi se osećamo kao da smo se prodali,

so we start experimenting again

pa počnemo opet da eksperimentišemo

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

i guramo klatno nazad i napred i nazad i napred

we've gone for the last 300 years,

kao i proteklih 300 godina

and certainly for the last 30 years.

i svakako proteklih 30 godina.

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

U redu, pre 30 godina izlazili smo iz '70-ih.

Architects had been busy experimenting with something called brutalism.

Arhitekte su eksperimentisale s nečim što se zove brutalizam.

It's about concrete.

Tu se radi o betonu.

(Laughter)

(Smeh)

You can guess this.

Ovo možete pretpostaviti.

Small windows, dehumanizing scale.

Mali prozori, razmera koja lišava dimenzije.

This is really tough stuff.

Ovo su zaista teške stvari.

So as we get closer to the '80s,

Što se više približavamo '80-ima,

we start to reengage those symbols.

počinjemo da ponovo koristimo te simbole.

We push the pendulum back into the other direction.

Guramo klatno nazad u suprotnom smeru.

We take these forms that we know you love

Uzimamo ove forme koje znamo da volite

and we update them.

i obnavljamo ih.

We add neon

Dodajemo neonska svetla

and we add pastels

i pastelne boje

and we use new materials.

i koristimo nove materijale.

And you love it.

I vi to obožavate.

And we can't give you enough of it.

I ne možete da se zasitite.

We take Chippendale armoires

Uzeli smo klasične ormare

and we turned those into skyscrapers,

i od njih napravili nebodere,

and skyscrapers can be medieval castles made out of glass.

a neboderi mogu da budu srednjovekovni zamkovi od stakla.

Forms got big,

Forme su postale velike,

forms got bold and colorful.

odvažne i pune boja.

Dwarves became columns.

Patuljci su postali stubovi.

(Laughter)

(Smeh)

Swans grew to the size of buildings.

Labudovi su narasli do veličine zgrada.

It was crazy.

Bilo je ludo.

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

Ali to su '80-te i to je kul.

(Laughter)

(Smeh)

We're all hanging out in malls

Svi provodimo vreme u tržnim centrima

and we're all moving to the suburbs,

i svi se selimo u predgrađa,

and out there, out in the suburbs,

a tamo, u predgrađima,

we can create our own architectural fantasies.

možemo da ostvarujemo svoje arhitektonske fantazije.

And those fantasies,

A te fantazije

they can be Mediterranean

mogu biti mediteranske

or French

ili francuske

or Italian.

ili italijanske.

(Laughter)

(Smeh)

Possibly with endless breadsticks.

Po mogućstvu uz beskonačne količine kifli.

This is the thing about postmodernism.

To je stvar sa postmodernizmom.

This is the thing about symbols.

To je stvar sa simbolima.

They're easy, they're cheap,

Jednostavni su, jeftini su,

because instead of making places,

jer umesto pravljenja mesta,

we're making memories of places.

pravimo sećanja na mesta.

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

Zato što znam, a znam da i svi vi znate,

this isn't Tuscany.

da ovo nije Toskana.

This is Ohio.

Ovo je Ohajo.

(Laughter)

(Smeh)

So architects get frustrated,

Arhitekte se onda frustriraju

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

i počnemo da guramo klatno nazad u suprotnom smeru.

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

Krajem '80-ih i početkom '90-ih

we start experimenting with something called deconstructivism.

počinjemo da eksperimentišemo s nečim što se zove dekonstruktivizam.

We throw out historical symbols,

Izbacujemo istorijske simbole,

we rely on new, computer-aided design techniques,

oslanjamo se na nove tehnike dizajna potpomognute kompjuterima

and we come up with new compositions,

i dolazimo do novih kompozicija

forms crashing into forms.

gde se forme sudaraju s formama.

This is academic and heady stuff,

Ovo su plahovite, akademske stvari,

it's super unpopular,

veoma nepopularne,

we totally alienate you.

potpuno se udaljavamo od vas.

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

Obično bi se klatno prosto vratilo i otišlo u suprotnom smeru.

And then, something amazing happened.

A onda se desilo nešto neverovatno.

In 1997, this building opened.

Godine 1997. otvorena je ova zgrada.

This is the Guggenheim Bilbao, by Frank Gehry.

Ovo je Gugenhajm Bilbao, autora Frenka Gerija.

And this building

Ova zgrada iz korena menja

fundamentally changes the world's relationship to architecture.

povezanost sveta s arhitekturom.

Paul Goldberger said that Bilbao was one of those rare moments

Pol Goldberger je rekao da je Bilbao bio jedan od onih retkih trenutaka

when critics, academics, and the general public

kada su kritičari, akademici i opšte javno mnjenje

were completely united around a building.

imali potpuno isto mišljenje o zgradi.

The New York Times called this building a miracle.

Njujork Tajms nazvao je ovu zgradu čudom.

Tourism in Bilbao increased 2,500 percent

Turizam u Bilbau porastao je za 2500%

after this building was completed.

nakon što je ova zgrada završena.

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

Odjednom su svi želeli jednu od ovih zgrada -

L.A.,

Los Anđeles,

Seattle,

Sijetl,

Chicago,

Čikago,

New York,

Njujork,

Cleveland,

Klivlend,

Springfield.

Springfild.

(Laughter)

(Smeh)

Everybody wants one, and Gehry is everywhere.

Svi žele po jednu ovu zgradu i Geri je svuda.

He is our very first starchitect.

On je naš prvi arhitekta-zvezda.

Now, how is it possible that these forms --

Kako je onda moguće da ove forme -

they're wild and radical --

divlje su i radikalne -

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

kako je moguće da one postaju tako prisutne širom sveta?

And it happened because media so successfully galvanized around them

To se desilo zato što su ih mediji tako uspešno podstakli

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

da su nas brzo naučili da ove forme podrazumevaju kulturu i turizam.

We created an emotional reaction to these forms.

Stekli smo emotivnu reakciju na ove forme.

So did every mayor in the world.

Kao i svaki gradonačelnik na svetu.

So every mayor knew that if they had these forms,

Svaki gradonačelnik je znao da ako ima ove forme,

they had culture and tourism.

ima kulturu i turizam.

This phenomenon at the turn of the new millennium

Ova pojava pred svitanje novog milenijuma

happened to a few other starchitects.

desila se i nekim drugim arhitektima-zvezdama.

It happened to Zaha

Desilo se Zahi

and it happened to Libeskind,

i desilo se Libeskindu,

and what happened to these elite few architects

i ono što se desilo ovoj nekolicini elitnih arhitekata

at the turn of the new millennium

u osvit novog milenijuma,

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

moglo bi da počne da se dešava celom polju arhitekture,

as digital media starts to increase the speed

jer digitalni mediji počinju da povećavaju brzinu

with which we consume information.

kojom konzumiramo informacije.

Because think about how you consume architecture.

Razmislite o tome kako konzumirate arhitekturu.

A thousand years ago,

Pre hiljadu godina,

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

morali ste da odšetate do sledećeg sela kako biste videli zgradu.

Transportation speeds up:

Ubrzava se transport:

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

možete ići čamcem, avionom, možete biti turista.

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

Ubrzava se tehnologija: zgradu možete videti u novinama, na TV-u,

until finally, we are all architectural photographers,

dok konačno svi ne postanemo arhitektonski fotografi

and the building has become disembodied from the site.

i zgrada ne postane odvojena od mesta.

Architecture is everywhere now,

Arhitektura je sada svuda

and that means that the speed of communication

i to znači da je brzina komunikacije

has finally caught up to the speed of architecture.

konačno sustigla brzinu arhitekture.

Because architecture actually moves quite quickly.

Arhitektura se zapravo kreće prilično brzo.

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

Ne treba mnogo vremena da smislite zgradu.

It takes a long time to build a building,

Potrebno je mnogo vremena da se ona izgradi,

three or four years,

tri ili četiri godine,

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

a u međuvremenu, arhitekta će dizajnirati dve ili osam

or a hundred other buildings

ili stotinu drugih građevina

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

pre nego što sazna da li je ta građevina koju je dizajnirao pre četiri godine

was a success or not.

bila uspešna li ne.

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

To je zato što nikada nije postojala dobra petlja povratnih informacija.

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

Tako dobijamo ovakve zgrade.

Brutalism wasn't a two-year movement,

Brutalizam nije bio pokret od dve godine,

it was a 20-year movement.

već 20.

For 20 years, we were producing buildings like this

20 godina smo pravili ovakve zgrade

because we had no idea how much you hated it.

jer nismo imali pojma koliko ih mrzite.

It's never going to happen again,

To se nikada više neće desiti,

I think,

makar mislim da neće

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

jer živimo na ivici najveće revolucije u arhitekturi

since the invention of concrete,

još od otkrića betona,

of steel, or of the elevator,

čelika ili lifta,

and it's a media revolution.

a to je revolucija medija.

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

Moja teorija je da kada primenite medije na ovo klatno,

it starts swinging faster and faster,

ono počne da se klati sve brže i brže,

until it's at both extremes nearly simultaneously,

dok ne bude na oba kraja skoro u isto vreme

and that effectively blurs the difference between innovation and symbol,

i tako se uspešno briše razlika između inovacije i simbola,

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

između nas, arhitekata, i vas, javnosti.

Now we can make nearly instantaneous, emotionally charged symbols

Sada možemo da stvaramo trenutne simbole nabijene emocijama

out of something that's brand new.

od nečega potpuno novog.

Let me show you how this plays out

Pokazaću vam kako se ovo odvija

in a project that my firm recently completed.

na projektu koji je moja kompanija nedavno završila.

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

Unajmili su nas da zamenimo ovu zgradu koja je izgorela.

This is the center of a town called the Pines

Ovo je centar grada Pajns

in Fire Island in New York State.

na ostrvu Fajer u državi Njujork.

It's a vacation community.

To je vikend naselje.

We proposed a building that was audacious,

Predložili smo odvažnu zgradu,

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

drugačiju od svih formi na koje je zajednica bila naviknuta

and we were scared and our client was scared

i bili smo uplašeni i naš klijent je bio uplašen,

and the community was scared,

kao i zajednica,

so we created a series of photorealistic renderings

pa smo uradili niz realističnih prikaza

that we put onto Facebook

koje smo stavili na Fejsbuk

and we put onto Instagram,

i Instagram

and we let people start to do what they do:

i pustili smo ljude da rade svoju stvar:

share it, comment, like it, hate it.

dele ih, komentarišu ili ih mrze.

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

Ali to je značilo da je zgrada bila deo zajednice,

it was already a part of the community,

dve godine pre završetka,

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

tako da kada su prikazi izgledali identično kao gotov proizvod,

there were no surprises.

nije bilo iznenađenja.

This building was already a part of this community,

Ova zgrada je već bila deo zajednice

and then that first summer,

i tog prvog leta,

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

kada su ljudi počeli da dolaze i dele zgradu na društvenim medijima,

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

zgrada je prestala da bude zdanje i postala je medijum

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

jer ovo nisu samo slike zgrade,

they're your pictures of a building.

to su vaše slike zgrade.

And as you use them to tell your story,

I dok ih koristite da pričate svoju priču,

they become part of your personal narrative,

one postaju deo vašeg ličnog narativa

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

i vi zapravo pravite kratak spoj

all of our collective memory,

na našem kolektivnom sećanju

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

i pravite naelektrisane simbole koje mi razumemo.

That means we don't need the Greeks anymore

To znači da nam više ne trebaju Grci

to tell us what to think about architecture.

kako bi nam rekli šta da mislimo o arhitekturi.

We can tell each other what we think about architecture,

Možemo jedni drugima reći šta mislimo o arhitekturi,

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

jer digitalni mediji nisu samo promenili veze između svih nas,

it's changed the relationship between us and buildings.

promenili su veze između nas i zgrada.

Think for a second about those librarians back in Livingston.

Pomislite nakratko na bibliotekare u Livingstonu.

If that building was going to be built today,

Kada bi se ta zgrada gradila danas,

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

oni bi prvo otišli na internet i potražili "nove biblioteke".

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

Preplavili bi ih primeri eksperimentisanja, inovacije,

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

pomeranja granica onoga što biblioteka može da bude.

That's ammunition.

To je municija.

That's ammunition that they can take with them

To je municija koju mogu da uzmu i odnesu

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

do gradonačelnika i građana Livingstona

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

i kažu, ne postoji jedinstven odgovor na to šta je biblioteka danas.

Let's be a part of this.

Hajde da budemo deo ovoga.

This abundance of experimentation

Ovo bogatstvo eksperimentisanja

gives them the freedom to run their own experiment.

daje im slobodu da sprovode sopstvene eksperimente.

Everything is different now.

Sada je sve drugačije.

Architects are no longer these mysterious creatures

Arhitekte nisu više ta misteriozna stvorenja

that use big words and complicated drawings,

koja koriste komplikovane reči i komplikovane crteže,

and you aren't the hapless public,

a vi niste bespomoćna javnost,

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

potrošači koji neće prihvatiti bilo šta što do tada nisu videli.

Architects can hear you,

Arhitekte mogu da vas čuju

and you're not intimidated by architecture.

i vi se ne plašite arhitekture.

That means that that pendulum swinging back and forth

To znači da to klatno koje se njiše napred i nazad

from style to style, from movement to movement,

od stila do stila, od pokreta do pokreta

is irrelevant.

nije više bitno.

We can actually move forward

Možemo se kretati unapred

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

i pronaći relevantna rešenja za probleme naših društava.

This is the end of architectural history,

Ovo je kraj arhitektonske istorije

and it means that the buildings of tomorrow

i to znači da će zgrade sutrašnjice

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

izgledati dosta drugačije od današnjih.

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

To znači da javni prostor drevnog grada Sevilje

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

može da bude jedinstven i prilagođen načinu funkcionisanja modernog grada.

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

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

not some red-brick historical pastiche

ne neka istorijska mešavina od crvene cigle

of what we think a stadium ought to be.

koja predstavlja ono što mi mislimo da treba da bude stadion.

It means that robots are going to build our buildings,

To znači da će roboti praviti naše zgrade,

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

jer smo konačno spremni za forme koje će oni proizvoditi.

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

To znači da će se zgrade prilagođavati hirovima prirode,

instead of the other way around.

a ne obrnuto.

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

To znači da će garaža za parking na Majami biču u Floridi

can also be a place for sports

moći da bude i mesto za sport

and for yoga

i jogu

and you can even get married there late at night.

i čak ćete moći tamo da se oženite kasno u noći.

(Laughter)

(Smeh)

It means that three architects can dream about swimming

To zači da tri arhitekte mogu da sanjaju o plivanju

in the East River of New York,

u reci Ist river u Njujorku

and then raise nearly half a million dollars

i onda da skupe skoro pola miliona dolara

from a community that gathered around their cause,

od zajednice koja se okupila oko njihovog cilja,

no one client anymore.

a ne samo od jednog klijenta.

It means that no building is too small for innovation,

To znači da nijedna zgrada nije premala za inovaciju,

like this little reindeer pavilion

poput ovog paviljona za jelene

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

koji je mišićav i žilav kao životinje koje treba da nadgleda.

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

To znači da zgrada ne mora biti prelepa

to be lovable,

da bi je neko voleo,

like this ugly little building in Spain,

poput ove ružnjikave zgradice u Španiji,

where the architects dug a hole,

gde su arhitekte iskopale rupu,

packed it with hay,

nabile je slamom

and then poured concrete around it,

i onda oko toga nasule beton,

and when the concrete dried,

i kada se on osušio,

they invited someone to come and clean that hay out

pozvali su nekoga da očisti tu slamu

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

tako da je sve što ostaje nakon toga

is this hideous little room

ova odvratna sobica

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

ispunjena otiscima i ogrebotinama od toga kako je to mesto nastalo

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

i to postaje najuzvišenije mesto za gledanje španskog zalaska sunca.

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

Nije bitno da li naše zgrade pravi krava

or a robot builds our buildings.

ili robot.

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

Nije bitno kako gradimo, već šta gradimo.

Architects already know how to make buildings that are greener

Arhitekte već znaju kako da prave zgrade koje su ekološki čistije

and smarter and friendlier.

i pametnije i više prijateljski nastrojene.

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

Samo smo čekali da ih svi vi želite.

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

Konačno, više nismo na suprotnim stranama.

Find an architect, hire an architect,

Pronađite arhitektu, zaposlite ga, radite s nama

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

na dizajniranju boljih zgrada, boljih gradova i boljeg sveta,

because the stakes are high.

jer su ulozi visoki.

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

Zgrade nisu samo odraz našeg društva, one oblikuju naše društvo

down to the smallest spaces:

sve do najmanjih prostora -

the local libraries,

lokalnih biblioteka,

the homes where we raise our children,

domova gde podižemo svoju decu,

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

i njihovih šetnji od spavaće sobe do kupatila.

Thank you.

Hvala vam.

(Applause)

(Aplauz)