Why great architecture should tell a story | Ole Scheeren

Prevodilac: Milenka Okuka Lektor: Mile Živković

For much of the past century,

Većim delom prošlog veka,

architecture was under the spell of a famous doctrine.

arhitektura je bila pod čarolijom čuvene doktrine.

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

"Formu prati funkcionalnost" je postao ambiociozni manifest modernizma

and detrimental straitjacket,

i štetna ludačka košulja,

as it liberated architecture from the decorative,

koja je, oslobodivši arhitekturu dekora,

but condemned it to utilitarian rigor and restrained purpose.

osudila je na utilitarističku strogost i ograničenu svrhu.

Of course, architecture is about function,

Naravno da se arhitektura svodi na funkcionalnost,

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

ali želim da se setim kako je ovu frazu preoblikovao Bernard Čumi

and I want to propose a completely different quality.

i želim da predložim potpuno drugačiji kvalitet.

If form follows fiction,

Ako bi formu pratila fikcija,

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

mogli bismo da razmišljamo o arhtekturi i zgradama kao prostoru priča -

stories of the people that live there,

priča ljudi koji žive u njima,

of the people that work in these buildings.

ljudi koji rade u ovim zgradama.

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

I mogli bismo početi da zamišljamo iskustva koja naše zgrade stvaraju.

In this sense, I'm interested in fiction

U tom smislu, interesuje me fikcija,

not as the implausible but as the real,

ne kao nešto neverovatno, već stvarno,

as the reality of what architecture means

poput realnosti onoga šta arhitektura znači

for the people that live in it and with it.

ljudima koji žive u njoj i sa njom.

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

Naše zgrade su prototipi, zamisli o tome kako bi životni prostor

or how the space of working could be different,

ili kako bi radni prostor mogao da bude drugačiji

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

i kako bi prostor kulture ili prostor medija mogao da izgleda danas.

Our buildings are real; they're being built.

Naše zgrade su stvarne; u fazi su izgradnje.

They're an explicit engagement in physical reality

One su eksplicitni angažman u fizičkoj stvarnosti

and conceptual possibility.

i konceptualnoj mogućnosti.

I think of our architecture as organizational structures.

Gledam na našu arhitekturu kao na organizacione strukture.

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

U njihovoj srži je zaista strukturno razmišljanje, nalik sistemu:

How can we arrange things in both a functional

kako da uredimo stvari i na funkcionalan

and experiential way?

i na doživljajan način?

How can we create structures that generate a series

Kako da napravimo strukture koje stvaraju niz

of relationships and narratives?

veza i narativa?

And how can fictive stories

I kako fiktivne priče

of the inhabitants and users of our buildings

o stanovnicima i korisnicima naših zgrada

script the architecture,

daju scenario za arhitekturu,

while the architecture scripts those stories at the same time?

dok arhitektura istovremeno podešava scenario za te priče?

And here comes the second term into play,

A ovde u igru ulazi drugi termin,

what I call "narrative hybrids" --

koji zovem "narativnim hibridima" -

structures of multiple simultaneous stories

to su strukture sa višestrukim istovremenim pričama

that unfold throughout the buildings we create.

koje se odvijaju kroz zgrade koje stvaramo.

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

Mogli bismo da razmišljamo o arhitekturi kao složenom sistemu odnosa,

both in a programmatic and functional way

i na programski i na funkcionalan način,

and in an experiential and emotive or social way.

kao i na iskustveni i emotivan ili društven način.

This is the headquarters for China's national broadcaster,

Ovo je sedište kineskog nacionalnog emitera,

which I designed together with Rem Koolhaas at OMA.

kojeg sam dizajnirao zajedno sa Remom Kulasom iz OMA.

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

Kada sam prvi put stigao u Peking 2002, gradski projektant nam je pokazao ovo:

a forest of several hundred skyscrapers

šumu od nekoliko stotina nebodera

to emerge in the central business district,

koji će da niknu u centralnom poslovnom okrugu,

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

samo što je tada samo nekoliko njih postojalo.

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

Pa smo morali da dizajniramo u kontekstu o kom skoro ništa nismo znali,

except one thing: it would all be about verticality.

osim jedne stvari: sve će se svoditi na vertikalnost.

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

Naravno da je neboder vertikalan - to je krajnje hijerarhijska struktura,

the top always the best, the bottom the worst,

vrh je uvek najbolji, dno je uvek najgore,

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

a što ste više, to bolje, kako se čini.

And we wanted to ask ourselves,

A mi smo želeli da se zapitamo,

could a building be about a completely different quality?

može li kod zgrade da se radi o skroz drugačijem kvalitetu?

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

Može li da se poništi hijerarhija i može li da se radi o sistemu

that is more about collaboration, rather than isolation?

koji je usmereniji na saradnju nego izolaciju?

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

Pa smo uzeli ovu iglu i savili je nazad u sebe samu,

into a loop of interconnected activities.

u petlju povezanih aktivnosti.

Our idea was to bring all aspects of television-making

Naša zamisao je bila da spojimo sve aspekte televizijske delatnosti

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

u jednu strukturu: vesti, programsku produkciju, prenose,

research and training, administration --

istraživanje i obuku, administraciju -

all into a circuit of interconnected activities

sve u kolo povezanih aktivnosti,

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

gde bi se ljudi susretali u procesu razmene i saradnje.

I still very much like this image.

Još uvek mi se sviđa ovaj prizor.

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

Podseća me na časove iz biologije, ako se sećate ljudskog tela

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

sa svim njegovim organima i cirkulatornim sistemima, kao u školi.

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

I iznenada više ne razmišljate o arhitekturi kao o izgrađenoj materiji,

but as an organism, as a life form.

već kao organizmu, kao obliku života.

And as you start to dissect this organism,

I kako počinjete da secirate ovaj organizam,

you can identify a series of primary technical clusters --

možete da prepoznate niz osnovnih tehničkih sektora -

program production, broadcasting center and news.

programska produkcija, centar za emitovanje i vesti.

Those are tightly intertwined with social clusters:

Ovi su tesno prepleteni sa društvenim sektorima:

meeting rooms, canteens, chat areas --

prostorijama za sastanke, menzama, prostorima za ćaskanje -

informal spaces for people to meet and exchange.

neformalnim prostorima gde se ljudi sreću i razgovaraju.

So the organizational structure of this building was a hybrid

Pa je organizaciona struktura ove građevine bio hibrid

between the technical and the social,

između tehnološkog i društvenog,

the human and the performative.

ljudskog i izvršnog.

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

I, naravno, koristili smo petlju zgrade kao cirkulatorni sistem

to thread everything together and to allow both visitors and staff

da bi sve upleli zajedno i omogućili, i posetiocima i zaposlenim,

to experience all these different functions in a great unity.

da dožive sve te različite funkcije u velikom jedinstvu.

With 473,000 square meters,

Sa svojih 473,000 metara kvardatnih,

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

ovo je jedna od najvećih građevina ikad napravljenih na svetu.

It has a population of over 10,000 people,

U njoj živi 10,000 ljudi

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

i to je naravno razmera koja prevazilazi razumevanje mnogo čega

of many things and the scale of typical architecture.

i razmere tipične arhitekture.

So we stopped work for a while

Pa smo stali s radom na kratko,

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

seli smo i isekli 10,000 štapića i zalepili smo ih na maketu,

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

prosto da bismo se suočili s tim šta ta količina zaista znači.

But of course, it's not a number,

Ali naravno da se ne radi o broju,

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

radi se o ljudima, o zajednici koja naseljava zgradu,

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

i kako bismo razumeli ovo, ali i napisali scenario ove arhitekture,

we identified five characters, hypothetical characters,

identifikovali smo pet likova, hipotetičnih likova,

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

i pratili smo ih tokom njihovog jednog dana života u ovoj zgradi,

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

zamišljali smo gde bi se susretali, šta bi doživljavali.

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

Pa je to bio način da napravimo scenario i dizajn zgrade,

also to communicate its experiences.

ali naravno i da izrazimo njena iskustva.

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

Ovo je deo izložbe u Muzeju moderne umetnosti

in both New York and Beijing.

u Njujorku i Pekingu.

This is the main broadcast control room,

Ovo je glavna prostorija za emitovanje,

a technical installation so large,

tehnička instalacija toliko velika

it can broadcast over 200 channels simultaneously.

da može da prenosi 200 kanala istovremeno.

And this is how the building stands in Beijing today.

A ovako danas izgleda ta zgrada u Pekingu.

Its first broadcast live was the London Olympics 2012,

Njen prvi živi prenos je bila Olimpijada u Londonu 2012,

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

nakon što je spolja završena za Olimpijadu u Pekingu.

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

I možete da vidite na samom vrhu ovog nosača od 75 metara

those three little circles.

ta tri kružića.

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

I oni su uistinu deo javne petlje koja prolazi kroz zgradu.

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

To su komadi stakla na kojim možete da stojite

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

i da posmatrate grad kako usporeno prolazi ispod vas.

The building has become part of everyday life in Beijing.

Zgrada je postala deo pekinške svakodnevice.

It is there.

Nalazi se ovde.

It has also become a very popular backdrop

Takođe je postala poznata pozadina

for wedding photography.

na slikama s venčanja.

(Laughter)

(Smeh)

But its most important moment is maybe sill this one.

Ali njen do sad najvažniji trenutak je možda ovaj.

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

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

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

to je časopis koji prenosi šta se dešava u gradu tokom nedelje;

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

i iznenada vidite zgradu prikazanu, ne više kao fizičku stvar,

but actually as an urban actor,

već kao urbanog aktera,

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

kao deo niza ličnosti koje definišu gradski život.

So architecture suddenly assumes the quality of a player,

Pa, iznenada arhitektura preuzima kvalitet učesnika,

of something that writes stories and performs stories.

nečega što piše priče i ostvaruje priče.

And I think that could be one of its primary meanings

I smatram da bi to moglo da bude jedno od najvažnijih značenja

that we believe in.

u koje verujemo.

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

Međutim, naravno da ova zgrada ima još jednu priču.

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

To je priča o ljudima koju su je sagradili -

400 engineers and architects that I was guiding

400 inženjera i arhitekata koje sam predvodio

over almost a decade of collaborative work

tokom skoro decenije saradnje

that we spent together in scripting this building,

koju smo proveli praveći nacrt ove zgrade,

in imagining its reality

zamišljajući njenu stvarnost

and ultimately getting it built in China.

i naposletku gradeći je u Kini.

This is a residential development in Singapore, large scale.

Ovo je stambeni kvart velikih razmera, u Singapuru.

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

Ako pogledamo Singapur, kao i većinom Azije i većim delom sveta,

of course, it is dominated by the tower,

naravno, njime dominiraju tornjevi,

a typology that indeed creates more isolation than connectedness,

tipologija koja zaista stvara više izolacije nego povezanosti,

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

a želeo sam da pitam možemo li da razmišljamo o životu,

not only in terms of the privacy and individuality of ourselves

ne samo u smislu privatnosti i sopstvene individualnosti

and our apartment,

i naših stanova,

but in an idea of a collective?

već kao o ideji kolektivnog?

How could we think about creating a communal environment

Kako možemo da razmišljamo o stvaranju zajedničke sredine

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

u kojoj je deljenje stvari jednako sjajno kao i njihovo posedovanje?

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

Tipičan odgovor na to pitanje - morali smo da dizajniramo 1,040 stanova -

would have looked like this:

izgledao bi ovako:

24-story height limit given by the planning authorities,

Uprava za projektovanje je ograničila izgradnju na 24 sprata,

12 towers with nothing but residual in between --

12 tornjeva sa samo prazninom između -

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

veoma zbijen sistem, iako vas toranj izoluje,

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

on vam čak ni ne obezbeđuje privatnost jer ste tako blizu jedni drugih,

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

da je veoma upitno kakav bi bio kvalitet toga.

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

Pa sam predložio da oborimo tornjeve, da bacimo vertikalu u horizontalu

and stack them up,

i da ih nagomilamo,

and what looks a bit random from the side,

a ono što izgleda malčice nasumično sa strane,

if you look from the viewpoint of the helicopter,

ako pogledate iz ugla helikoptera,

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

videćete da je njena organizaciona struktura zapravo heksagonalna rešetka

in which these horizontal building blocks are stacked up

u kojoj su ovi horizontalni građevinski blokovi naslagani

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

kako bi tvorili velika spoljna dvorišta - centralne prostore za zajednicu,

programmed with a variety of amenities and functions.

programirane raznovrsnim pogodnostima i funkcijama.

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

A vidite da ova dvorišta nisu hermetički zatvoreni prostori.

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

Otvorena su, propustljiva, međusobno povezana.

We called the project "The Interlace,"

Nazvali smo projekat: "Preplitanje";

thinking that we interlace and interconnect

razmišljali smo o preplitanju i međupovezanosti

the human beings and the spaces alike.

ljudskih bića i prostora.

And the detailed quality of everything we designed

A detaljistički kvalitet svega što smo dizajnirali

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

se svodio na oživljavanje porostora i pružanje prostora stanarima.

And, in fact, it was a system

I, zapravo, to je bio sistem

where we would layer primarily communal spaces,

gde smo stavljali slojeve, pre svega, zajedničkih prostora,

stacked to more and more individual and private spaces.

naslagane uz sve više i više individualnog i privatnog prostora.

So we would open up a spectrum

Razotkrivali smo spektar

between the collective and the individual.

između kolektivnog i individualnog.

A little piece of math:

Malo matematike:

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

ako uračunamo sve zelenilo koje smo ostavili na tlu,

minus the footprint of the buildings,

a oduzmemo otisak zgrada,

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

i dodamo opet zelenilo sa terasa,

we have 112 percent green space,

dobićemo 112 procenata zelenog prostora,

so more nature than not having built a building.

dakle imamo više prirode nego pre izgradnje zgrade.

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

A ova matematika vam pokazuje da smo umnožavali

the space available to those who live there.

prostor dostupan onima koji tu žive.

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

Ovo je zapravo terasa na 13. spratu.

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

Dakle, vidite nove prostorne površine, nove terene za društvene aktivnosti.

We paid a lot of attention to sustainability.

Obratili smo mnogo pažnje na održivost.

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

U tropima je najvažnije obratiti pažnju na sunce

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

i, zapravo, zahteva se zaštita od sunca.

We first proved that all apartments would have sufficient daylight

Prvo smo dokazali da će svi stanovi imati dovoljno dnevne svetlosti

through the year.

tokom godine.

We then went on to optimize the glazing of the facades

Zatim smo prešli na optimizaciju izglačanosti fasada

to minimize the energy consumption of the building.

kako bismo minimizirali potrošnju građevine.

But most importantly, we could prove that through the geometry

Ali, još važnije je da smo dokazali da će putem geometrije

of the building design,

dizajna zgrade,

the building itself would provide sufficient shading to the courtyards

zgrada sama da obezbeđuje dovoljnu količinu hlada dvorištima,

so that those would be usable throughout the entire year.

kako bi ona bila upotrebljiva tokom cele godine.

We further placed water bodies along the prevailing wind corridors,

Pri tom smo postavili vodene površine duž vodećih vetrovitih koridora,

so that evaporative cooling would create microclimates

kako bi rashlađena para stvarala mikroklime

that, again, would enhance the quality of those spaces

koje bi, opet, poboljšavale kvalitet ovih prostora

available for the inhabitants.

dostupnih stanarima.

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

A zamisao je bila da se stvori raznovrsnost izbora,

of freedom to think where you would want to be,

sloboda da razmislite gde želite da budete,

where you would want to escape, maybe,

gde želite da pobegnete, možda,

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

unutar sopstvene složenosti kompleksa u kom živite.

But coming from Asia to Europe:

Međutim, prelazimo iz Azije u Evropu:

a building for a German media company based in Berlin,

zgrada za nemačku medijsku firmu, smeštenu u Berlinu,

transitioning from the traditional print media to the digital media.

koja je prelazila iz tradicionalne štampe u digitalni medij.

And its CEO asked a few very pertinent questions:

A njihov izvršni direktor je pitao nekoliko važnih pitanja:

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

zašto bi bilo ko danas želeo da dolazi u kancelariju

because you can actually work anywhere?

jer možete, zapravo, da radite od svuda?

And how could a digital identity of a company be embodied

I kako bi digitalni identitet firme mogao da bude otelotvoren

in a building?

u zgradi?

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

Ne samo da smo napravili objekat, već smo u središtu tog objekta

we created a giant space,

napravili ogroman prostor,

and this space was about the experience of a collective,

a ovaj prostor je o kolektivnom iskustvu,

the experience of collaboration and of togetherness.

iskustvu saradnje i združenosti.

Communication, interaction as the center of a space

Komunikacija, inetrakcija u središtu prostora

that in itself would float,

koji bi sam po sebi lebdeo,

like what we call the collaborative cloud,

poput nečega što smo nazvali oblakom saradnje,

in the middle of the building,

u sred zgrade;

surrounded by an envelope of standard modular offices.

koji je opkoljen slojem standardnih modularnih kancelarija.

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

Dakle, samo za nekoliko koraka od vašeg tihog stola,

you could participate in the giant collective experience

mogli biste da učestvujete u ogromnom kolektivnom iskustvu

of the central space.

središnjeg prostora.

Finally, we come to London, a project commissioned

Na kraju stižemo do Londona, do projekta koga je naručila

by the London Legacy Development Corporation

Londonska firma za razvoj legata

of the Mayor of London.

londonskog gradonačelnika.

We were asked to undertake a study

Zatraženo je od nas da sprovedemo istraživanje

and investigate the potential of a site

i da istražimo potencijal prostora

out in Stratford in the Olympic Park.

u Olimpijskom parku u Stratfordu.

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

Princ Albert je u 19. veku napravio Albertopolis.

And Boris Johnson thought of creating Olympicopolis.

A Boris Džonson je razmišljao o izgradnji Olimpikopolisa.

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

Zamisao je bila da se okupe neke od najvažnijih britanskih institucija,

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

neke međunarodne i da se stvori novi sinergijski sistem.

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

Princ Albert je svojevremeno, sagradivši Albertopolis u 19. veku.

thought of showcasing all achievements of mankind,

imao na umu prikazivanje svih ljudskih dostignuća,

bringing arts and science closer together.

spajanje umetnosti i nauke.

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

I sagradio je Izložbeni put, linearni niz ovih institucija.

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

Međutim, naravno da je današnje društvo odmaklo odatle.

We no longer live in a world

Više ne živimo u svetu

in which everything is as clearly delineated

u kome je sve jasno ocrtano

or separated from each other.

ili odvojeno jedno od drugog.

We live in a world in which boundaries start to blur

Živimo u svetu u kome granice počinju da se mute

between the different domains,

između različitih domena

and in which collaboration and interaction becomes far more important

i u kome saradnja i interakcija postaju daleko važnije

than keeping separations.

od očuvanja razdvojenosti.

So we wanted to think of a giant culture machine,

Pa smo želeli da razmislimo o džinovskoj kulturnoj mašini,

a building that would orchestrate and animate the various domains,

građevini koja bi orkestrirala i oživela različite domene,

but allow them to interact and collaborate.

ali bi im omogućavala da interaguju i da sarađuju.

At the base of it is a very simple module,

U njenoj osnovi je jednostavan modul,

a ring module.

modul prstena.

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

On može da funkcioniše kao dvostrani hodnik, ima dnevnu svetlost, ventilaciju.

It can be glazed over

Može da se izmeni

and turned into a giant exhibitional performance space.

i pretvori u ogromni izložbeni prosor.

These modules were stacked together

Ovi moduli su zajedno naslagani

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

s idejom da skoro svaka funkcija, vremenom,

occupy any of these modules.

može da zauzme bilo koji modul.

So institutions could shrink or contract,

Dakle, institucije se mogu skupljati ili sklapati,

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

kako je naravno, budućnost kulture, na neki način, najneizvesnija od svega.

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

Ovako zgrada sedi u blizini Vodenog centra,

opposite the Olympic Stadium.

preko puta Olimpijskog stadiona.

And you can see how its cantilevering volumes

I možete da vidite kako njegove noseće prostorije

project out and engage the public space

projektuju i angažuju javni prostor

and how its courtyards animate the public inside.

i kako njegova dvorišta animiraju publiku u unutrašnjosti.

The idea was to create a complex system

Zamisao je bila da se napravi složen sistem

in which institutional entities could maintain their own identity,

u kom bi institucionalne jedinice mogle da zadrže sopstveni identitet,

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

u kom ne bi bile podvedene u jednu prostoriju.

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

Ovo je poređenje njegove veličine s centrom Pompidu u Parizu.

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

Oba su ogromnih razmera i pokazuju potencijal projekta,

but also the difference:

ali takođe se vide razlike:

here, it is a multiplicity of a heterogeneous structure,

Ovde se radi o mnoštvu heterogenih struktura,

in which different entities can interact

u kojim različite jedinice mogu da interaguju,

without losing their own identity.

a da ne izgube sopstveni identitet.

And it was this thought: to create an organizational structure

A zamisao je bila sledeća: napraviti organizacionu građevinu

that would allow for multiple narratives to be scripted --

koja bi omogućavala višestrukim narativima da se ispišu -

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

za one iz obrazovnih delova koji stvaraju i osmišljavaju kulturu;

for those that present the visual arts, the dance;

za one koji predstavljaju vizuelne umetnosti, ples;

and for the public to be admitted into all of this

i za javnost koju će sve ovo da prima

with a series of possible trajectories,

uz niz mogućih putanja,

to script their own reading of these narratives

koje će da ispišu njihovo čitanje ovih narativa

and their own experience.

i njihovo lično iskustvo.

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

I želeo bih da završim projektom koji je veoma mali,

in a way, very different:

na neki način drugačiji:

a floating cinema in the ocean of Thailand.

plutajući bioskop u okeanu pored Tajlanda.

Friends of mine had founded a film festival,

Moji prijatelji su osnovali filmski festival

and I thought,

i pomislio sam,

if we think of the stories and narratives of movies,

ako razmišljamo o filmskim pričama i narativima,

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

trebalo bi takođe da razmišljamo o narativima ljudi koji ih gledaju.

So I designed a small modular floating platform,

Stoga sam dizajnirao malu maketu plutajuće platforme,

based on the techniques of local fishermen,

zasnovanu na tehnikama lokalnih ribara,

how they built their lobster and fish farms.

kako grade farme za jastoge i ribe.

We collaborated with the local community

Sarađivali smo sa lokalnom zajednicom

and built, out of recycled materials of their own,

i sagradili, reciklirajući njihove stare materijale,

this fantastical floating platform

ovu fantastičnu plutajuću platformu

that gently moved in the ocean

koja se nežno pokretala u okeanu

as we watched films from the British film archive,

dok smo gledali filmove iz britanske filmske arhive,

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

na primer, "Alisu u zemlji čuda" iz 1904.

The most primordial experiences of the audience

Najiskonskije iskustvo publike,

merged with the stories of the movies.

stopljeno s pričama iz filmova.

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

Zato verujem da arhitektura prevazilazi domen fizičke tvari,

of the built environment,

izgrađene životne sredine,

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

već se zaista radi o tome kako želimo da živimo svoje živote,

how we script our own stories and those of others.

kako ispisujemo sopstvene priče i priče drugih.

Thank you.

Hvala vam.

(Applause)

(Aplauz)