I'd like to tell you a story about death and architecture.
Želim vam ispričati priču o smrti i arhitekturi.
A hundred years ago, we tended to die of infectious diseases like pneumonia, that, if they took hold, would take us away quite quickly. We tended to die at home, in our own beds, looked after by family, although that was the default option because a lot of people lacked access to medical care.
Prije sto godina, često smo umirali od zaraznih bolesti, kao što je upala pluća, koje bi nam, kada bi nas uhvatile, ubrzo oduzele život. Pretežno smo umirali u svom domu, u krevetima dok se obitelj brinula o nama, iako je to bilo dosta često jer puno ljudi nije imalo pristup zdravstvenoj njezi.
And then in the 20th century a lot of things changed. We developed new medicines like penicillin so we could treat those infectious diseases. New medical technologies like x-ray machines were invented. And because they were so big and expensive, we needed large, centralized buildings to keep them in, and they became our modern hospitals.
I onda se u 20. stoljeću puno stvari promijenilo. Razvili smo nove lijekove, kao što je penicilin kako bismo mogli liječiti zarazne bolesti. Izumljeni su novi medicinski aparati, kao što je rendgen. Zbog toga što su bili veliki i skupi, trebali smo velike, centralizirane zgrade u kojima bi ih držali, koje su postale naše moderne bolnice.
After the Second World War, a lot of countries set up universal healthcare systems so that everyone who needed treatment could get it. The result was that lifespans extended from about 45 at the start of the century to almost double that today. The 20th century was this time of huge optimism about what science could offer, but with all of the focus on life, death was forgotten, even as our approach to death changed dramatically.
Nakon II. svjetskog rata, puno je zemalja postavilo opće zdravstvene ustanove kako bi svi koji ga trebaju, imali pristup liječenju. Zbog toga se životni vijek produljio s oko 45 godina na početku stoljeća na skoro dvostruko više danas. 20. stoljeće je bilo vrijeme ogromnog optimizma oko znanosti i mogućnosti koje nam nudi, ali zbog cijelog fokusa oko života, smrt je bila zaboravljena, iako se naš pristup smrti promijenio dramatično.
Now, I'm an architect, and for the past year and a half I've been looking at these changes and at what they mean for architecture related to death and dying. We now tend to die of cancer and heart disease, and what that means is that many of us will have a long period of chronic illness at the end of our lives. During that period, we'll likely spend a lot of time in hospitals and hospices and care homes.
Ja sam arhitekt, i tijekom prošlih godinu i pol sam promatrala ove promjene i što to znači za arhitekturu povezanu za smrt i umiranje. Sada često umiremo od raka i bolesti srca, što znači da će mnogi od nas imati duga razdoblja kroničnih bolesti na kraju naših života. Kroz taj period, najvjerojatnije ćemo provesti puno vremena u bolnicama, domovima za nemoćne i njegu.
Now, we've all been in a modern hospital. You know those fluorescent lights and the endless corridors and those rows of uncomfortable chairs. Hospital architecture has earned its bad reputation. But the surprising thing is, it wasn't always like this.
Svi smo bili u modernoj bolnici. Znate za fluorescentna svjetla i beskrajne hodnike i za redove neudobnih stolica. Arhitektura bolnica je zaradila svoj loš ugled. Ali, iznenađujuće je to, da nije oduvijek bilo ovako.
This is L'Ospedale degli Innocenti, built in 1419 by Brunelleschi, who was one of the most famous and influential architects of his time. And when I look at this building and then think about hospitals today, what amazes me is this building's ambition. It's just a really great building. It has these courtyards in the middle so that all of the rooms have daylight and fresh air, and the rooms are big and they have high ceilings, so they just feel more comfortable to be in. And it's also beautiful. Somehow, we've forgotten that that's even possible for a hospital.
Ovo je L'Ospedale degli Innocenti, izgrađena 1419. od strane Brunelleschija, koji je bio jedan od najpoznatijih i najutjecajnijih arhitekta u tom vremenu. I kada gledam ovu zgradu i onda pomislim na današnje bolnice, zadivljuje me ambicija ove zgrade. To je jednostavno stvarno sjajna zgrada. Ima ta dvorišta u sredini Tako da sve sobe imaju dnevno svjetlo i svjež zrak, te su sobe velike i imaju visoke stropove, tako da je udobnije biti u njima. I još je prekrasna. Nekako smo zaboravili da je to uopće moguće za jednu bolnicu.
Now, if we want better buildings for dying, then we have to talk about it, but because we find the subject of death uncomfortable, we don't talk about it, and we don't question how we as a society approach death. One of the things that surprised me most in my research, though, is how changeable attitudes actually are. This is the first crematorium in the U.K., which was built in Woking in the 1870s. And when this was first built, there were protests in the local village. Cremation wasn't socially acceptable, and 99.8 percent of people got buried. And yet, only a hundred years later, three quarters of us get cremated. People are actually really open to changing things if they're given the chance to talk about them.
Ako želimo bolje bolnice za umiranje, onda moramo o tome pričati, ali samu temu smrti smatramo neugodnom, ne razgovaramo o tome, i ne propitujemo kako se mi, kao društvo, nosimo sa smrću. Jedna od stvari koja me je iznenadila najviše je koliko su zapravo promjenjivi stavovi. Ovo je prvi krematorij u Ujedinjenom Kraljevstvu, koji je izgrađen u Wokingu 1870-ih. I kada je prvi put izgrađen, izbili su prosvjedi u lokalnom selu. Kremiranje nije bilo društveno i 99,8 % ljudi je bilo zakopano. Pa opet, samo sto godina kasnije, tri četvrtine nas biva kremirano. Ljudi su zapravo jako otvoreni prema promjenama ako im je dana šansa da razgovaraju o tome.
So this conversation about death and architecture was what I wanted to start when I did my first exhibition on it in Venice in June, which was called "Death in Venice." It was designed to be quite playful so that people would literally engage with it. This is one of our exhibits, which is an interactive map of London that shows just how much of the real estate in the city is given over to death and dying, and as you wave your hand across the map, the name of that piece of real estate, the building or cemetery, is revealed. Another of our exhibits was a series of postcards that people could take away with them. And they showed people's homes and hospitals and cemeteries and mortuaries, and they tell the story of the different spaces that we pass through on either side of death. We wanted to show that where we die is a key part of how we die.
Ovaj razgovor o smrti i arhitekturi je s čim sam htjela započeti kada sam napravila prvu izložbu o tome u Veneciji u lipnju, koja se zove "Smrt u Veneciji." Osmišljena je da bude prilično zaigrana da se ljudi doslovno angažiraju u njoj. Ovo je jedan od naših izložaka, a to je interaktivna karta Londona koja pokazuje koliko nekretnina u gradu služe našoj smrti i umiranju, i mahanjem ruke preko karte, imena tih nekretnina, zgrada ili groblja, se otkrivaju. Još jedan od naših izložaka je niz razglednica, koje ljudi mogu uzeti sa sobom. I na njima su domovi i bolnice i groblja i mrtvačnice i pričaju priče tih različitih prostora kroz koje prolazimo na jednoj ili drugoj strani smrti. Htjeli smo pokazati da gdje umiremo je ključni dio načina na koji umiremo.
Now, the strangest thing was the way that visitors reacted to the exhibition, especially the audio-visual works. We had people dancing and running and jumping as they tried to activate the exhibits in different ways, and at a certain point they would kind of stop and remember that they were in an exhibition about death, and that maybe that's not how you're supposed to act. But actually, I would question whether there is one way that you're supposed to act around death, and if there's not, I'd ask you to think about what you think a good death is, and what you think that architecture that supports a good death might be like, and mightn't it be a little less like this and a little more like this?
Najčudniji je bio način na koji su posjetitelji reagirali na izložbu, pogotovo na zvučno-vizualna djela. Bilo je ljudi koji su plesali i trčali i skakali pokušavajući aktivirati izloške na različite načine, i u određenom trenutku nekako bi stali i prisjetili se da su na izložbi o smrti, i da to možda nije način na koji bi se trebali ponašati. Ipak, htjela bih pitati postoji li način na koji bi se trebali ponašati oko smrti, i ako ne postoji, onda vam savjetujem da razmišljate što je dobra smrt, i kakva bi arhitektura koja uzdržava dobru smrt mogla biti, i ne bi li mogla biti malo manje ovakva, a malo više ovakva?
Thank you.
Hvala vam.
(Applause)
(Pljesak)