The public debate about architecture quite often just stays on contemplating the final result, the architectural object. Is the latest tower in London a gherkin or a sausage or a sex tool?
Javna debata o arhitekturi vrlo često ostaje samo na razmatranju konačnog rezultata, arhitektonskog objekta. Da li je najnoviji soliter u Londonu krastavac ili kobasica ili seksualno pomagalo?
So recently, we asked ourselves if we could invent a format that could actually tell the stories behind the projects, maybe combining images and drawings and words to actually sort of tell stories about architecture. And we discovered that we didn't have to invent it, it already existed in the form of a comic book.
Tako da smo se nedavno zapitali da li možemo da izmislimo format koji bi mogao da ispriča priče koje stoje iza projekata. Možda kombinujući slike i crteže sa rečima možemo na neki način ispričati priče o arhitekturi. I shvatili smo da ne moramo da ga izmislimo, on je već postojao u formi stripa.
So we basically copied the format of the comic book to actually tell the stories of behind the scenes, how our projects actually evolve through adaptation and improvisation. Sort of through the turmoil and the opportunities and the incidents of the real world. We call this comic book "Yes is More," which is obviously a sort of evolution of the ideas of some of our heroes.
Tako da smo u osnovi preuzeli format stripa. Mi zapravo pričamo priče koje se odvijaju iza kulisa, kako naši projekti evoluiraju kroz adaptaciju i improvizaciju. Na neki način kroz neprilike i prilike i događaje u stvarnom svetu. Nazvali smo ovaj strip "'Da' je više". Što je očigledno na neki način evolucija ideja nekih od naših heroja.
In this case it's Mies van der Rohe's Less is More. He triggered the modernist revolution. After him followed the post-modern counter-revolution, Robert Venturi saying, "Less is a bore." After him, Philip Johnson sort of introduced (Laughter) you could say promiscuity, or at least openness to new ideas with, "I am a whore." Recently, Obama has introduced optimism at a sort of time of global financial crisis.
U ovom slučaju to je Mis van der Roeovo 'Manje je više' On je podstakao modernističku revoluciju. Posle njega sledila je post-modernistička kontrarevolucija. Robert Venturi koji kaže 'Manje je dosadno'. Posle njega, Filip Džonson je na neki način uveo (Smeh) možete reći promiskuitet, ili u najmanju ruku otvorenost prema novim idejama sa 'Ja sam kurva' Nedavno je Obama uveo optimizam u vreme globalne finansijske krize.
And what we'd like to say with "Yes is More" is basically trying to question this idea that the architectural avant-garde is almost always negatively defined, as who or what we are against. The cliche of the radical architect is the sort of angry young man rebelling against the establishment. Or this idea of the misunderstood genius, frustrated that the world doesn't fit in with his or her ideas. Rather than revolution, we're much more interested in evolution, this idea that things gradually evolve by adapting and improvising to the changes of the world.
A ono što mi želimo da kažemo sa ''Da' je više' je u suštini da dovedemo u pitanje tu ideju da arhitektonska avangarda mora skoro uvek biti negativno definisana, kroz to protiv koga ili protiv čega smo. Kliše radikalnog arhitekte je neka vrsta besnog mladog čoveka koji se protivi establišmentu. Ili ideja neshvaćenog genija, frustriranog jer se svet ne uklapa u njegove ili njene ideje. Umesto revolucije, mi smo mnogo više zainteresovani za evoluciju. Ova ideja da stvari postepeno evoluiraju improvizujući i prilagođavajući se promenama u svetu.
In fact, I actually think that Darwin is one of the people who best explains our design process. His famous evolutionary tree could almost be a diagram of the way we work. As you can see, a project evolves through a series of generations of design meetings. At each meeting, there's way too many ideas. Only the best ones can survive. And through a process of architectural selection, we might choose a really beautiful model or we might have a very functional model. We mate them. They have sort of mutant offspring. And through these sort of generations of design meetings we arrive at a design.
U suštini, mislim da je Darvin bio jedan od ljudi koji su najbolje objasnili naš proces projektovanja. Njegovo poznato evolutivno grananje može praktično biti dijagram našeg načina rada. Kao što možete videti, projekat evoluira kroz serije iteracija projektnih sastanaka. Na svakom sastanku ima previše ideja. Samo najbolje mogu da prežive. I kroz poces arhitektonske selekcije možemo da odaberemo zaista lep model. Ili možemo dobiti veoma funkcionalan model. Mi ih ukrštamo. Oni imaju mutirano potomstvo. I kroz ove različite generacije projektnih sastanaka mi dođemo do rešenja.
A very literal way of showing it is a project we did for a library and a hotel in Copenhagen. The design process was really tough, almost like a struggle for survival, but gradually an idea evolved: this sort of idea of a rational tower that melts together with the surrounding city, sort of expanding the public space onto what we refer to as a Scandinavian version of the Spanish Steps in Rome, but sort of public on the outside, as well as on the inside, with the library.
Veoma bukvalan način prikazivanja toga je projekat koji smo radili za biblioteku i hotel u Kopenhagenu Proces projektovanja je bio veoma naporan, skoro kao borba za opstanak. Ali postepeno, ideja je evoluirala. Neka vrsta ideje o racionalnoj kuli koja se utapa sa gradom koji je okružuje. Na neki način se javni prostor širi na ono što smo mi nazvali skandinavska verzija Španskih stepenica u Rimu. Ali javno spolja, kao i iznutra, sa bibliotekom.
But Darwin doesn't only explain the evolution of a single idea. As you can see, sometimes a subspecies branches off. And quite often we sit in a design meeting and we discover that there is this great idea. It doesn't really work in this context. But for another client in another culture, it could really be the right answer to a different question. So as a result, we never throw anything out. We keep our office almost like an archive of architectural biodiversity. You never know when you might need it.
Ali Darvin ne bjašnjava samo evoluciju jedne ideje. Kao što vidite, nekad se podvrsta izdvoji. Veoma često sedimo na projektantskim sastancima i otkrijemo da imamo sjajnu ideju. Ona ne funkcioniše baš u ovom kontekstu. Ali za drugog klijenta u drugoj kulturi može biti pravi odgovor na jedno drugo pitanje. Tako da, kao rezultat, nikad ništa ne bacamo. Naša kancelarija je kao arhiva arhitektonskog biodiverziteta. Nikad ne znate kada vam nešto može zatrebati.
And what I'd like to do now, in an act of warp-speed storytelling, is tell the story of how two projects evolved by adapting and improvising to the happenstance of the world. The first story starts last year when we went to Shanghai to do the competition for the Danish National Pavilion for the World Expo in 2010. And we saw this guy, Haibao. He's the mascot of the expo, and he looks strangely familiar. In fact he looked like a building we had designed for a hotel in the north of Sweden. When we submitted it for the Swedish competition we thought it was a really cool scheme, but it didn't exactly look like something from the north of Sweden. The Swedish jury didn't think so either. So we lost.
I šta bih sada želeo da uradim, da vam ispričam brzinom svetlosti priču o dva projekta koji su evoluirali improvizujući i adaptirajući se okolnostima u svetu. Prva priča počinje prošle godine kada smo otišlu u Šangaj da bi učestvovali na konkursu za danski nacionalni paviljon na Svetskoj izložbi 2010. I videli smo ovog tipa, Haibaa. On je maskota svetske izložbe. I izgleda veoma poznato. U stvari, izgledao je kao zgrada koju smo projektovali za hotel na severu Švedske. Kada smo predali projekat na švedskom konkursu, mislili smo da je to stvarno super koncept. Ali nije baš delovao kao nešto sa severa Švedske. Ni švedski žiri nije mislio tako. Tako da smo izgubili.
But then we had a meeting with a Chinese businessman who saw our design and said, "Wow, that's the Chinese character for the word 'people.'" (Laughter) So, apparently this is how you write "people," as in the People's Republic of China. We even double checked. And at the same time, we got invited to exhibit at the Shanghai Creative Industry Week. So we thought like, this is too much of an opportunity, so we hired a feng shui master. We scaled the building up three times to Chinese proportions, and went to China. (Laughter) So the People's Building, as we called it. This is our two interpreters, sort of reading the architecture.
Ali onda smo imali sastanak sa kineskim biznismenom koji je video naš dizajn i rekao, '' Vau, ovo je kineski znak za reč narod.'' (Smeh) Ispostavilo se da se tako piše 'narod', kao u 'Narodna Republika Kina'. Čak smo i proverili. Istovremeno smo bili pozvani da izlažemo na Nedelji kreativne industrije u Šangaju. Tako da smo pomislili, kako je to savršena prilika. I angažovali smo stručnjaka za feng šui. Povećali smo zgradu tri puta prema kineskim proporcijama, i otišli u Kinu. (Smeh) I tako je nastala 'Zgrada naroda', kako smo je nazvali. Ovo su naša dva prevodioca, koji, u neku ruku, čitaju arhitekturu.
It went on the cover of the Wen Wei Po newspaper, which got Mr. Liangyu Chen, the mayor of Shanghai, to visit the exhibition. And we had the chance to explain the project. And he said, "Shanghai is the city in the world with most skyscrapers," but to him it was as if the connection to the roots had been cut over. And with the People's Building, he saw an architecture that could bridge the gap between the ancient wisdom of China and the progressive future of China. So we obviously profoundly agreed with him. (Laughter) (Applause) Unfortunately, Mr. Chen is now in prison for corruption. (Laughter)
Stigla je do naslovne stranice "Ven Vei Po" novina. Što je navelo gospodina Lian Ju Čena, gradonačelnika Šangaja da poseti izložbu. I imali smo priliku da predstavimo projekat. I on je rekao ''Šangaj je svetski grad sa najviše solitera.'' A za njega je to bilo kao da je prekinuta povezanost sa korenima. A u "Zgradi Naroda" video je arhitekturu koja je mogla da premosti jaz između drevne kineske mudrosti i progresivne budućnosti Kine. Tako da smo se mi naravno suštinski složili sa njim. (Smeh) (Aplauz) Nažalost, gospodin Čen je sada u zatvoru zbog korupcije. (Smeh)
But like I said, Haibao looked very familiar, because he is actually the Chinese character for "people." And they chose this mascot because the theme of the expo is "Better City, Better Life." Sustainability. And we thought, sustainability has grown into being this sort of neo-Protestant idea that it has to hurt in order to do good.
Ali kao što sam rekao, Haibao je izgeldao veoma poznato. Zato što je on zapravo kineski znak za reč ''narod''. I oni su odabrali ovu maskotu zbog toga što je tema izložbe ''Bolji grad, bolji život''. Održivost. I mi smo pomislili kako je održivost prerasla u nešto neku vrstu neo-protestantske ideje da mora da boli da bi činilo dobro.
You know, you're not supposed to take long, warm showers. You're not supposed to fly on holidays because it's bad for the environment. Gradually, you get this idea that sustainable life is less fun than normal life. So we thought that maybe it could be interesting to focus on examples where a sustainable city actually increases the quality of life.
Znate ono, ne treba da se dugo tuširate toplom vodom. Ne bi trebalo da idete na odmor avionom jer je to loše za okolinu. Postepeno, dobijete ideju da je održivi život manje zabavan od običnog života. Pa smo pomislili kako bi možda bilo zanimljivo da se fokusiramo na primere održivog grada koji zapravo povećava kvalitet života.
We also asked ourselves, what could Denmark possibly show China that would be relevant? You know, it's one of the biggest countries in the world, one of the smallest. China symbolized by the dragon. Denmark, we have a national bird, the swan. (Laughter) China has many great poets,
Takođe smo se zapitali šta bi Danska mogla da pokaže Kini što bi bilo relevantno? Znate da je jedna najveća država na svetu, a druga jedna od najmanjih. Simbol Kine je zmaj. U Danskoj, imamo nacionalnu pticu, labuda. (Smeh) Kina ima puno velikih pesnika.
but we discovered that in the People's Republic public school curriculum, they have three fairy tales by An Tu Sheng, or Hans Christian Anderson, as we call him. So that means that all 1.3 billion Chinese have grown up with "The Emperor's New Clothes," "The Matchstick Girl" and "The Little Mermaid." It's almost like a fragment of Danish culture integrated into Chinese culture.
Ali smo otkrili da u Narodnoj Republici Kini kao deo školske lektire, imaju tri bajke An Tu Šunga, odnosno Hansa Kristijana Andersona, kako ga mi zovemo. To znači da je svih 1.3 milijardi Kineza odraslo sa ''Carevim novim odelom'', ''Devojčicom sa šibicama'' i ''Malom sirenom''. Skoro kao da je mali deo danske kulture integrisan u kinesku kulturu.
The biggest tourist attraction in China is the Great Wall. The Great Wall is the only thing that can be seen from the moon. The big tourist attraction in Denmark is The Little Mermaid. That can actually hardly be seen from the canal tours. (Laughter)
Najveća turistička atrakcija u Kini je Kineski zid. Kineski zid je jedina građevina koja se može videti sa Meseca. Najveća turistička atrakcija u Danskoj je Mala sirena. Ona se u suštini jedva može videti iz turističkih brodova sa kanala. (Smeh)
And it sort of shows the difference between these two cities. Copenhagen, Shanghai, modern, European. But then we looked at recent urban development, and we noticed that this is like a Shanghai street, 30 years ago. All bikes, no cars. This is how it looks today; all traffic jam. Bicycles have become forbidden many places.
I to na neki način pokazuje razliku između ova dva grada. Kopenhagen, Šangaj, moderan, evropski. Ali onda smo obratili pažnju na savremeni urbani razvoj. I primetili smo da je ovo kao ulica Šangaja pre 30 godina. Samo bicikli, bez automobila. Ovo je kako izgleda danas. Samo zastoji u saobrađaju. Bicikli su zabranjeni na mnogo mesta.
Meanwhile, in Copenhagen we're actually expanding the bicycle lanes. A third of all the people commute by bike. We have a free system of bicycles called the City Bike that you can borrow if you visit the city. So we thought, why don't we reintroduce the bicycle in China? We donate 1,000 bikes to Shanghai. So if you come to the expo, go straight to the Danish pavilion, get a Danish bike, and then continue on that to visit the other pavilions.
Istovremeno, mi u Kopenhagenu proširujemo biciklističke staze. Trećina ljudi svakodnevno putuje biciklom. Imamo besplatan sistem bicikala koji se zove 'Siti bajk'. Koje možete da pozajmite kada ste u poseti gradu. Tako da smo pomislili, zašto da ne uvedemo ponovo bicikle u Kinu? Doniramo 1000 bicikala Šangaju. Tako da ako posetite izložbu, odete pravo do danskog paviljona. Uzmete danski bicikl. I onda na njemu idete dalje da posetite ostale paviljone.
Like I said, Shanghai and Copenhagen are both port cities, but in Copenhagen the water has gotten so clean that you can actually swim in it. One of the first projects we ever did was the harbor bath in Copenhagen, sort of continuing the public realm into the water. So we thought that these expos quite often have a lot of state financed propaganda, images, statements, but no real experience. So just like with a bike, we don't talk about it. You can try it. Like with the water, instead of talking about it, we're going to sail a million liters of harbor water from Copenhagen to Shanghai, so the Chinese who have the courage can actually dive in and feel how clean it is.
Kao što sam pomenuo, Šangaj i Kopenhagen su oboje lučki gradovi. Ali u Kopenhagenu voda je postala toliko čista da se možete kupati u njoj. Jedan od naših prvih projekata je bilo lučko kupalište u Kopenhagenu. Na neki način proširenje javnog prostora na vodu. Tako da smo pomislili da ove izložbe često imaju puno propagande finansirane od strane države, slika, slogana, ali bez pravog iskustva. Tako da kao i sa biciklom, ne pričamo o tome. Već možete sami probati. Kao i sa vodom, umesto da pričamo o njoj dopremićemo milion litara lučke vode iz Kopenhagena u Šangaj. Tako da Kinezi koji budu imali dovoljno hrabrosti mogu da zarone i osete koliko je čista.
This is where people normally object that it doesn't sound very sustainable to sail water from Copenhagen to China. But in fact, the container ships go full of goods from China to Denmark, and then they sail empty back. So quite often you load water for ballast. So we can actually hitch a ride for free.
Uglavnom zbog ovoga, mnogi prigovaraju da to ne zvuči veoma održivo da se voda dopremi iz Kopenhagena u Kinu. Ali u suštini, teretni brodovi plove puni robe od Kine ka Danskoj. I onda plove prazni nazad. Tako da često natovare vodu kao balast. Tako da možemo da dobijemo besplatan prevoz.
And in the middle of this sort of harbor bath, we're actually going to put the actual Little Mermaid. So the real Mermaid, the real water, and the real bikes. And when she's gone, we're going to invite a Chinese artist to reinterpret her. The architecture of the pavilion is this sort of loop of exhibition and bikes. When you go to the exhibition, you'll see the Mermaid and the pool. You'll walk around, start looking for a bicycle on the roof, jump on your ride and then continue out into the rest of the expo.
I u sredini ovog lučkog kupališta stavićemo pravu Malu Sirenu. Prava Sirena, u pravoj vodi, sa pravim biciklima. A dok ona ne bude bila tu, pozvaćemo kineskog umetnika da je reinterpretira. Arhitektura paviljona je vrsta spirale koju čine izložba i bicikli. Kada dođete do izložbe, videđete Sirenu i bazen. Prošetaćete unaokolo, i probađete da pronađete bicikl na krovu, popeti se na njega, i nastaviti sa obilaskom ostatka izložbe.
So when we actually won the competition we had to do an exhibition in China explaining the project. And to our surprise we got one of our boards back with corrections from the Chinese state censorship. The first thing, the China map missed Taiwan. It's a very serious political issue in China. We will add on. The second thing, we had compared the swan to the dragon, and then the Chinese state said, "Suggest change to panda." (Laughter) (Applause)
Tako da kad smo zaista pobeili na konkursu morali smo da napraivmo izložbu u Kini da predstavimo svoj projekat. I, na naše iznenađenje, dobili smo jedan od naših panela nazad sa ispavkama od strane kineske državne cenzure. Prva zamerka, mapa Kine nije prikazivala Tajvan. To je veoma ozbiljno političko pitanje u Kini. Dodaćemo je. Druga stvar, uporedili smo labuda sa zmajem. A kineska vlast je rekla: ''Predlažemo promenu u pandu.'' (Smeh) (Aplauz)
So, when it came out in Denmark that we were actually going to move our national monument, the National People's Party sort of rebelled against it. They tried to pass a law against moving the Mermaid. So for the first time, I got invited to speak at the National Parliament. It was kind of interesting because in the morning, from 9 to 11, they were discussing the bailout package -- how many billions to invest in saving the Danish economy. And then at 11 o'clock they stopped talking about these little issues. And then from 11 to 1, they were debating whether or not to send the Mermaid to China. (Laughter) (Applause)
Kada je obelodanjeno u Danskoj da ćemo mi zaista da izmestimo naš nacionalni spomenik, Nacionalna Narodna Stranka je protestovala. Pokušali su da proguraju zakon koji zabranjuje premeštanje Sirene. Tako sam po prvi put bio pozvan da govorim pred Nacionalnim Parlamentom. To je bilo veoma interesantno jer je ujutru od devet do jedanaest raspravljano o paketu mera za oporavak ekonomije i koliko milijardi treba investirati da bi se ona spasila. I onda su u 11 časova prestali da diskutuju o tim trivijalnim pitanjima. i od jedanaest do jedan raspravljali su da li da se Sirena šalje u Kinu. (Smeh) (Aplauz)
But to conclude, if you want to see the Mermaid from May to December next year, don't come to Copenhagen, because she's going to be in Shanghai. If you do come to Copenhagen, you will probably see an installation by Ai Weiwei, the Chinese artist. But if the Chinese government intervenes, it might even be a panda. (Laughter)
Ali da zaključimo, ukoliko želite da vidite Sirenu između maja i decembra iduće godine, nemojte dolaziti u Kopenhagen. Jer će ona biti u Šangaju. Ako ipak dođete u Kopenhagen verovatno ćete videti instalaciju Aj Vejveja, kineskog umetnika. Ali ako kineska vlada bude intervenisala, možda to bude čak i panda. (Smeh)
So the second story that I'd like to tell is, actually starts in my own house. This is my apartment. This is the view from my apartment, over the sort of landscape of triangular balconies that our client called the Leonardo DiCaprio balcony. And they form this sort of vertical backyard where, on a nice summer day, you'll actually get introduced to all your neighbors in a vertical radius of 10 meters. The house is sort of a distortion of a square block. Trying to zigzag it to make sure that all of the apartments look at the straight views, instead of into each other.
Druga priča koju bih voleo da vam ispričam je, u stvari počinje u mojoj sopstvenoj kući. Ovo je moj stan. Ovo je pogled iz moga stana. Preko neke vrste reljefa od trouglastih terasa. koje je naš klijent nazvao 'Leonardo di Kaprio balkoni'. I oni formiraju neku vrstu vertikalnog dvorišta. Gde, po sunčanom danu, možete upoznati sve svoje susede u vertikalnom radijusu od 10 metara. Kuća je neka vrsta dekonstruisanog pravougaonog bloka. On je isečen u cik-cak kako bi se osiguralo da svi stanovi imaju direktan pogled na okruženje a ne jedni na druge.
Until recently, this was the view from my apartment, onto this place where our client actually bought the neighbor site. And he said that he was going to do an apartment block next to a parking structure. And we thought, rather than doing a traditional stack of apartments looking straight into a big boring block of cars, why don't we turn all the apartments into penthouses, put them on a podium of cars.
Donedavno, ovo je bio pogled iz mog stana. Dok naš klijent nije kupio susednu parcelu. I rekao da hoće da izgradi stambeni blok i veliki parking. A mi smo pomislili, zašto ne bi, umesto tradicionalnog bloka stanova, koji gledaju pravo na veliki dosadni parking, zašto ne bi pretvorili sve stanove u potkrovlja, i stavili ih na podijum od automobila.
And because Copenhagen is completely flat, if you want to have a nice south-facing slope with a view, you basically have to do it yourself. Then we sort of cut up the volume, so we wouldn't block the view from my apartment. (Laughter) And essentially the parking is sort of occupying the deep space underneath the apartments.
I pošto je Kopenhagen potpuno ravan, ako hoćete lepu južnu padinu sa pogledom, morate sami da je napravite. Onda smo nekako isekli volumen, kako ne bi blokirali pogled iz mog stana. (Smeh) I parking u suštini okupira donji prostor ispod stanova.
And up in the sun, you have a single layer of apartments that combine all the splendors of a suburban lifestyle, like a house with a garden with a sort of metropolitan view, and a sort of dense urban location. This is our first architectural model. This is an aerial photo taken last summer. And essentially, the apartments cover the parking. They are accessed through this diagonal elevator. It's actually a stand-up product from Switzerland, because in Switzerland they have a natural need for diagonal elevators. (Laughter)
A gore na suncu, imate jedan sloj stanova, koji kombinuju sve prednosti života na periferiji, kao što su kuća sa baštom sa pogledom na grad, i neka vrsta guste urbane lokacije. Ovo je naš prvi arhitektonski model. Ovo je snimak iz vazduha snimljen prošlog leta. I u suštini, stanovi pokrivaju parking. Njima se prilazi preko dijagonalnog lifta. Koji je zapravo standardni proizvod u Švajcarskoj. Jer u Švajcarskoj imaju prirodnu potrebu za dijagonalnim liftovima. (Smeh)
And the facade of the parking, we wanted to make the parking naturally ventilated, so we needed to perforate it. And we discovered that by controlling the size of the holes, we could actually turn the entire facade into a gigantic, naturally ventilated, rasterized image. And since we always refer to the project as The Mountain, we commissioned this Japanese Himalaya photographer to give us this beautiful photo of Mount Everest, making the entire building a 3,000 square meter artwork. (Applause)
A fasadu parkinga smo hteli da učinimo prirodno ventilirajućom. Tako da smo morali da je perforiramo. I otkirli smo da kontrolisanjem dimenzija otvora možemo pretvoriti celu fasadu u ogromnu, prirodno ventiliranu rasterizovanu sliku i, obzirom da smo od samog starta projekat nazvali 'Planina', angažovali smo japanskog fotografa Himalaja koji nam je dao ovu prelepu fotografiju Maunt Everesta, koja je celu zgradu pretvorila u umetničko delo od 3,000 kvardatnih metara. (Aplauz)
So if you go back into the parking, into the corridors, it's almost like traveling into a parallel universe from cars and colors, into this sort of south-facing urban oasis. The wood of your apartment continues outside becoming the facades. If you go even further, it turns into this green garden. And all the rainwater that drops on the Mountain is actually accumulated. And there is an automatic irrigation system that makes sure that this sort of landscape of gardens, in one or two years it will sort of transform into a Cambodian temple ruin, completely covered in green.
Tako da ako se vratite na parking, u hodnike, to je kao da putujete iz paralelnog sveta sačinjenog od automobila i boja, u neku vrstu urbane oaze okrenute prema jugu. Drvo se iz vašeg stana produžava napolje, postajući fasada. A ako gledate još dalje, pretvara se u zelenu baštu. I sva voda koja padne na "Planinu" se akumulira. I postoji automatizovani sistem navodnjavanja koji osigurava da će se ovaj predeo od bašti za godinu ili dve tranformisati u ostatke kambodžanskog hrama, potpuno pokrivene zelenilom.
So, the Mountain is like our first built example of what we like to refer to as architectural alchemy. This idea that you can actually create, if not gold, then at least added value by mixing traditional ingredients, like normal apartments and normal parking, and in this case actually offer people the chance that they don't have to choose between a life with a garden or a life in the city. They can actually have both.
Tako da je "Planina", naš prvi izgrađeni primer nečega što mi želimo da zovemo arhitektonska alhemija. Ideja da možete zaista napraviti, ako ne zlato onda bar nešto bolje mešajući tradicionalne sastojke, kao što su normalni stanovi i normalan parking, i, u ovom slučaju, ponuditi ljudima priliku da ne moraju da biraju između života sa baštom i života u gradu. Mogu imati i jedno i drugo.
As an architect, it's really hard to set the agenda. You can't just say that now I'd like to do a sustainable city in central Asia, because that's not really how you get commissions. You always have to sort of adapt and improvise to the opportunities and accidents that happen, and the sort of turmoil of the world.
Arhitekti je veoma teško da napravi čvrst plan. Ne možete samo reći da želite da napravite održivi grad u centralnoj Aziji. Jer zapravo ne dobijate tako poslove. Morate se uvek prilagođavati i improvizovati prema prilikama i slučajnostima na koje ćete naići, i konstantnim promenama u svetu.
One last example is that recently we, like last summer, we won the competition to design a Nordic national bank. This was the director of the bank when he was still smiling. (Laughter) It was in the middle of the capital so we were really excited by this opportunity. Unfortunately, it was the national bank of Iceland.
Jedan poslednji primer je skorašnji konkurs na kome smo pobedili prošlog leta za projekat nordijske nacionalne banke. Ovo je bio direktor banke dok se još smešio. (Smeh) Bila je u centru glavnog grada, tako da smo bili veoma uzbuđeni. Nazalost, to je bila nacionalna banka Islanda.
At the same time, we actually had a visitor -- a minister from Azerbaijan came to our office. We took him to see the Mountain. And he got very excited by this idea that you could actually make mountains out of architecture, because Azerbaijan is known as the Alps of Central Asia. So he asked us if we could actually imagine an urban master plan on an island outside the capital that would recreate the silhouette of the seven most significant mountains of Azerbaijan.
U to vreme smo imali posetu ministar iz Azerbejdžana je došao u našu kancelariju. Odveli smo ga da vidi "Planinu". I on je bio veoma ushićen idejom da možete zaista praviti planine arhitekturom. Jer je Azerbejdžan poznat kao Alpi Centralne Azije. Tako da nas je pitao možemo li da zamislimo urbanistički plan na ostrvu izvan glavnog grada koji bi oponašao siluetu sedam najvažnijih planina Azerbejdžana.
So we took the commission. And we made this small movie that I'd like to show. We quite often make little movies. We always argue a lot about the soundtrack, but in this case it was really easy to choose the song. So basically, Baku is this sort of crescent bay overlooking the island of Zira, the island that we are planning -- almost like the diagram of their flag. And our main idea was to sort of sample the seven most significant mountains of the topography of Azerbaijan and reinterpret them into urban and architectural structures, inhabitable of human life. Then we place these mountains on the island, surrounding this sort of central green valley, almost like a central park.
Tako da smo prihvatili taj posao. I napravili smo jedan mali film koji bih voleo da vam prikažem. Mi često pravimo male filmove. I uvek se svađamo oko muzike. Ali u ovom slučaju je bilo veoma jednostavno odabrati pesmu. Baku je u sustini zaliv u obliku polumeseca koji gleda na ostrvo Zira, ostrvo koje je predmet našeg plana. Skoro kao dijagram njihove zastave. I naša glavna ideja je bila da semplujemo sedam najvažnijih planina topografije Azerbejdžana. I reinpretiramo ih u urbanim i arhitektonskim strukturama, koje naseljavaju ljudi. Onda ćemo postaviti ove planine na ostrvo, tako da okružuju ovu nekakvu centralnu zelenu dolinu. Skoro kao Central park.
And what makes it interesting is that the island right now is just a piece of desert. It has no vegetation. It has no water. It has no energy, no resources. So we actually sort of designed the entire island as a single ecosystem, exploiting wind energy to drive the desalination plants, and to use the thermal properties of water to heat and cool the buildings. And all the sort of excess freshwater wastewater is filtered organically into the landscape, gradually transforming the desert island into sort of a green, lush landscape.
I ono što celu stvar čini zanimljivom je da je ovo ostrvo trenutno samo pustinja. Nema vegetacije. Nema vode. Nema energije, nema resursa. Tako da smo mi zapravo celo ostrvo dizajnirali kao jedinstveni ekosistem, koristeći energiju vetra za pokretanje postrojenja za desalinizaciju, i termičke karakteristike vode za grejanje i hlađenje objekata. I sva suvišna otpadna voda se organski filtrira kroz zelenilo, postepeno pretvarajući pustinjsko ostrvo u zeleni, bujni pejzaž.
So, you can say where an urban development normally happens at the expense of nature, in this case it's actually creating nature. And the buildings, they don't only sort of invoke the imagery of the mountains, they also operate like mountains. They create shelter from the wind. They accumulate the solar energy. They accumulate the water. So they actually transform the entire island into a single ecosystem.
Tako da možete reći da urbani razvoj do koga obično dolazi na račun prirode, u ovom slučaju zapravo stvara prirodu. I zgrade, one ne samo da evociraju oblike planina. One takođe i funkcionišu kao planine. One prave zavetrinu. One akumuliraju solarnu energiju. One akumuliraju vodu. Tako da one zapravo transformišu celo ostrvo u jedinstveni ekosistem.
So we recently presented the master plan, and it has gotten approved. And this summer we are starting the construction documents of the two first mountains, in what's going to be the first carbon-neutral island in Central Asia. (Applause) Yes, maybe just to round off. So in a way you can see how the Mountain in Copenhagen sort of evolved into the Seven Peaks of Azerbaijan. With a little luck and some more evolution, maybe in 10 years it could be the Five Mountains on Mars. Thank you. (Applause)
Tako da smo nedavno prezentovali urbanistički plan. I bio je odobren. I ovog leta pocinjemo sa izradom izvođačkog projekta za prve dve planine, na nečemu što će biti prvo ostrvo bez prekomerne emisije ugljenikovih okdsida u Centralnoj Aziji. (Aplauz) Da, možda da zaokružimo. Na neki način možete videti kako je "Planina" u Kopenhagenu na neki način evoluirala u "Sedam Vrhova" u Azerbejdžanu. Sa malo sreće i malo više evolucije možda će za 10 godina to biti "Pet Planina" na Marsu. Hvala Vam. (Aplauz)