(Applause)
(Aplaus)
Thank you very much. I have a few pictures, and I'll talk a little bit about how I'm able to do what I do. All these houses are built from between 70 and 80 percent recycled material, stuff that was headed to the mulcher, the landfill, the burn pile. It was all just gone. This is the first house I built. This double front door here with the three-light transom, that was headed to the landfill. Have a little turret there. And then these buttons on the corbels here -- right there -- those are hickory nuts. And these buttons there -- those are chicken eggs.
Tänan väga. Mul on kaasas mõned pildid ja ma räägin natuke sellest, kuidas saan teha seda, mida teen. Kõik need majad on ehitatud 70-80% ulatuses ümbertöödeldud materjalist - kraamist, mis muidu oleks läinud purustamisele, prügilasse või põletamisele. See kõik oli kõlbmatuks tunnistatud. See on esimene mu ehitatud maja. See kahe poolega uks ja kolme ruuduga aken olid teel prügimäele. Seal on väike tornike. Ja need kaunistused kronsteinidel, seal, on hikkoripähklid. Ja need kaunistused seal, on kanamunad.
(Laughter)
Loomulikult sööte enne hommikust
Of course, first you have breakfast, and then you fill the shell full of Bondo and paint it and nail it up, and you have an architectural button in just a fraction of the time.
ja siis täidate munakoore autopahtliga, värvite ning kinnitate. Ja nii on teil arhitektuurne muna vaid paari hetkega.
This is a look at the inside. You can see the three-light transom there with the eyebrow windows. Certainly an architectural antique headed to the landfill -- even the lockset is probably worth 200 dollars. Everything in the kitchen was salvaged. There's a 1952 O'Keefe & Merritt stove, if you like to cook -- cool stove. This is going up into the turret. I got that staircase for 20 dollars, including delivery to my lot.
See on siis sisevaade. Näha on see kolme ruuduga aken ja kaarjad ukseklaasid, selgelt stiilne arhitektuur, mis oli teel prügilasse. Isegi ukselukk üksi on ilmselt 200 $ väärt. Kogu köögi sisustus on päästetud. Pliit on 1952. aasta O'Keefe & Merritti toodang, kui kokandus peaks huvi pakkuma - vinge pliit. See viib torni. Selle trepi sain ma 20 $ eest, hinna sees oli ka kohaletoimetamine.
(Laughter)
(Naer)
Then, looking up in the turret, you see there are bulges and pokes and sags and so forth. Well, if that ruins your life, well, then, you shouldn't live there.
Vaadates edasi tornis ringi, seal on näha kühmud, nukid, mõned kohad on sisse vajunud ja muudki. Noh, kui see teie elu ära rikub, siis ei pea te seal elama.
(Laughter)
(Naer)
This is a laundry chute. And this right here is a shoe last -- those are those cast-iron things you see at antique shops. So I had one of those, so I made some low-tech gadgetry, where you just stomp on the shoe last, and then the door flies open and you throw your laundry down. And then if you're smart enough, it goes on a basket on top of the washer. If not, it goes into the toilet.
See on pesušaht ning see on kingaliist. Ja see on üks väga vastupidav asi, mida antiigipoodides müüakse. Ma siis hankisin omale selle ja valmistasin ühe üsna algelise leiutise. Lööd lihtsalt kingaliistule, luuk lendab lahti ja sina viskad pesu alla. Ja kui sa piisavalt tark oled, maandub see korvis pesumasina peal. Kui mitte, maandub see vetsupotis.
(Laughter)
(Naer)
This is a bathtub I made, made out of scrap two-by-four. Started with the rim, and then glued and nailed it up into a flat, corbeled it up and flipped it over, then did the two profiles on this side. It's a two-person tub. After all, it's not just a question of hygiene, but there's a possibility of recreation as well.
Selle vanni tegin ma ise, tehtud on ta 2x4-tollise prussi ülejääkidest. Alustasin servast ja siis liimisin ning kinnitasin tükid kokku siledaks pinnaks, kinnitasin jalad ning pöörasin ta ümber, seejärel valmistasin selle poole välispinna. See on kaheinimese-vann. Lõppude lõpuks ei piirdu kõik ainult hügieeniga, vaid on ka võimalus meelelahutuseks.
(Laughter)
(Naer)
Then, this faucet here is just a piece of Osage orange. It looks a little phallic, but after all, it's a bathroom.
See kraan on tükk maclura pomiferast. See võib natuke fallost meenutada, aga tegu ongi ju vannitoaga.
(Laughter)
(Naer)
This is a house based on a Budweiser can. It doesn't look like a can of beer, but the design take-offs are absolutely unmistakable: the barley hops design worked up into the eaves, then the dentil work comes directly off the can's red, white, blue and silver. Then, these corbels going down underneath the eaves are that little design that comes off the can. I just put a can on a copier and kept enlarging it until I got the size I want. Then, on the can it says, "This is the famous Budweiser beer, we know of no other beer, blah, blah, blah." So we changed that and put, "This is the famous Budweiser house. We don't know of any other house ..." and so forth and so on. This is a deadbolt. It's a fence from a 1930s shaper, which is a very angry woodworking machine. And they gave me the fence, but they didn't give me the shaper, so we made a deadbolt out of it. That'll keep bull elephants out, I promise.
See maja põhineb Budweiseri purkidel. Ta ei näe välja nagu õllepurk, aga disaini jäljendus on ilmselge. Humalast inspireeritud disain algab juba räästast, hammaslõike muster on selgelt otse purgilt - punane, valge, sinine ja hõbedane. Need konsoolid räästa all on ka väike disainielement, mis pärineb purgilt. Ma panin lihtsalt purgi paljundusmasinasse ja suurendasin nii kaua, kuni sain soovitud suuruse. Siis, purgi peal on kirjas: "See on kuulus Budweiseri õlu, me ei tunne ühtki teist õlut..." Me siis muutsime seda ja kirjutasime: "See on kuulus Budweiseri maja. Me ei tunne ühtki teist maja." Ja nii edasi. See on siis riiv. See oli piiraja 1930. aastate freespingil, mis on väga vihane puutöömasin. Mulle anti piiraja, aga freespinki ennast mitte, nii et me tegime sellest riivi. See hoiab ka elevante tagasi, ma luban.
(Laughter)
Ja kindel on see, et meil pole elevantidega probleeme olnud.
And sure enough, we've had no problems with bull elephants.
(Naer)
(Laughter)
Dušš peaks imiteerima õlleklaasi.
The shower is intended to simulate a glass of beer. We've got bubbles going up there, then suds at the top with lumpy tiles. Where do you get lumpy tiles? Well, of course, you don't. But I get a lot of toilets, and so you just dispatch a toilet with a hammer, and then you have lumpy tiles. And then the faucet is a beer tap.
Need on üles liikuvad mullid, üleval kujutavad ebatasased plaadid vahtu. Kust ebatasaseid plaate saada? Ega ei saagi. Aga ma saan palju vetsupotte ning kui pott haamriga osadeks võtta, saab ebatasased plaadid. Kraan on
(Laughter)
õllekraan.
(Naer)
Then, this panel of glass is the same panel of glass that occurs in every middle-class front door in America. We're getting tired of it. It's kind of clichéd now. If you put it in the front door, your design fails. So don't put it in the front door; put it somewhere else. It's a pretty panel of glass. But if you put it in the front door, people say, "Oh, you're trying to be like those guys, and you didn't make it." So don't put it there. Then, another bathroom upstairs. This light up here is the same light that occurs in every middle-class foyer in America. Don't put it in the foyer. Put it in the shower, or in the closet, but not in the foyer. Then, somebody gave me a bidet, so it got a bidet.
See klaaspaneel on samasugune klaaspaneel, nagu võib näha iga keskklassi majapidamise uksel Ameerikas. Me hakkame sellest tüdinema. See on klišee. Järelikult kui see paigutada eesuksele, on disain läbi kukkunud. Ära siis pane seda eesuksele, vaid pane kuhugi mujale. Kena klaaspaneel! Aga kui sa selle eesuksele paned, ütlevad inimesed: "Sa üritad teistega sarnaneda, aga ei saa sellega hakkama." Ühesõnaga ära sinna ette seda pane. Siis teine vannituba ülakorrusel. See tuli siin on samasugune tuli, mida võib kohata iga keskklassi esikus Ameerikas. Ärge pange seda esikusse. Pange duširuumi või kappi, aga mitte esikusse. Keegi andis mulle veel ühe bidee, nii et sinna sai ka bidee.
(Laughter)
(Naer)
This little house here, those branches there are made out of Bois d'arc or Osage orange. These pictures will keep scrolling as I talk a little bit.
See väike majake siin - oksad on võetud Bois D'arcilt elik maclura pomiferalt ning need pildid liiguvad vaikselt edasi, kuni ma samal ajal jutustan.
In order to do what I do, you have to understand what causes waste in the building industry. Our housing has become a commodity, and I'll talk a little bit about that. But the first cause of waste is probably even buried in our DNA. Human beings have a need for maintaining consistency of the apperceptive mass. What does that mean? What it means is, for every perception we have, it needs to tally with the one like it before, or we don't have continuity, and we become a little bit disoriented. So I can show you an object you've never seen before. Oh, that's a cell phone. But you've never seen this one before. What you're doing is sizing up the pattern of structural features, and then you go through your databanks: Cell phone. Oh! That's a cell phone. If I took a bite out of it, you'd go, "Wait a second.
Et teha seda, mida ma teen, tuleb mõista, mis ehitustööstuses prahti tekitab. Meie ühiskonnas on kodu muutunud äriobjektiks ja ma räägin natuke sellest. Sest esimene prügi tekkimise põhjus on ilmselt kätketud meie DNA-sse. Inimolenditel on vajadus säilitada tajumise eelduseks olevate kogemuste järjepidevust. Mida see tähendab? See tähendab, et iga aisting, mis meil on, peab kokku sobima eelmisega, muidu pole järjepidevust ja me sattume segadusse. Nii et ma võin näidata teile eset, mida te varem näinud pole... See on mobiil. Aga seda konkreetset pole te varem näinud. Nüüd panete te ajus ritta kõik eseme füüsilised omadused ning kammite peas kõik teadmised läbi kuni tajute - mobiil. See on mobiil. Kui ma sellest ampsu võtaksin, mõtleksite kohe: "Oota nüüd,
(Laughter)
see pole ju mobiil.
"That's not a cell phone. That's one of those new chocolate cell phones."
See on šokolaadist mobiiltelefon."
(Laughter)
(Naer)
You'd have to start a new category, right between cell phones and chocolate.
Ja te peaksite looma uue kategooria ning paigutama selle mobiilide ja šokolaadi vahele.
(Laughter)
Niimoodi töötleme me infot.
That's how we process information.
Kui see nüüd ehitusfirmadele tõlkida -
You translate that to the building industry. If we have a wall of windowpanes and one pane is cracked, we go, "Oh, dear. That's cracked. Let's repair it. Let's take it out and throw it away so nobody can use it and put a new one in." Because that's what you do with a cracked pane. Never mind that it doesn't affect our lives at all. It only rattles that expected pattern and unity of structural features. However, if we took a small hammer, and we added cracks to all the other windows --
kui meil on klaassein ning üks ruut on mõraga, mõtleme: "Heldeke, seal on mõra. Parandame seina ära. Võtame selle ära, viskame minema, nii et keegi seda kasutada ei saa ja paneme uue." Sest mõranenud klaasiga tehaksegi nii. Mis siis, et see meie elusid üldse ei mõjuta. See rikub ainult mustrit ja füüsiliste omaduste ühtsust. Kui me aga võtaksime väikse haamri ja teeksime teistele klaasidele ka mõrad,
(Laughter)
siis oleks valmis muster.
then we have a pattern. Because Gestalt psychology emphasizes recognition of pattern over parts that comprise a pattern. We'll go, "Ooh, that's nice." So, that serves me every day. Repetition creates pattern. If I have 100 of these, 100 of those, it makes no difference what these and those are. If I can repeat anything, I have the possibility of a pattern, from hickory nuts and chicken eggs, shards of glass, branches. It doesn't make any difference. That causes a lot of waste in the building industry.
Sest gestalt-psühholoogia toonitab pigem mustri kui terviku, kui selle osade tunnistamise olulisust. Me mõtleme: "Küll see on kena." Sellest juhindun ma iga päev. Kordamine loob mustri. Kui mul on sada seda ja sada teist, siis pole vahet, mis need asjad on. Kõigest on kordamise teel võimalik moodustada muster, kas hikkoripähklitest või kanamunadest, klaasikildudest, okstest. Vahet pole. See tekitab ehituses palju jäätmeid. Teiseks - Friedrich Nietzsche kirjutas
The second cause is, Friedrich Nietzsche, along about 1885, wrote a book titled "The Birth of Tragedy." And in there, he said cultures tend to swing between one of two perspectives: on the one hand, we have an Apollonian perspective, which is very crisp and premeditated and intellectualized and perfect. On the other end of the spectrum, we have a Dionysian perspective, which is more given to the passions and intuition, tolerant of organic texture and human gesture. So the way the Apollonian personality takes a picture or hangs a picture is, they'll get out a transit and a laser level and a micrometer. "OK, honey. A thousandth of an inch to the left. That's where we want the picture. Right. Perfect!" Predicated on plumb level, square and centered. The Dionysian personality takes the picture and goes:
umbes 1885. aastal raamatu "Tragöödia sünd". Ja seal kirjutas ta, et kultuurid kipuvad kahe printsiibi vahel pendeldama. Ühel küljel on meil apollonlik aspekt, mis on väga range, ettekavatsetud, väga vaimne ja täiuslik. Teiseks on meil dionüüslik aspekt, mis lähtub rohkem kirgedest ja vaistudest, on sallivam orgaanilise struktuuri ja kehakeele suhtes. Seega kui apollonlik isiksus pildistab või riputab pilti seinale, otsib ta välja teodoliidi, laserloodi ja mikromeetri. "Olgu, kallis. Tuhandik tolli vasakule. Sinna me seda pilti tahamegi. Täpselt. Imeline." Kõik on kristallselge ja laitmatult tehtud. Dionüüslik isiksus võtab pildi ja vaatab...
(Laughter)
(Naer)
That's the difference. I feature blemish. I feature organic process. Dead center John Dewey. Apollonian mindset creates mountains of waste. If something isn't perfect, if it doesn't line up with that premeditated model? Dumpster. "Oops. Scratch. Dumpster." "Oops" this, "oops" that. Landfill, landfill, landfill.
Selles ongi vahe. Minu eripäraks ongi vead. Minu eripäraks on orgaaniline protsess. Läbinisti John Dewey. Apollonlik mõtteviis loob mägede viisi prügi. Kui miski pole täiuslik, kui see ei sobi eelnevaga, kohe prügikasti. "Oih, kriim, prügikasti." Oih siin ja oih seal. "Prügimägi, prügimägi, prügimägi." Kolmas asi on väidetavalt
The third thing is arguably -- The Industrial Revolution started in the Renaissance with the rise of humanism, then got a little jump start along about the French Revolution. By the middle of the 19th century, it's in full flower. And we have dumaflaches and gizmos and contraptions that will do anything that we, up to that point, had to do by hand. So now we have standardized materials. Well, trees don't grow two inches by four inches, eight, ten and twelve feet tall.
tööstusrevolutsioon, mis algas renessansi ajal humanismi tõusuga ning seejärel veel Prantsuse revolutsioonist jõudu sai. 19. sajandi keskpaigaks oli see õitsele puhkenud. Ja meil on riistad, abivahendid ja kaadervärgid, mis kõigega hakkama saavad, mida me seni pidime käsitsi tegema. Seega nüüd on meil standardsed materjalid. Ega puud ju ei kasva 2x4-tolliseks, 8, 10 ega 12 jalga pikaks. Me loome prügimägesid.
(Laughter)
We create mountains of waste. And they're doing a pretty good job there in the forest, working all the byproduct of their industry -- with OSB and particle board and so forth and so on -- but it does no good to be responsible at the point of harvest in the forest if consumers are wasting the harvest at the point of consumption. And that's what's happening. And so if something isn't standard, "Oops, dumpster." "Oops" this. "Oops, warped." If you buy a two-by-four and it's not straight, you can take it back. "Oh, I'm so sorry, sir. We'll get you a straight one." Well, I feature all those warped things because repetition creates pattern, and it's from a Dionysian perspective.
Ja metsas osatakse päris hästi Ja metsas osatakse päris hästi oma tööstuse kõrvalprodukte kasutada - tehakse OSB-plaate, saepuruplaate ja muud, aga see ei vähenda kuidagi vastutust metsa hävitamise eest, kui tarbijad tarbimisstaadiumis puitu raiskavad ning just see toimubki. Ja kui miski pole standardne - "Oih, prügikasti, oih, kooldunud." Kui sa ostad 2x4 prussi ja see pole sirge, siis võid selle tagasi viia. "Vabandage, härra, me toome teile kohe sirge." Mina kasutan kõiki neid kooldunud asju, sest kordamine loob mustri ning see on rohkem dionüüslik perspektiiv.
The fourth thing is labor is disproportionately more expensive than materials. Well, that's just a myth. And there's a story: Jim Tulles, one of the guys I trained -- I said, "Jim, it's time now. I got a job for you as a foreman on a framing crew. Time for you to go." "Dan, I just don't think I'm ready." "Jim, now it's time. You're the down -- oh!" So we hired on. And he was out there with a tape measure, going through the trash heap, looking for header material, or the board that goes over a door, thinking he'd impress his boss -- that's how we taught him to do it. The superintendent walked up and said, "What are you doing?" "Oh, just looking for header material," waiting for that kudos. He said, "I'm not paying you to go through the trash. Get back to work." And Jim had the wherewithal to say, "You know, if you were paying me 300 dollars an hour, I can see how you might say that. But right now, I'm saving you five dollars a minute. Do the math."
Neljas probleem on see, et tööjõud on ebavõrdeliselt kallim kui materjalid. See on ainult müüt. Räägin ühe loo: Jim Tulles, üks mu õpilastest. Ma ütlesin: "Jim, nüüd on aeg. Ma leidsin sulle töö raamimise meeskonna juhina, sul on aeg minna." "Dan, ma arvan, et ma pole veel valmis." "Jim, nüüd on aeg..." Me palkasime siis siia uued inimesed. Ja ta tuhnis uues kohas mõõdulint peos prügihunnikus, otsides piida materjali - see on latt, mis läheb ukse kohalt üle - arvates, et ta avaldab oma ülemusele muljet - nii me teda õpetasime. Ja järelvaataja tuli ta juurde ning küsis: "Mis sa teed?" "Otsin piida jaoks materjali," vastas ta, oodates kiitust. Ta sai vastuseks: "Ei-ei, ma ei maksa sulle prügi sorteerimise eest. Tagasi tööle." Tal oli piisavalt raha, et öelda: "Teate, kui te maksaksite mulle 300 $ tunnis, siis ma mõistaks, et te nii ütlete, aga praegu hoian ma teil minutis viis dollarit kokku. Arvutage ise."
(Laughter)
(Naer)
"Good call, Tulles. From now on, you guys hit this pile first." And the irony is that he wasn't very good at math.
"Hea mõte, Tulles. Edaspidi vaatate enne hunniku läbi." Ja asja iroonia on selles, et ta polnud eriline matemaatik.
(Laughter)
(Naer)
But once in a while, you get access to the control room, and then you can kind of mess with the dials. And that's what happened there.
Aga vahel harva pääsed sa kontrollruumile ligi ja saad natuke nuppudega mässata. See seal juhtuski.
The fifth thing is that maybe, after 2,500 years, Plato is still having his way with us in his notion of perfect forms. He said that we have in our noggin the perfect idea of what we want, and we force environmental resources to accommodate that. So we all have in our head the perfect house, the American dream, which is a house, the dream house. The problem is we can't afford it. So we have the American dream look-alike, which is a mobile home. Now there's a blight on the planet.
Viies mure on ehk see, et võib-olla veel isegi 2500 aastat hiljem kujundab Platon meid oma täiuslikkuse arusaama järgi. Ta ütles, et meil on peakolus täielik arusaam sellest, mida me tahame, ja me oskame keskkonnas leiduvaid ressursse selleks ära kasutada. Seega peitub meie kõigi peas täiuslik maja - Ameerika unistus - maja, unelmate maja. Probleem on see, et me ei saa seda endale lubada. Niisiis valime väliselt sarnase maja, mis on tegelikult vaid vagunelamu. %¤ Aga meie planeedil on sees mädanik.
(Laughter)
Selle nimi on tagatisega laen,
It's a chattel mortgage, just like furniture, just like a car. You write the check, and instantly, it depreciates 30 percent. After a year, you can't get insurance on everything you have in it, only on 70 percent. Wired with 14-Gauge wire, typically. Nothing wrong with that, unless you ask it to do what 12-Gauge wire's supposed to do, and that's what happens. It out-gasses formaldehyde -- so much so that there is a federal law in place to warn new mobile home buyers of the formaldehyde atmosphere danger. Are we just being numbingly stupid? The walls are this thick. The whole thing has the structural value of corn.
niimoodi saab ära laenata nii mööbli kui auto. Kirjutad tšeki ja selle väärtus kahaneb kohe 30%. Juba aasta pärast ei kindlustata kõike majas olevat, vaid ainult 70% sellest. Tavaliselt on sellised süsteemid 1,5 mm juhtmega ühendatud. Selles pole midagi halba, kui sa 1,5 mm juhtmelt ei taha 2 mm juhtme läbilaskvust ning sellest probleem tekibki. See annab välja nii palju formaldehüüdi, et on olemas föderaalseadus, mis hoiatab vagunelamute ostjaid formaldehüüdi sissehingamise ohtlikkuse eest. Kas me oleme siis lihtsalt tuimalt lollid? Seinad on nii paksud. Kogu kupatuse tegelik väärtus on võrdne maisiga.
(Laughter)
(Naer)
"So ... I thought Palm Harbor Village was over there." "No, no. We had a wind last night. It's gone now."
"Ma sain aru, et seal on Palm Harbor Village?" "Ei, ei. Eile oli tuuline. Nüüd seda enam pole."
(Laughter)
(Naer)
Then when they degrade, what do you do with them?
Kui nende väärtus alaneb, siis mis nendega peale hakata?
Now, all that -- that Apollonian, Platonic model -- is what the building industry is predicated on, and there are a number of things that exacerbate that. One is that all the professionals, all the tradesmen, vendors, inspectors, engineers, architects all think like this. And then it works its way back to the consumer, who demands the same model. It's a self-fulfilling prophecy. We can't get out of it. Then here come the marketeers and the advertisers. "Woo. Woo-hoo." We buy stuff we didn't know we needed. All we have to do is look at what one company did with carbonated prune juice. How disgusting.
Kõik see - apollonlik, platonlik maailmakäsitlus, on see, millele ehitustööstus toetub ja on mitmeid asju, mis olukorra veel teravamaks teevad. Üks on see, et kõik asjatundjad, kõik kaupmehed, müüjad, inspektorid, insenerid, arhitektid - kõik mõtlevad nii. Lõpuks jõuab see ringiga tagasi tarbijani, kes sama mudelit nõuab. See on nõiaring. Sellest pole pääsu. Ja siis tulevad turustajad ja reklaamijad. Vaat-vaat! Me ostame asju, mille vajalikkusest me midagi ei teadnud. Piisab, kui vaadata, mida üks firma karboniseeritud ploomimahlaga tegi. Rõve värk.
(Laughter)
(Naer)
But you know what they did? They hooked a metaphor into it and said, "I drink Dr. Pepper ..." And pretty soon, we're swilling that stuff by the lake-ful, by the billions of gallons. It doesn't even have real prunes! Doesn't even keep you regular.
Aga teate, mis nad tegid? Nad sidusid sellega metafoori ja ütlesid: "Ma joon Dr. Pepperit..." Ja varsti kaanime me seda kraami järvede kaupa, miljardeid liitreid. See ei sisalda isegi päris ploome. Pole isegi tervislik.
(Laughter)
(Naer)
My oh my, that makes it worse. And we get sucked into that faster than anything.
Jumaluke, see teeb asja veel hullemaks. Ja meid imetakse sellesse kiiremini, kui ise arugi saame.
Then, a man named Jean-Paul Sartre wrote a book titled "Being and Nothingness." It's a pretty quick read. You can snap through it in maybe --
Jean-Paul Sartre kirjutas raamatu nimega "Being and Nothingness". See läheb üsna kiiresti.
(Laughter)
Selle võib kiirelt ehk kahe aastaga läbi vaadata,
maybe two years, if you read eight hours a day. In there, he talked about the divided self. He said human beings act differently when they know they're alone than when they know somebody else is around. So if I'm eating spaghetti, and I know I'm alone, I can eat like a backhoe. I can wipe my mouth on my sleeve, napkin on the table, chew with my mouth open, make little noises, scratch wherever I want.
kui päevas kaheksa tundi lugeda. Ta kirjutas seal lõhestunud isiksusest. Ta kirjutas, et inimolendid käituvad erinevalt, kui nad on üksi või kui nad on kellegagi koos. Nii et kui ma spagette söön ja tean, et olen üksi, võin süüa rahulikult nagu ekskavaator. Ma võin varrukaga suud pühkida, salvrätti laual hoida, närida lahtise suuga, tuua kuuldavale häälitsusi, sügada, kust iganes tahan.
(Laughter)
(Naer)
But as soon as you walk in, I go, "Oops! Lil' spaghetti sauce there." Napkin in my lap, half-bites, chew with my mouth closed, no scratching. Now, what I'm doing is fulfilling your expectations of how I should live my life. I feel that expectation, and so I accommodate it, and I'm living my life according to what you expect me to do. That happens in the building industry as well. That's why all subdivisions look the same. Sometimes, we even have these formalized cultural expectations. I'll bet all your shoes match. Sure enough, we all buy into that ...
Aga kui keegi sisse astub, siis kohe: "Oih, sinna läks natuke kastet." Salvrätt põlvedele, poolikud suutäied, närin kinnise suuga, ei kratsi. See on vastamine teie ootustele, See on vastamine teie ootustele, kuidas ma peaks oma elu elama. Ma tunnetan seda ootust ning vastan sellele ja elan oma elu vastavalt sellele, nagu minust oodatakse. See toimub ehituses samamoodi. Sellepärast kõik planeeringud ühesugused ongi. Vahel on meil isegi ühe malli järgi loodud kultuurilised ootused. Ma võin kihla vedada, et teie kõigi kingad on ühesugused. Selge see, et me kõik võtame selle omaks
(Laughter)
ning piiratud elamurajoonidega
And with gated communities, we have a formalized expectation, with a homeowners' association. Sometimes those guys are Nazis, my oh my. That exacerbates and continues this model.
oleme me moodustanud ootuse koduomanike ühistu vastu. Vahel on nad natsid, heldeke. See teravdab ja jätkab vana mudelit.
The last thing is gregariousness. Human beings are a social species. We like to hang together in groups, just like wildebeests, just like lions. Wildebeests don't hang with lions, because lions eat wildebeests. Human beings are like that. We do what that group does that we're trying to identify with. You see this in junior high a lot. Those kids, they'll work all summer long -- kill themselves -- so that they can afford one pair of designer jeans. So along about September, they can stride in and go, "I'm important today. See? Don't touch my designer jeans! I see you don't have designer jeans. You're not one of the beautiful -- See, I'm one of the beautiful people. See my jeans?" Right there is reason enough to have uniforms. And so that happens in the building industry as well.
Viimane asi on seltsivus. Inimolendid on sotsiaalne liik. Meile meeldib eraldi rühmadesse hoida, täpselt nagu gnuud ja lõvid. Gnuud ei hoia lõvidega kokku, sest lõvid söövad gnuusid. Inimolendid on samasugused. Me teeme sedasama, mida grupp, millega ennast seostada üritame. Seda näeb hästi põhikoolis. Lapsed töötavad suvi läbi ja tapavad ennast tööga, et endale lubada paari disaineri teksasid. Septembri alguses saavad nad siis minna ja öelda: "Täna olen ma tähtis. Vaata, aga ära mu disaineri teksasid puutu. Ma vaatan, et sul pole disaineri teksasid. Sa ei kuulu ilusate inimeste hulka. Vaata, mina olen ilus inimene. Näed mu teksasid?" Juba see annab piisava põhjuse koolivormide jaoks. Ja see toimub ehituses samuti.
We have confused Maslow's hierarchy of needs, just a little bit. On the bottom tier, we have basic needs: shelter, clothing, food, water, mating and so forth. Second: security. Third: relationships. Fourth: status, self-esteem -- that is, vanity -- and we're taking vanity and shoving it down here. And so we end up with vain decisions, and we can't even afford our mortgage. We can't afford to eat anything except beans;
Me oleme Maslow' vajaduste hierarhia natuke segamini ajanud. Alumisel real on meil põhivajadused - ulualune, riietus, toit, vesi, paaritumine ja nii edasi. Teiseks, turvalisus. Kolmandaks, inimsuhted. Neljandaks, staatus, enesehinnang elik edevus. Kuid me võtame edevuse ja paneme selle hoopis siia esimeste hulka. Nõnda teeme me vaid tulutuid otsuseid ning ei suuda isegi oma majalaenu maksta. Me ei saa endale lubada midagi peale ubade söömise.
that is, our housing has become a commodity. And it takes a little bit of nerve to dive into those primal, terrifying parts of ourselves and make our own decisions and not make our housing a commodity, but make it something that bubbles up from seminal sources. That takes a little bit of nerve, and, darn it, once in a while, you fail. But that's okay. If failure destroys you, then you can't do this. I fail all the time, every day, and I've had some whopping failures, I promise -- big, public, humiliating, embarrassing failures.
See tähendab, et meie kodust on saanud tarbimishüve. Ning on vaja natuke julgust, et sukelduda nendesse primaarsetesse hirmutavatesse osadesse enda teadvuses ning teha omi otsuseid, mitte teha eluasemetest tarbimishüvet, vaid teha sellest midagi, mis mullidena sigimisorganitest tuleb. %¤ See vajab natuke julgust ja - kurat - vahel kukubki läbi. Aga sellest pole midagi. Kui läbikukkumine su hävitab, siis ei ole sa selleks õigest puust. Mina põrun iga päev, kogu aeg ja mul on olnud päris röögatuid põrumisi, võin vanduda, suuri avalikke alandavaid, häbistavaid põrumisi.
Everybody points and laughs, and they say, "He tried it a fifth time, and it still didn't work! What a moron!" Early on, contractors come by and say, "Dan, you're a cute little bunny, but you know, this just isn't going to work. What don't you do this? Why don't you do that?" And your instinct is to say, "Well, why don't you suck an egg?"
Kõik näitavad näpuga ja naeravad ning ütlevad: "Ta proovis viiendat korda ja ikka ei saanud tööle. On alles loll." Juba alguses tulevad töövõtjad juurde ja ütlevad: "Dan, sa oled armas väike jänku, aga tead, see lihtsalt ei hakkagi tööle. Miks ei võiks teha nii, miks ei võiks teha naa?" Ja instinktid tahaksid vastata: "Äkki lähed imed hoopis kotte?"
(Laughter)
Aga sa ei ütle seda,
But you don't say that, because they're the guys you're targeting.
sest just need tüübid on su sihtmärk.
And so what we've done -- and this isn't just in housing; it's in clothing and food and our transportation needs, our energy -- we sprawl just a little bit. And when I get a little bit of press, I hear from people all over the world. And we may have invented excess, but the problem of waste is worldwide. We're in trouble. And I don't wear ammo belts crisscrossing my chest and a red bandana. But we're clearly in trouble. And what we need to do is reconnect with those really primal parts of ourselves and make some decisions and say, "You know, I think I would like to put CDs across the wall there. What do you think, honey?" If it doesn't work, take it down. What we need to do is reconnect with who we really are, and that's thrilling indeed.
Ja millega me oleme hakkama saanud - ning see ei puuduta ainult ehitust. See puudutab ka riietust ja toitu, meie transpordivajadusi, meie energiat - oleme natuke oma tegevust laiendanud. Ja kui mind kuulab mingil põhjusel press, saan tagasisidet inimestelt üle terve maailma. Ja me võisime küll raiskamise leiutada, aga jäätmete probleem on ülemaailmne. Me oleme jamas. Ja ma ei taha ristata oma rinnal padrunivöösid ning kanda punast kaelarätti, aga selgelt on meil jama. Ja me peame taas ennast ühendama oma kõige algelisemate osadega, tegema mõned otsused ning ütlema: "Tead, ma arvan, et mulle meeldiks see sein CD-dega täita. Mis sa arvad, kallis?" Kui see ei sobi, võtke maha. Me peame end taasühendama oma tõelise olemusega ning see on väga põnev.
Thank you very much.
Tänan väga.
(Applause)
(Aplaus)