(Applause)
(Aplauz)
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.
Hvala najlepše. Imam nekoliko slika, i govoriću malo o tome na koji način uspevam da radim to što radim. Sve ove kuće sagrađene su 70 do 80 posto od recikliranog materijala, od stvari koje su bile na putu za uništavanje, deponiju, spaljivanje. Sve je to već bilo otišlo. Ovo je prva kuća koju sam sagradio. Ova dupla ulazna vrata sa nadvratnikom od tri okna, bila su na putu za deponiju. Ovde imam jednu malu kulu. A ovi ukrasi ovde na konzolama -- evo ovde -- to su hikori orasi. A ovi ukrasi ovde, to su kokošija jaja.
(Laughter)
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.
Naravno, prvo doručkujete, pa onda napunite ljusku Bondo masom i obojite je i prikucate, i tako dobijete arhitektonski ukras za tili čas.
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.
Ovo je pogled unutra. Ovde se vidi nadvratnik sa tri okna sa lučnim prozorima -- svakako arhitektonski antikvitet na putu za deponiju. Verovatno samo okov vredi 200 dolara. Sve u kuhinji je od upotrebljenih stvari. Evo šporeta O'Keefe i Merritt iz 1952 godine, ako volite da kuvate – odličan šporet. Ovuda se penje ka kuli. Dobio sam ovo stepenište za 20 dolara, Uključujući tu i dostavu na plac.
(Laughter)
(Smeh)
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.
Onda, kada pogledate naviše u kupoli, vidite da ima izbočina i rupa i delova koji vise. Ako bi vam takve stvari upropastile život, onda ne bi trebalo da živite ovde.
(Laughter)
(Smeh)
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.
Ovo služi za odlaganje prljavog veša. A ovo ovde je kalup za cipele. A ovo su one stvari od kovanog gvožđa koje viđate po antikvarnicama. Tako sam uzeo jednu od njih, i napravio jednu jednostavnu napravu kada stanete na kalup za cipele vrata se otvaraju i prljav veš pada dole. Ako ste dovoljno pametni pada pravo u korpu koja stoji na veš-mašini. Ako niste, pada u wc-šolju.
(Laughter)
(Smeh)
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.
Ovo je kada koju sam napravio od odbačenih dasaka. Prvo sam napravio ovu ivicu a onda lepio i zakucavao do ravnog dela, podupro je i okrenuo, pa napravio profile na ovoj strani. To je kada za dvoje. Na kraju krajeva, nije to samo pitanje higijene, nego ima mogućnosti i za rekreaciju.
(Laughter)
(Smeh)
Then, this faucet here is just a piece of Osage orange. It looks a little phallic, but after all, it's a bathroom.
Onda ova slavina ona je od drveta biljke Maclura pomifera. Izgleda pomalo falusno, ali, na kraju krajeva, ipak je to kupatilo.
(Laughter)
(Smeh)
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.
Ovo je kuća koja se zasniva na Badvajzer limenci. Ne izgleda kao limenka piva, ali je uticaj u dizajnu nepogrešiv. Motiv sa ječmom i hmeljom pojavljuje se na strehama, Zupčasta šara je potekla direktno od boja na limenci, crvene, bele, plave i srebrne. Ove konzolice dole ispod strehe iste su kao i na crtežu na limenci. Samo sam ubacio limenku u kopir-mašinu i nastavio da uvećavam dok nisam dobio veličinu koja mi odgovara. Onda, na limenci piše: "Ovo je čuveno Budweiser pivo, mi ne znamo za drugo pivo, bla bla bla." Mi smo to promenili i napisali: "Ovo je čuvena Budweiser kuća." "Mi ne znamo za drugu kuću," i tako dalje. A ovo je brava. To je graničnik sa struga iz 1930-ih, opasne mašine za obradu drveta. Dali su mi graničnik ali mi nisu dali i strug, tako da smo od toga napravili bravu. To će sprečiti slonove da uđu, to vam garantujem.
(Laughter)
Jasno je naravno da u međuvremenu nismo imali problema sa slonovima.
And sure enough, we've had no problems with bull elephants.
(Laughter)
(Smeh)
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.
Tuš kabina bi trebalo da izgleda kao čaša piva. Imamo mehuriće koji se penju gore, do vrha sa kvrgavim pločicama. Gde da nađete kvrgave pločice? Nigde, naravno. Ali ja dobijam dosta wc-šolja; samo treba da razbijete šolju čekićem, I eto vam kvrgavih pločica. A ova slavina je
(Laughter)
slavina za točenje piva. (Smeh)
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.
Ovo staklo je isto ono staklo koje ćete naći na svakim ulaznim vratima srednje klase u Americi. Dosadilo nam je to staklo; postalo je kliše. Tako da, ako ga stavite na ulazna vrata, kreacija vam je propala. Zato ga ostavite na neko drugo mesto. To je lepo staklo. Ali ako ga stavite na ulazna vrata, ljudi će reći: "Aha, pokušavate njih da imitirate, ali nije vam uspelo." Zato ga ne stavljajte tamo. Još jedno kupatilo na spratu. Ova svetiljka je ista ona svetiljka koja stoji u svakom foajeu srednje klase u Americi. Ne stavljajte je u foaje. Stavite je u tuš kabinu ili u plakar. Ali ne u foaje. Onda mi je neko poklonio bide, tako da kupatilo ima i bide.
(Laughter)
(Smeh)
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.
Ova kućica ovde, ove grane su napravljene od drveta biljke Maclura pomifera ove slike će se vrteti dok ja pričam.
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.
Da biste radili ono što ja radim, morate da razumete kako nastaje otpad u građevinskoj industriji. Naše kuće postale su potrošna roba, i ja ću malo pričati o tome. Ali osnovni uzrok stvaranja otpada verovatno je deo naše DNK. Ljudskim bićima potrebna je doslednost zbog aperceptivne mase. Šta to znači? To znači da svaki naš opažaj mora da se uporedi sa njemu sličnim opažajem od ranije, u suprotnom nemamo kontinuitet i postajemo blago dezorijentisani. Pokazaću vam nešto što nikada ranije niste videli. Aaaa, to je mobilni telefon. Ali baš ovaj niste nikada ranije videli. Ono što radite jeste poređenje obrasca strukturnih odlika a onda prođete kroz svoju bazu podataka – drrrrr, mobilni telefon. Aha, da, to je mobilni telefon. Ako bih ga zagrizao, rekli biste: "Čekaj malo.
(Laughter)
"That's not a cell phone. That's one of those new chocolate cell phones."
Nije to mobilni telefon. To je onaj novi čokoladni mobilni telefon.”
(Laughter)
(Smeh)
You'd have to start a new category, right between cell phones and chocolate.
I morali biste da napravite novu kategoriju, nešto između mobilnih telefona i čokolade.
(Laughter)
Na taj način mi obrađujemo podatke.
That's how we process information.
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 --
Kada to prevedete na građevinsku industriju ako imamo zid od stakla i jedno od stakala je naprslo, odmah pomislimo: "Uh, to je polomljeno. Treba da se popravi. Bacićemo da niko više ne može da ga koristi i da ugradimo novo." Jer to je ono što se radi sa naprslim staklima. Bez obzira na to što to nema uticaja na naše živote. To samo protrese taj očekivani obrazac i jedinstvo strukturalnih karakteristika. Ali, ako bismo uzeli omanji čekić, i dodali naprsline na sve ostale prozore,
(Laughter)
(Smeh)
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.
imali bismo novi obrazac. Jer geštalt psihologija naglašava prepoznavanje obrasca, pre delova koji sačinjavaju celinu. Onda ćemo pomisliti: "A, baš je to lepo." Time se služim svaki dan. Ponavljanje stvara obrazac. Ako imam stotinu komada ovoga ili onoga, uopšte nije važno šta su "ovo" ili "ono." Ako mogu da ponovim bilo šta, imam mogućnost da stvorim obrazac, od hikori oraha, kokošijih jaja, delića slomljenog stakla, granja. Nevažno je od čega. To prouzrokuje gomilu otpada u građevinskoj industriji.
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:
Drugo, negde oko 1885. Fridrih Niče napisao je knjigu “Rođenje tragedije.” I u njoj je rekao da kulture imaju tendenciju da osciliraju između dve različite perspektive. S jedne strane imamo apolonsku perpektivu, koja je veoma čvrsta i unapred osmišljena i intelektualizovana i savršena. Na drugom kraju spektra imamo dionizijsku perspektivu, koja je sklonija strastima i intuiciji, koja toleriše organsku teksturu ili ljudski gest. Način na koji bi apolonski tip ličnosti uzeo sliku ili okačio sliku, je da uzme teodolit i laser i vaservagu i mikrometar. "Važi dušo, pomeri je hiljaditi deo inča ulevo. To je mesto gde hoćemo sliku. Bravo. Savršeno." Zasnovana na preciznoj horizontali, tačnom pravom uglu i centriranju. Dionizijski tip ličnosti uzme sliku i kaže…
(Laughter)
(Smeh)
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.
U tome je razlika. Ja ističem nesavršenost. Ističem organski process -- Džon Djui tačno u centru. Apolonski način razmišljanja stvara gomile otpada. Ako nešto nije savršeno, ako ne odgovara savršeno unapred zamišljenom modelu, pravac đubre. "O ne, ogrebotina, za đubre. O ne - ovo, o ne - ono. Deponija, deponija, deponija." Treće, moguće je tvrditi -
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.
da je industrijska revolucija počela još za vreme renesanse sa usponom humanizma a onda se zahuktala negde u vreme francuske revolucije. Do sredine 19. veka u punom je procvatu. I tako smo dobili džidža-bidže i stvarčice i spravice koje mogu da rade sve što smo, do tog trenutka, morali da radimo ručno. Tako sada imamo standardizovane materijale. Drveće ne raste u dimenzijama pet puta 10 centimetara i 1,6m, 3m i 3,6 metara u visinu.
(Laughter)
Mi stvaramo gomile otpada.
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.
A iako se prilično dobro snalaze u šumama, trudeći se da iskoriste sav otpad od proizvodnje - sa OSB pločama i ivericom i tako dalje -- ali ne pomaže da se bude odgovoran u trenutku kada se drvo seče u šumi ako potrošači rasipnički upotrebljavaju drvo u trenutku kada ga koriste, a to je ono što se događa. I tako ako nešto nije standardno, "O ne, pravac đubre. O ne, ovo ili ono. O ne, iskrivljeno je." Ako kupite dasku od 5x10 i ona nije ravna, možete da je vratite. "O, žao mi je, gospodine. Donećemo vam ravnu." Ja upotrebljavam i ističem sve te iskrivljene stvari, jer ponavljanje stvara obrazac, i to je dionizijska perspektiva.
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."
Četvrto, rad je neproporcionalno skuplji od materijala. To je naprosto mit. Evo jedne priče: o Džimu Tulu, jednom od momaka koje sam obučavao. Rekao sam mu: "Džime, vreme je. Našao sam ti posao nadzornika za ekipu stolara. Vreme je da odeš." "Den, mislim da još nisam spreman." "Džime, vreme je. Ovo ti je šansa." I tako smo počeli posao. On je dolazio sa metarskom trakom, preturao po gomili za otpad, tražeći materijal za nadvratnik - to je daska koja se stavlja iznad vrata - misleći da će oduševiti svog šefa – tako smo ga mi učili. Ali poslovođa je prišao i rekao: "Šta to radiš?" "Samo tražim nešto za nadvratnik," očekujući da bude pohvaljen. Ali on je rekao: "Ne, ne. Ne plaćam te da preturaš po đubretu. Vraćaj se na posao." A on je bio dovoljno priseban da kaže, “Znate, da me plaćate 300 dolara na sat, razumeo bih kako to možete da kažete, ali u ovim okolnostima, ja vam štedim pet dolara svakog minuta. Izračunajte sami."
(Laughter)
(Smeh)
"Good call, Tulles. From now on, you guys hit this pile first." And the irony is that he wasn't very good at math.
"Bravo Tul. Od sada, pretražite prvo ovu gomilu." A ironično je da on baš nije imao mnogo veze sa matematikom.
(Laughter)
(Smeh)
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.
Ali ponekad dobijete pristup kontrolnoj sobi, i onda možete malo da brljate sa dugmićima. I to se tamo i dogodilo.
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.
Peto, možda i posle 2500 godina Platon i dalje utiče na nas svojom idejom o idealnim formama. On je rekao da u svojoj tintari imamo savršenu ideju onoga što želimo, i da primoravamo prirodne resurse da se tome prilagode. Svi u glavi imamo savršenu kuću, američki san, a to je kuća -- kuća snova. Problem je što ne možemo da je priuštimo. I zato imamo nešto što liči na američki san, a to je montažna kuća. Eto načina da se upropasti planeta.
(Laughter)
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.
Za njih je hipoteka kao za pokretnu imovinu Baš kao i za nameštaj, ili automobil. Napišete ček i vrednost istog trenutka pada za 30 procenata. Posle godinu dana ne možete da dobijete osiguranje za sve što imate unutra, Već samo za 70 posto. Električni kablovi su im tipično veličine 14. U tome nema ničeg lošeg, sem ako ih ne opterećujete za veličinu 12, a upravo se to dešava. Ispuštaju toliko formaldehida da je donešen federalni zakon kojim se kupci montažnih kuća upozoravaju na to koliko su formaldehidi opasni po atmosferu. Zar je moguće da smo do te mere glupi? Zidovi su ovolicki. Cela stvar ima statičku otpornost kukuruza.
(Laughter)
(Smeh)
"So ... I thought Palm Harbor Village was over there." "No, no. We had a wind last night. It's gone now."
"Mislio sam da je Palm Harbor Vilidž tamo preko." "A, ne, ne. Sinoć je duvao vetar. Tako da ga više nema."
(Laughter)
(Smeh)
Then when they degrade, what do you do with them?
I kada počnu da propadaju, šta se sa njima radi?
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.
Sve to, taj apolonski, platonski model, na tome se zasniva građevinska industrija, i postoji nekoliko stvari koje to pogoršavaju. Jedna je da svi stručnjaci, sve zanatlije, prodavci, inspektori, inženjeri, arhitekte svi oni razmišljaju na taj način. A onda to povratno utiče i na potrošača koji zahteva isti model. To je proročanstvo koje obistinjava samo sebe. Ne možemo da ga izbegnemo. Onda dolaze marketing i reklama. "Ohoo. Ooohohohoho." Kupujemo stvari za koje nismo ni znali da nam trebaju. Treba samo da pogledamo šta je jedna kompanija uradila sa gaziranim sokom od šljiva. Odvratno.
(Laughter)
(Smeh)
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.
Ali znate šta su oni uradili? Dodali su metaforu u sve to i rekli: "Ja pijem Dr. Pepper…" I ne prođe mnogo a mi ločemo more toga, milijarde litara. Čak u njemu nema ni pravih šljiva - ne pomaže u redovnom pražnjenju.
(Laughter)
(Smeh)
My oh my, that makes it worse. And we get sucked into that faster than anything.
To pogoršava stvari. A uvuku nas u takve stvari dok si rekao keks.
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 --
Onda je čovek po imenu Žan Pol Sartr napisao knjigu pod naslovom “Biće i ništavilo.” Brzo se čita.
(Laughter)
Možete da je preletite za jedno dve godine,
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.
ako čitate osam sati dnevno. U toj knjizi govorio je o podeljenom sopstvu. Rekao je da se ljudska bića drugačije ponašaju kada znaju da su sama nego kada znaju da ima još nekog. Ako jedem špagete, a znam da sam sam, mogu da jedem kao divljak. Mogu da brišem usta rukavom – dok je salveta na stolu, da žvaćem sa otvorenim ustima, da mljackam, da se češem gde god hoću.
(Laughter)
(Smeh)
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 ...
Ali čim neko uđe, počinjem sa: "O, tu mi je kapnuo sos." Salveta je preko kolena, jedem u malim zalogajima, zatvaram usta dok žvaćem i nema češanja. Ono što radim jeste da ispunjavam vaša očekivanja o tome kako bi trebalo da živim svoj život. Ja osećam ta očekivanja, i prilagođavam im se, i živim svoj život u skladu sa onim što očekujete da radim. To se dešava i u građevinskoj industriji. Zato nam sva naselja izgledaju isto. Ponekad čak imamo razna formalizovana očekivanja što se tiče ponašanja. Kladim se da vam se sve cipele slažu. Naravno, svi na to pristajemo,
(Laughter)
a kada se radi o naseljima zatvorenog tipa,
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.
imamo formalizovano očekivanje od asocijacije investitora. Ti ljudi su ponekad nacisti, jao jao. To pogoršava i produžava ovaj model.
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.
Poslednja stvar je društvenost. Ljudska bića su društvena vrsta. Volimo da provodimo vreme u grupama, baš kao i antilope, kao i lavovi. Antilope se ne druže sa lavovima jer lavovi jedu antilope. I ljudska bića su takva. Radimo ono što radi grupa sa kojom pokušavamo da se identifikujemo. To se dosta primećuje u srednjim školama. Ta deca rade po celo leto, ubiju se od posla, da bi mogli sebi da priušte farmerke nekog poznatog dizajnera, tako da otprilike u septembru mogu da ušetaju i kažu: "Danas sam važan. Gle, pogledaj, ne diraj moje dizajnirane farmerke. Vidim da ti nemaš dizajnirane farmerke. Ti nisi jedan od zgodnih ljudi. Vidiš, ja sam jedan od zgodnih. Vidiš mi farmerke?" Samo to je dovoljan razlog da se uvedu uniforme. A to se dešava i u građevinskoj industriji.
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;
Pobrkali smo Maslovljevu hijerarhiju potreba pomalo. Na dnu imamo osnovne potrebe - zaklon, odeću, hranu, vodu, parenje i tako dalje. Drugo, sigurnost. Treće, veze. Četvrto, status, samopoštovanje – to je taština. A mi uzimamo taštinu i premeštamo je ovde dole. I tako završimo sa odlukama donetim iz nadmenosti i onda ne možemo da platimo ratu kredita, ne možemo sebi da dozvolimo ni da jedemo išta osim pasulja.
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.
To znači da je naše stanovanje postalo roba i potrebno je imati petlju da se zaroni u te primalne, zastrašujuće delove našeg bića i donese sopstvena odluka i da se od stanovanja ne pravi roba, već nešto što vri iz iskonskih izvora. Za to treba imati petlju, i, dođavola, ponekad i pogrešite. Ali to je u redu. Ako ne podnosite neuspeh, onda ne možete ovako da postupite. Ja stalno doživljavam neuspeh, svakoga dana, doživeo sam neke ogromne neuspehe, verujte mi, velike, javne, ponižavajuće,
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?"
posramljujuće neuspehe. Svi upiru prstom i smeju se, i kažu: "Probao je to već peti put i opet nije uspelo. Kakav moron." U početku, izvođači dođu i kažu: "Dene, ti si jedan slatki zeka, ali znaš, ovo prosto neće moći. Zašto ne uradiš ovo i zašto ne uradiš ono?" A vaš instinkt je da odgovorite: "A zašto ti malo ne odeš u peršun."
(Laughter)
But you don't say that, because they're the guys you're targeting.
Ali to ne kažete, jer su to ljudi koji su vam ciljna grupa.
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.
I tako, ono što smo uradili - a to se ne odnosi samo na stanovanje; nego i na odevanje i hranu naše saobraćajne potrebe, našu energiju - mi se pomalo širimo. I kada povremeno dospem u medije, javljaju mi se ljudi iz celog sveta. Možda smo mi izmislili neumerenost, ali problem sa otpadom postoji u celom svetu. U nevolji smo. Iako ja ne nosim pojas sa mecima preko ramena i crvenu maramu oko glave, ali jasno je da smo u nevolji. Ono što treba da uradimo jeste da se ponovo povežemo sa onim zaista iskonskim delom sebe i donesemo neke odluke i kažemo: "Znaš, mislim da bih voleo da stavim policu za diskove preko onog zida tamo. Šta misliš draga?" Ako ne valja, skloniš je. Treba da se iznova povežemo sa onim što zaista jesmo, a to je zaista uzbudljivo.
Thank you very much.
Mnogo vam hvala.
(Applause)
(Aplauz)