I'll start with my favorite muse, Emily Dickinson, who said that wonder is not knowledge, neither is it ignorance. It's something which is suspended between what we believe we can be, and a tradition we may have forgotten. And I think, when I listen to these incredible people here, I've been so inspired -- so many incredible ideas, so many visions. And yet, when I look at the environment outside, you see how resistant architecture is to change. You see how resistant it is to those very ideas. We can think them out. We can create incredible things. And yet, at the end, it's so hard to change a wall. We applaud the well-mannered box. But to create a space that never existed is what interests me; to create something that has never been, a space that we have never entered except in our minds and our spirits. And I think that's really what architecture is based on.
Po filloj me muzen time te preferuar, Emily Dickinson, qe tha se mrekullia nuk eshte dituri, por as injorance. Eshte dicka qe qendron midis asaj qe besojme qe mund te jemi, dhe tradites, qe mund ta kemi harruar. Dhe mendoj, kur degjoj keta njerez te jashtzakonshem ketu, me kane frymezuar--kaq shume ide, vizione. Por, kur veshtron ambientin jashte, mund te shohesh sa e veshtire eshte per arkitekturen te ndryshoje. Ju e shihni veshtiresine tek po keto ide. Mund te mendojme rreth tyre. Mund te krijojme gjera te jashtezakonshme. Dhe prape, ne fund te fundit, eshte kaq veshtire te ndryshosh nje mur. Nje kuti e edukuar i pelqen te gjitheve. Por ajo qe me intereson mua eshte krijimi i nje hapesire qe s'ka ekzistuar me pare; te krijosh dicka qe nuk ka qene me pare, nje hapesire qe s'kemi hyre ndonjehere, pervec se me mendje e shpirt. Dhe, mendoj, se tamam mbi kete bazohet arkitektura.
Architecture is not based on concrete and steel and the elements of the soil. It's based on wonder. And that wonder is really what has created the greatest cities, the greatest spaces that we have had. And I think that is indeed what architecture is. It is a story. By the way, it is a story that is told through its hard materials. But it is a story of effort and struggle against improbabilities. If you think of the great buildings, of the cathedrals, of the temples, of the pyramids, of pagodas, of cities in India and beyond, you think of how incredible this is that that was realized not by some abstract idea, but by people.
Arkitektura nuk bazohet mbi beton e celik dhe karakteristikat e tokes. Bazohet mbi mrekulline. Dhe kjo mrekulli eshte ajo qe ka krijuar qytetet me te famshme, hapsirat me te mrekullueshme qe kemi pasur. Kjo eshte arkitektura per mua. Eshte nje histori. Midis te tjerave, nje histori e treguar nepermjet materialeve te forta te ndertimit. Por, eshte histori e perpjekjes dhe luftes kunder pangjashmerise. Nese mendoni per ndertesat e medha, katedralet, tempujt, piramidat, pagodat, qytetet indiane e me tutje, arrin te kuptosh sa e mrekullueshme eshte qe jane realizuar jo nga ide abstrakte, por nga njerezit.
So, anything that has been made can be unmade. Anything that has been made can be made better. There it is: the things that I really believe are of important architecture. These are the dimensions that I like to work with. It's something very personal. It's not, perhaps, the dimensions appreciated by art critics or architecture critics or city planners. But I think these are the necessary oxygen for us to live in buildings, to live in cities, to connect ourselves in a social space.
Tani, gjithe kjo qe eshte ndertuar mund te shkaterrohet. Cdo gje qe eshte bere, mund te ribehet me mire. Kjo eshte: gjerat ne te cilat une besoj vertet jane te nje arkitekture te rendesishme. Keto jane dimensionet qe me pelqen te punoj. Eshte dicka shume personale. Ndoshta, jo dimensionet qe pelqejne kritiket e artit ose te arkitektures ose projektuesit e qyteteve. Por, une mendoj, keto jane oksigjeni i nevojshem qe ne te jetojme ne ndertesa, te jetojme ne qytete, te lidhemi ne hapesiren sociale.
And I therefore believe that optimism is what drives architecture forward. It's the only profession where you have to believe in the future. You can be a general, a politician, an economist who is depressed, a musician in a minor key, a painter in dark colors. But architecture is that complete ecstasy that the future can be better. And it is that belief that I think drives society.
Dhe besoj, se optimizmi eshte ajo qe e con arkitekturen perpara. Eshte i vetmi profesion qe duhet te besoni ne te ardhmen. Mund te jesh nje gjeneral, nje politikan, nje ekonomist depresiv, muzikant me shperndarje te vogel, piktor i toneve te erreta. Por arkitektura eshte ajo ekstaze komplete qe e ardhmja mund te jete me e bukur. Dhe, ky besim e con shoqerine perpara.
And today we have a kind of evangelical pessimism all around us. And yet it is in times like this that I think architecture can thrive with big ideas, ideas that are not small. Think of the great cities. Think of the Empire State Building, the Rockefeller Center. They were built in times that were not really the best of times in a certain way. And yet that energy and power of architecture has driven an entire social and political space that these buildings occupy.
Sot, ne kemi nje lloj pesimizmi evangjelist rreth nesh. E pra, jane kohe si keto qe mendoj se arkitektura mund te lulezoje me ide te mrekullueshme, ide qe s'jane te vogla. Mendoni qytetet e medha. Mendoni Empire State Building, Rockefeller Center. Ata u ndertuan ne kohe qe ishin jo kohet me te mira, ne njefare menyre. Dhe prape energjia dhe fuqia e kesaj arkitekture ka drejtuar hapesiren e tere sociale dhe publike qe zene keto ndertesa.
So again, I am a believer in the expressive. I have never been a fan of the neutral. I don't like neutrality in life, in anything. I think expression. And it's like espresso coffee, you know, you take the essence of the coffee. That's what expression is. It's been missing in much of the architecture, because we think architecture is the realm of the neutered, the realm of the kind of a state that has no opinion, that has no value. And yet, I believe it is the expression -- expression of the city, expression of our own space -- that gives meaning to architecture.
Prape, besoj ne te shprehurit. Asnjehere s'kam perkrahur neutralen. S'me pelqen neutraliteti ne jete, ne asgje. Une mendoj ne termat e shprehjes. Dhe eshte si kafe ekspres, qe merr esencen e kafes. Kjo eshte shprehja. Mungon ne pjesen me te madhe te arkitektures. sepse ne mendojme qe arkitektura eshte ne sferen e neutralitetit, ne nje gjendje te lire te mendimit qe s'ka vlere. Dhe prape, une besoj ne shprehjen-- shprehjen e qytetit, shprehjen e hapesires sone-- qe i jep kuptimin arkitektures.
And, of course, expressive spaces are not mute. Expressive spaces are not spaces that simply confirm what we already know. Expressive spaces may disturb us. And I think that's also part of life. Life is not just an anesthetic to make us smile, but to reach out across the abyss of history, to places we have never been, and would have perhaps been, had we not been so lucky.
Dhe, natyrisht, hapsirat shprehese nuk jane pa ze. Hapesirat shprehese nuk jane ato qe thjeshte konfirmojne ate qe e dime tashme. Hapesirat shprehese mund te na shqetesojne. Dhe, mendoj qe kjo eshte pjese e jetes. Jeta nuk eshte vetem anestezik qe te ben te buzeqeshesh. Por edhe te shfaqesh ne thellesite e historise drejt vendeve ku s'kemi qene ndonjehere, e ndoshta, nuk do te kishim qene, po te mos kishim fat.
So again, radical versus conservative. Radical, what does it mean? It's something which is rooted, and something which is rooted deep in a tradition. And I think that is what architecture is, it's radical. It's not just a conservation in formaldehyde of dead forms. It is actually a living connection to the cosmic event that we are part of, and a story that is certainly ongoing. It's not something that has a good ending or a bad ending. It's actually a story in which our acts themselves are pushing the story in a particular way.
Dhe prape, krahasuar me konservatoret radikale. Radikale, ne c'kuptim? Ne kuptimin qe dicka ka rrenje. Rrenje te thella ne traditen. Une mendoj qe kjo eshte arkitektura, radikale. Nuk eshte per te ruajtur format e vdekura ne formalin. Eshte per nje lidhje te gjalle e reale me eventin kozmik pjese e se ciles jemi, dhe nje histori qe eshte ne zhvillim. Nuk eshte dicka me rezultat te mire apo te keq. Ne realitet eshte nje histori ku veprimet tona e shtyjne historine ne nje menyre te vecante.
So again I am a believer in the radical architecture. You know the Soviet architecture of that building is the conservation. It's like the old Las Vegas used to be. It's about conserving emotions, conserving the traditions that have obstructed the mind in moving forward and of course what is radical is to confront them. And I think our architecture is a confrontation with our own senses. Therefore I believe it should not be cool.
Pra edhe njehere besoj ne arkitekturen radikale. E dini qe arkitektura sovjetike e kesaj ndertese eshte ruajtja. Eshte sic ka qene Las Vegas i vjeter. Eshte ruajtja e emocioneve, e traditave qe e pengon mendjen te shkoje perpara dhe pa dyshim eshte radikale t'i kundervihesh atyre. Mendoj qe arkitektura eshte konfrontim me senset tona. Prandaj mendoj qe nuk duhet te jete e ftohte.
There is a lot of appreciation for the kind of cool architecture. I've always been an opponent of it. I think emotion is needed. Life without emotion would really not be life. Even the mind is emotional. There is no reason which does not take a position in the ethical sphere, in the philosophical mystery of what we are. So I think emotion is a dimension that is important to introduce into city space, into city life.
E pelqejne shume arkitekturen e ftohte. Une kam qene gjithnje ne kundershtim. Mendoj qe emocioni duhet. Jeta pa emocion nuk do te ishte jete. Bile dhe mendja eshte emocionale. Nuk ka arsye qe nuk merr pozicion ne sferen etike, mbi misterin filozofik te te qenit. Une mendoj, emocioni eshte nje dimension qe ka rendesi te paraqitet ne hapesiren dhe jeten e qytetit.
And of course, we are all about the struggle of emotions. And I think that is what makes the world a wondrous place. And of course, the confrontation of the cool, the unemotional with emotion, is a conversation that I think cities themselves have fostered. I think that is the progress of cities. It's not only the forms of cities, but the fact that they incarnate emotions, not just of those who build them, but of those who live there as well.
Natyrisht, ne jemi per nje beteje emocionesh. Dhe mendoj se e ben boten nje vend te mahnitshem. Pa dyshim, konfrontimi i te ftohtes, joemocionalja me emocionin, eshte nje bisede qe mendoj qe vete qytetet e kane inkurajuar. Eshte zhvillimi i qyteteve. Jo vetem forma e tyre, por fakti qe ata misherojne emocione, jo vetem te atyre qe i ndertuan, por te atyre qe jetojne aty, po ashtu.
Inexplicable versus understood. You know, too often we want to understand everything. But architecture is not the language of words. It's a language. But it is not a language that can be reduced to a series of programmatic notes that we can verbally write. Too many buildings that you see outside that are so banal tell you a story, but the story is very short, which says, "We have no story to tell you." (Laughter)
E pashpjegueshme kundrejt e kuptueshme.Shume shpesh ne duam te kuptojme gjithcka. Por arkitektura nuk eshte gjuhe fjalesh. Eshte nje gjuhe. Por jo gjuhe qe mund te reduktohet ne seri shenimesh te programuara qe mund t'i shkruajme me fjale. Shume ndertesa qe shihni qe jane aq te rendomta ju thone nje histori, por ajo eshte shume e shkurter, qe nenkupton, "Ne s'kemi asgje per t'ju thene." (te qeshura)
So the important thing actually, is to introduce the actual architectural dimensions, which might be totally inexplicable in words, because they operate in proportions, in materials, in light. They connect themselves into various sources, into a kind of complex vector matrix that isn't really frontal but is really embedded in the lives, and in the history of a city, and of a people. So again, the notion that a building should just be explicit I think is a false notion, which has reduced architecture into banality.
Pra, gjeja kryesore eshte te paraqesesh dimensionet arkitekturale qe mund te jene krejt te pashpjegueshme me fjale, sepse ato shprehen ne proporcione, materiale, drite. Ato lidhen ne burime te ndryshme, ne nje lloj matriksi vektorial te komplikuar qe s'eshte ballor por i nderthurur ne jetet, dhe historine e nje qyteti dhe nje popullate. Nocioni qe nje ndertese duhet te jete e qarte mendoj eshte fallco, dhe qe e ka kthyer arkitekturen ne nje gje te rendomte.
Hand versus the computer. Of course, what would we be without computers? Our whole practice depends on computing. But the computer should not just be the glove of the hand; the hand should really be the driver of the computing power. Because I believe that the hand in all its primitive, in all its physiological obscurity, has a source, though the source is unknown, though we don't have to be mystical about it. We realize that the hand has been given us by forces that are beyond our own autonomy. And I think when I draw drawings which may imitate the computer, but are not computer drawings -- drawings that can come from sources that are completely not known, not normal, not seen, yet the hand -- and that's what I really, to all of you who are working -- how can we make the computer respond to our hand rather than the hand responding to the computer.
Dora kundrejt kompjuterit. Natyrisht, c'do te ishim pa kompjuterat? E gjithe puna jone varet nga kompjuterat. Por, kompjuteri s'duhet te jete doreze per doren; dora duhet te jete ajo qe drejton fuqine e kompjuterit. Sepse besoj qe dora sado primitive, sado e pakuptueshme fiziologjikisht, ka nje burim, qe edhe pse eshte i panjohur, s'duhet te behemi mistike, E kuptojme qe dora na eshte dhene nga forca pertej autonomise sone. Dhe mendoj kur bej vizatime qe mund te imitojne kompjuterin, por s'jane bere me kompjuter-- keto vizatime qe dalin nga burime krejt te panjohura, jo te zakonshme, te papara, dora-- kjo eshte per te gjithe ju qe punoni-- si te bejme kompjuterin t'i pergjigjet dores me teper se dora t'i pergjigjet kompjuterit.
I think that's part of what the complexity of architecture is. Because certainly we have gotten used to the propaganda that the simple is the good. But I don't believe it. Listening to all of you, the complexity of thought, the complexity of layers of meaning is overwhelming. And I think we shouldn't shy away in architecture, You know, brain surgery, atomic theory, genetics, economics are complex complex fields. There is no reason that architecture should shy away and present this illusory world of the simple. It is complex. Space is complex. Space is something that folds out of itself into completely new worlds. And as wondrous as it is, it cannot be reduced to a kind of simplification that we have often come to be admired. And yet, our lives are complex. Our emotions are complex. Our intellectual desires are complex. So I do believe that architecture as I see it needs to mirror that complexity in every single space that we have, in every intimacy that we possess.
Mendoj qe kjo eshte nje pjese e kompleksitetit te arkitektures. Sepse ne jemi mesuar me propaganden qe e thjeshta eshte e mire. Por une s'e besoj. Duke ju degjuar te gjithe ju, kompleksiteti i mendimit, kompleksiteti i shtresave te mendimit eshte shume i madh. Une mendoj qe ne arkitekture nuk duhet te terhiqemi. E dini kirurgjia cerebrale, teoria atomike, gjenetika, ekonomia, jane fusha jashzakonisht komplekse. Nuk ka arsye qe arkitektura te terhiqet dhe te paraqese boten iluzionuese te se thjeshtes. Eshte komplekse. Hapesira eshte komplekse. Hapsira eshte dicka qe shpalos vetveten ne terma krejt te reja. Dhe, kaq e mahnitshme sa eshte nuk mund te reduktohet ne nje loj thjeshtezimi qe shpesh admirohet. Jetet tona jane komplekse. Emocionet jane komplekse. Deshirat intelektuale jane komplekse. Besoj qe arkitektura sic e shoh duhet te pasqyroje kete kompleksitet ne cdo hapesire qe kemi, ne cdo maredhenie te ngushte qe kemi.
Of course that means that architecture is political. The political is not an enemy of architecture. The politeama is the city. It's all of us together. And I've always believed that the act of architecture, even a private house, when somebody else will see it, is a political act, because it will be visible to others. And we live in a world which is connecting us more and more. So again, the evasion of that sphere, which has been so endemic to that sort of pure architecture, the autonomous architecture that is just an abstract object has never appealed to me. And I do believe that this interaction with the history, with history that is often very difficult, to grapple with it, to create a position that is beyond our normal expectations and to create a critique.
Kjo do te thote qe arkitektura eshte politike. Ajo nuk eshte armik per arkitekturen. "Politeia" eshte qyteti. Jemi ne te gjithe. Gjithmone kam besuar qe ajo qe ben arkitektura, edhe ne nje shtepi private, kur do te shihet nga nje njeri tjeter, eshte nje akt politik, sepse do te shihet nga te tjeret. Ne jetojme ne nje bote qe na lidhe gjithnje e me shume. Pra, perseri, per te shpetuar kete sfere, qe ka qene kaq e perhapur ne tipin e arkitektures se paster arkitekturen autonome qe eshte vetem nje objekt abstrakt, nuk me ka terhequr ndonjehere. Dhe, besoj, qe kjo maredhenie me historine, qe eshte shpesh shume e veshtire, ta kapesh ate, te krijosh nje pozicion qe eshte pertej shpresave normale, dhe te gjenerosh nje kritike.
Because architecture is also the asking of questions. It's not only the giving of answers. It's also, just like life, the asking of questions. Therefore it is important that it be real. You know we can simulate almost anything. But the one thing that can be ever simulated is the human heart, the human soul. And architecture is so closely intertwined with it because we are born somewhere and we die somewhere. So the reality of architecture is visceral. It's not intellectual. It's not something that comes to us from books and theories. It's the real that we touch -- the door, the window, the threshold, the bed -- such prosaic objects. And yet, I try, in every building, to take that virtual world, which is so enigmatic and so rich, and create something in the real world. Create a space for an office, a space of sustainability that really works between that virtuality and yet can be realized as something real.
Sepse arkitektura po ashtu ben pyetje. Jo vetem jep pergjigje. Eshte ashtu si dhe jeta, qe ben pyetje. Prandaj eshte e rendesishme qe te jete e vertete. E dini qe mund te simulojme pothuaj cdo gje. Por e vetmja qe nuk mund te simulohet eshte zemra e njeriut, shpirti njerezor. Dhe arkitektura eshte shume e nderthurur me te sepse ne lindim diku dhe vdesim diku. E verteta e arkitektures eshte e brendshme. Jo intelektuale. Jo dicka qe vjen nga librat dhe teorite. Eshte ajo qe prekim --dera, dritarja, pragu, krevati--- objekte kaq prozaike. Dhe prape, perpiqem ne cdo ndertese, te marr nga bota virtuale, qe eshte kaq enigmatike dhe e pasur, dhe te krijoj dicka ne boten reale. Nje hapesire zyre, nje hapesire te qendrueshme qe punon vertet midis virtuales dhe mund te realizohet si dicka reale.
Unexpected versus habitual. What is a habit? It's just a shackle for ourselves. It's a self-induced poison. So the unexpected is always unexpected. You know, it's true, the cathedrals, as unexpected, will always be unexpected. You know Frank Gehry's buildings, they will continue to be unexpected in the future. So not the habitual architecture that instills in us the false sort of stability, but an architecture that is full of tension, an architecture that goes beyond itself to reach a human soul and a human heart, and that breaks out of the shackles of habits.
E papritshmja kundrejt te zakonshmes. Cfare eshte zakoni? Eshte nje prange per veten tone. Eshte nje helm i vet-detyruar. Pra e papritura eshte gjithnje e papritur. Eshte e vertete, katedralet, sa te papritshme, do te jene gjithnje te papritshme. Ndertesat e Frank Gehry, do te vazhdojne te jene surprizuese ne te ardhmen. Pra, jo arkitektura e zakonshme qe na ka rrenjosur sensin fallco te stabilitetit por nje arkitekture qe eshte plot tension, qe shkon pertej vetvetes per te arritur shpirtin njerezor e zemren njerezore, dhe qe thyen prangat e zakonit.
And of course habits are enforced by architecture. When we see the same kind of architecture we become immured in that world of those angles, of those lights, of those materials. We think the world really looks like our buildings. And yet our buildings are pretty much limited by the techniques and wonders that have been part of them.
Natyrisht zakonet perforcohen nga arkitektura. Kur shohim te njejtin tip arkitekture, mesohemi me kete lloj hapsire te varur ne keto kende, ne keto drita e keto materiale. Ne mendojme qe bota duket vertet si ndertesat. Dhe prape ndertesat jane te limituara nga teknikat dhe mrekullite qe jane pjese e tyre.
So again, the unexpected which is also the raw. And I often think of the raw and the refined. What is raw? The raw, I would say is the naked experience, untouched by luxury, untouched by expensive materials, untouched by the kind of refinement that we associate with high culture. So the rawness, I think, in space, the fact that sustainability can actually, in the future translate into a raw space, a space that isn't decorated, a space that is not mannered in any source, but a space that might be cool in terms of its temperature, might be refractive to our desires. A space that doesn't always follow us like a dog that has been trained to follow us, but moves ahead into directions of demonstrating other possibilities, other experiences, that have never been part of the vocabulary of architecture.
Ja pra, e papritshmja qe eshte po ashtu e paperpunuar. Mendoj shpesh per ate qe eshte e paperpunuar dhe ate qe eshte e perpunuar. Cfare do te thote e paperpunuar? Une do te thoja qe eshte eksperience e paster, e paprekur nga salltanetet, nga materialet e shtrenjta, e paprekur nga keto rafinime qe shoqerizohen me kulturen e larte. Pra, une mendoj, fakti qe qendrueshmeria mund, ne te ardhmen te perkthehet ne hapesire te pare, nje hapesire e padekoruar, nje hapesire e pamanipuluar ne ndonje menyre, por hapesire qe mund te jete e ftohte ne termat e temperatures, qe mund te jete e pabindur ndaj deshirave tona. Nje hapesire qe nuk na ndjek gjithnje si nje qen qe eshte trajnuar te na ndjeke, por ecen perpara ne drejtime qe tregon mundesi te tjera, eksperienca te tjera qe nuk kane qene ndonjehere pjese e fjalorit te arkitektures.
And of course that juxtaposition is of great interest to me because it creates a kind of a spark of new energy. And so I do like something which is pointed, not blunt, something which is focused on reality, something that has the power, through its leverage, to transform even a very small space.
Dhe per mua natyrisht ky kontrast eshte shume interesant sepse krijon nje flash te nje energjie te re. Me pelqen dicka qe vihet ne dukje, jo e shperndare, dicka qe eshte e fokusuar ne realitet, dicka qe ne saje te influences, ka fuqine te transformoje edhe nje hapsire shume te vogel.
So architecture maybe is not so big, like science, but through its focal point it can leverage in an Archimedian way what we think the world is really about. And often it takes just a building to change our experience of what could be done, what has been done, how the world has remained both in between stability and instability. And of course buildings have their shapes. Those shapes are difficult to change. And yet, I do believe that in every social space, in every public space, there is a desire to communicate more than just that blunt thought, that blunt technique, but something that pinpoints, and can point in various directions forward, backward, sideways and around. So that is indeed what is memory. So I believe that my main interest is to memory. Without memory we would be amnesiacs. We would not know which way we were going, and why we are going where we're going.
Pra, ndoshta arkitektura nuk eshte aq madhe sa shkenca por, me piken e saj te fokusimit mund te influencoje ne menyren e Arkimedit perceptimin qe kemi per boten. Shpesh mjafton nje ndertese e vetme per te ndryshuar eksperiencen tone te asaj mund te behet ose qe eshte bere, sesi bota ka qendruar ne mes te te dyjave te stabilitetit dhe paqendrueshmerise. Pa dyshim, ndertesat kane format e tyre. Keto forma jane te veshtira per t'u ndryshuar. Une besoj qe ne cdo hapesire sociale, ne cdo hapesire publike, ekziston deshira per te komunikuar me shume sesa nje mendim te qete. por dicka qe lokalizohet, dhe drejtohet ne drejtime te ndryshme perpara, prapa, anash dhe rreth e rrotull. Pra, kjo eshte kujtesa. Mendoj qe interesi im kryesor eshte kujtesa. Pa kujtese do te ishim amneziake. Nuk do te dinim ne c'rruge po shkonim, dhe pse po shkonim atje ku po shkonim.
So I've been never interested in the forgettable reuse, rehashing of the same things over and over again, which, of course, get accolades of critics. Critics like the performance to be repeated again and again the same way. But I rather play something completely unheard of, and even with flaws, than repeat the same thing over and over which has been hollowed by its meaninglessness. So again, memory is the city, memory is the world. Without the memory there would be no story to tell. There would be nowhere to turn.
Nuk me ka interesuar ndonjehere riciklimi i parendesishem, riperdorja e te njejtave gjera prape e prape, gje e cila, natyrisht, shperblehet nga kritiket. Kritiket pelqejne interpretimin qe perseritet ne te njejten menyre. Por une me mire luaj dicka te padegjuar ndonjehere, dhe bile me gabime, sesa te perseris te njejten gje prape e prape, e cila eshte gerryer nga mungesa e kuptimit. Dhe prape, kujtesa eshte qyteti, eshte bota. Pa kujtese s'do te kete histori per te treguar. Nuk do te ishte nje vend per t'u kthyer.
The memorable, I think, is really our world, what we think the world is. And it's not only our memory, but those who remember us, which means that architecture is not mute. It's an art of communication. It tells a story. The story can reach into obscure desires. It can reach into sources that are not explicitly available. It can reach into millennia that have been buried, and return them in a just and unexpected equity.
Ajo qe eshte e paharrueshme per mua, eshte bota jone, ashtu sic e mendojme. Dhe s'eshte vetem memorja. but ato qe na e kujtojne, qe do te thote qe arkitektura nuk eshte e heshtur. Eshte nje art komunikimi. Tregon nje histori. Historia arrin ne deshira te erreta. Mund te arrije ne burime jo shprehimisht ne dispozicion. Mund te arrije mijevjecare qe kane qene varrosur, dhe t'i ktheje ata me nje kapital te papritur.
So again, I think the notion that the best architecture is silent has never appealed to me. Silence maybe is good for a cemetery but not for a city. Cities should be full of vibrations, full of sound, full of music. And that indeed is the architectural mission that I believe is important, is to create spaces that are vibrant, that are pluralistic, that can transform the most prosaic activities, and raise them to a completely different expectation. Create a shopping center, a swimming place that is more like a museum than like entertainment. And these are our dreams.
Prape, ideja qe arkitektura me e mire eshte e heshtur s'me ka pelqyer. Heshtja mund te jete e mire po ne nje varreze, jo per nje qytet. Qytetet duhet te jene plot dridhje, plot zera, plot muzike. Ky eshte misioni i arkitektures qe mendoj eshte kryesor, eshte te krijoje hapsira ngazelluese, pluraliste, qe mund te transformojne aktivitetet me prozaike, dhe t'i ngrene ato ne nje shprese krejt tjeter. Te krijosh nje qender tregetare, nje pishine me te ngjashem me nje muzeum sesa vend argetimi. Keto jane endrat tona.
And of course risk. I think architecture should be risky. You know it costs a lot of money and so on, but yes, it should not play it safe. It should not play it safe, because if it plays it safe it's not moving us in a direction that we want to be. And I think, of course, risk is what underlies the world. World without risk would not be worth living. So yes, I do believe that the risk we take in every building. Risks to create spaces that have never been cantilevered to that extent. Risks of spaces that have never been so dizzying, as they should be, for a pioneering city. Risks that really move architecture even with all its flaws, into a space which is much better that the ever again repeated hollowness of a ready-made thing.
Natyrisht ka rrezik. Mendoj arkitektura duhet te mare ne sy rrezikun. E dini qe kushton shume dhe te tjera, por nuk duhet te jete pa rrezik. Nese je krejt i sigurt, nuk na con ne ate drejtim qe duam te shkojme. Dhe mendoj, natyrisht, rreziku eshte ne bazen e botes. Bota pa rrezik nuk do t'ja vlente te jetohej. Pra, besoj qe marrim ne sy rrezikun ne cdo ndertese. Rrezik per te krijuar hapesira qe nuk kane qene te spikatura. Rrezikun e hapesirave qe nuk kane qene kaq marramendese sic duhet te jene ne nje qytet pioner. Rreziqe qe vertet e levizin arkitekturen pavaresisht nga gabimet, drejt nje hapesire shume me te mire qe nuk perseritet vazhdimisht dhe zbrazet nga gjerat ne dispozion.
And of course that is finally what I believe architecture to be. It's about space. It's not about fashion. It's not about decoration. It's about creating with minimal means something which can not be repeated, cannot be simulated in any other sphere. And there of course is the space that we need to breathe, is the space we need to dream. These are the spaces that are not just luxurious spaces for some of us, but are important for everybody in this world.
Kjo eshte ajo qe besoj se duhet te jete arkitektura. Eshte hapesira. Nuk eshte mode. Jo per dekoracion. Eshte te krijosh kushte minimale dicka te paperseritshme, dhe jo te simulueshme Eshte hapesira qe na duhet te marrim fryme, eshte hapesira qe na duhet te enderrojme Keto jane hapesirat qe nuk jane hapesira luksi per disa nga ne, por jane te rendesishme per cdo njeri ne kete bote.
So again, it's not about the changing fashions, changing theories. It's about carving out a space for trees. It's carving out a space where nature can enter the domestic world of a city. A space where something which has never seen a light of day can enter into the inner workings of a density. And I think that is really the nature of architecture.
Pra, nuk eshte nderrimi i modes, nderrimi i teorive. Eshte te gerryesh nje hapesire per peme. Te gerryesh qe natyra te penetroje boten e brendshme te qytetit. Nje hapesire ku dicka qe s'ka pare ndonjehere drite mund te penetroje ne funksionimin e brendshem te shtresave. Kjo mendoj qe eshte vertet natyra e arkitektures.
Now I am a believer in democracy. I don't like beautiful buildings built for totalitarian regimes. Where people cannot speak, cannot vote, cannot do anything. We too often admire those buildings. We think they are beautiful. And yet when I think of the poverty of society which doesn't give freedom to its people, I don't admire those buildings. So democracy, as difficult as it is, I believe in it.
Tani, une besoj ne demokraci. Nuk me pelqejne ndertesat e bukura te ndertuara per regjimet totalitare. Ku njerezit nuk kane te drejte te flasin, votojne. Shpesh i admirojme keto ndertesa. Mendojme se jane te bukura. Kur mendoj per varferine e shoqerise qe s'i jep liri njerezve, nuk i admiroj keto ndertesa. Pra demokracia, aq e veshtire sa eshte, une besoj ne te.
And of course, at Ground Zero what else? It's such a complex project. It's emotional. There is so many interests. It's political. There is so many parties to this project. There is so many interests. There's money. There's political power. There are emotions of the victims. And yet, in all its messiness, in all its difficulties, I would not have liked somebody to say, "This is the tabula rasa, mister architect -- do whatever you want." I think nothing good will come out of that.
Dhe natyrisht, Ground Zero, cfare tjeter? Eshte nje projekt aq kompleks. Eshte kaq emocionale. Ka aq shume interesa. Me aspekte politike. Jane aq shume grupe politike. Ka shume interesa. Para. Fuqi politike. Jane emocionet e viktimave. Dhe prape, ne gjithe kete bela. me gjithe veshtiresite, nuk do te me pelqente qe dikush te thoshte, "Kjo eshte tabula rasa, zoti arkitekt- bej c'te duash." Mendoj se nuk do perfitonim ndonje gje.
I think architecture is about consensus. And it is about the dirty word "compromise." Compromise is not bad. Compromise, if it's artistic, if it is able to cope with its strategies -- and there is my first sketch and the last rendering -- it's not that far away. And yet, compromise, consensus, that is what I believe in. And Ground Zero, despite all its difficulties, it's moving forward. It's difficult. 2011, 2013. Freedom Tower, the memorial. And that is where I end.
Mendoj qe arkitektura eshte nje marreveshje e pergjithshme. Me fjalen e shemtuar "kompromis". Kompromisi s'eshte i gabuar. Kompromisi, nese eshte artistik, nese mund te perballoje strategjite-- dhe ja ku eshte skica e pare dhe projekti final-- nuk jane aq larg. Dhe prape, kompromis, mareveshje, eshte ajo qe besoj. Dhe Ground Zero, megjithe veshtiresite, po shkon perpara. Eshte e veshtire. 2011, 2013. Freedom Tower, memoriali i te reneve. Dhe ketu do ta mbyll.
I was inspired when I came here as an immigrant on a ship like millions of others, looking at America from that point of view. This is America. This is liberty. This is what we dream about. Its individuality, demonstrated in the skyline. It's resilience. And finally, it's the freedom that America represents, not just to me, as an immigrant, but to everyone in the world. Thank you.
Une isha i frymezuar kur erdha si imigrant ketu ne nje anije si miliona te tjere, dhe qe andej shikoja Ameriken. Kjo eshte Amerika. Kjo eshte liria. Kjo eshte ajo qe ne enderrojme. Individualiteti i saj demostrohet ne horizont. Rezistenca e saj. Dhe ne fund, eshte liria qe paraqet Amerika, jo vetem te une, si emigrant, por te cdonjeri ne bote. Falemnderit.
(Applause)
(Duartroktje)
Chris Anderson: I've got a question. So have you come to peace with the process that happened at Ground Zero and the loss of the original, incredible design that you came up with?
Chris Anderson: Kam nje pyetje. A keni bere paqe me proceset qe ndodhen ne Ground Zero dhe humbjes se projektit jashtzakonisht origjinal qe kishit propozuar?
Daniel Libeskind: Look. We have to cure ourselves of the notion that we are authoritarian, that we can determine everything that happens. We have to rely on others, and shape the process in the best way possible. I came from the Bronx. I was taught not to be a loser, not to be somebody who just gives up in a fight. You have to fight for what you believe. You don't always win everything you want to win. But you can steer the process. And I believe that what will be built at Ground Zero will be meaningful, will be inspiring, will tell other generations of the sacrifices, of the meaning of this event. Not just for New York, but for the world.
Daniel Libeskind: Shiko. Duhet ta sherojme veten nga ideja qe ne kemi autoritetin, dhe qe mund te percaktojme cdo gje qe ndodh. Ne duhet te mbeshtetemi tek te tjeret dhe te trajtojme procesin ne menyren me te mire. Une vij nga Bronx. Me mesuan te mos jem deshtues, te mos dorezohem. Duhet te luftosh per ate qe beson. Jo gjithnje fiton cdo gje qe do te fitosh. Por e drejton procesin. Dhe, besoj qe ajo qe do te ndertojme ne Ground Zero do te jete kuptimplote, frymezuese, do t'u tregoje brezave te tjere per sakrificat, dhe kuptimin e kesaj ngjarjeje. Jo vetem per New York por per gjithe boten.
Chris Anderson: Thank you so much, Daniel Libeskind.
Chris Anderson: falemnderit shume, Daniel Libeskind.
(Applause)
(Duartrokitje)