For much of the past century, architecture was under the spell of a famous doctrine. "Form follows function" had become modernity's ambitious manifesto and detrimental straitjacket, as it liberated architecture from the decorative, but condemned it to utilitarian rigor and restrained purpose. Of course, architecture is about function, but I want to remember a rewriting of this phrase by Bernard Tschumi, and I want to propose a completely different quality. If form follows fiction, we could think of architecture and buildings as a space of stories -- stories of the people that live there, of the people that work in these buildings. And we could start to imagine the experiences our buildings create.
U većem dijelu prošlog stoljeća, arhitektura je bila začarana glasovitom doktrinom. "Oblik prati funkciju" - bio je to ambiciozan manifest modernizma i njegov štetan okov, jer je arhitekturu oslobodio od dekoracije, ali je i osudio na utilitarnu strogost i na suzdržanu, umjerenu namjenu. Naravno, funkcionalnost je u arhitekturi bitna, no prisjetio bih se parafraze Bernarda Tschumija, i predložio bih potpuno drugačiju kvalitetu. Kad bi oblik pratio fikciju, mogli bismo o arhitekturi i o građevinama misliti kao o univerzumu priča - priča ljudi koji ondje žive, ljudi koji u tim građevinama rade. Mogli bismo početi zamišljati i iskustva koja naše građevine stvaraju.
In this sense, I'm interested in fiction not as the implausible but as the real, as the reality of what architecture means for the people that live in it and with it. Our buildings are prototypes, ideas for how the space of living or how the space of working could be different, and what a space of culture or a space of media could look like today. Our buildings are real; they're being built. They're an explicit engagement in physical reality and conceptual possibility. I think of our architecture as organizational structures. At their core is indeed structural thinking, like a system: How can we arrange things in both a functional and experiential way? How can we create structures that generate a series of relationships and narratives? And how can fictive stories of the inhabitants and users of our buildings script the architecture, while the architecture scripts those stories at the same time?
U tom smislu, zanima me fikcija, ne ona nemoguća, već ona moguća; kao stvarno značenje arhitekture za ljude koji u njoj i s njome žive. Naše su građevine praoblici, zamisli o tome kako bi životni prostor ili kako bi radni prostor mogli biti drukčiji, kako bi kulturni ili medijski prostor mogli danas izgledati. Naše su građevine stvarne - gradimo ih. One su eksplicitni anganžman u fizičkoj stvarnosti i konceptualna mogućnost. Razmišljam o arhitekturi kao o organizacijskim strukturama. U njihovoj jezgri je strukturalno razmišljanje, kao sustav: Kako možemo urediti stvari na istovremeno funkcionalan i iskustveni način? Kako možemo stvoriti strukture koje će proizvoditi niz odnosa i priča? Ili kako fiktivne priče stanovnika i korisnika naše građevine mogu biti rukopis arhitekture, dok je i arhitektura istovremeno rukopis za te priče?
And here comes the second term into play, what I call "narrative hybrids" -- structures of multiple simultaneous stories that unfold throughout the buildings we create. So we could think of architecture as complex systems of relationships, both in a programmatic and functional way and in an experiential and emotive or social way.
Ovdje se pojavljuje drugi pojam, ono što nazivam "pripovjedni hibridi" -- strukture višestrukih istovremenih priča koje se odvijaju u građevinama koje stvaramo. Možemo smatrati arhitekturu složenim sustavom odnosa, na programski i funkcionalan način i na iskustveni i emotivni ili društveni način.
This is the headquarters for China's national broadcaster, which I designed together with Rem Koolhaas at OMA. When I first arrived in Beijing in 2002, the city planners showed us this image: a forest of several hundred skyscrapers to emerge in the central business district, except at that time, only a handful of them existed. So we had to design in a context that we knew almost nothing about, except one thing: it would all be about verticality.
Ovo je sjedište kineske nacionalne televizije, koje sam dizajnirao zajedno s Remom Koolhaasom iz OMA-e. Kad sam prvi puta stigao u Beijing 2002. gradski projektanti su nam pokazali ovu sliku: šuma nekoliko stotina nebodera koji se pojavljuju u središtu poslovnog okruga, osim što je u to vrijeme postojala samo šačica njih. Mi smo morali dizajnirati u kontekstu o kojem ne znamo gotovo ništa, osim jedne stvari: sve će se raditi o okomitosti.
Of course, the skyscraper is vertical -- it's a profoundly hierarchical structure, the top always the best, the bottom the worst, and the taller you are, the better, so it seems. And we wanted to ask ourselves, could a building be about a completely different quality? Could it undo this hierarchy, and could it be about a system that is more about collaboration, rather than isolation? So we took this needle and bent it back into itself, into a loop of interconnected activities. Our idea was to bring all aspects of television-making into one single structure: news, program production, broadcasting, research and training, administration -- all into a circuit of interconnected activities where people would meet in a process of exchange and collaboration.
Naravno, neboder je okomit -- to je ekstremno hijerarhijska struktura, vrh je uvijek najbolji, a dno najgore, i što ste više to bolje, tako se činilo. Mi smo se zapitali, može li se građevina raditi o posve drukčijoj kvaliteti? Može li poništiti ovu hijerarhiju i biti o sustavu koji se radi više o suradnji nego o izolaciji? Uzeli smo iglu i savili ju natrag u sebe, u petlju međusobno povezanih aktivnosti. Naša ideja je bila da dovedemo sve aspekte televizije u jednu strukturu: vijesti, produkcija programa, emitiranje, istraživanje i trening, administracija -- sve u krugu međusobno povezanih aktivnosti gdje bi se ljudi sretali u procesu razmjene i suradnje.
I still very much like this image. It reminds one of biology classes, if you remember the human body with all its organs and circulatory systems, like at school. And suddenly you think of architecture no longer as built substance, but as an organism, as a life form. And as you start to dissect this organism, you can identify a series of primary technical clusters -- program production, broadcasting center and news. Those are tightly intertwined with social clusters: meeting rooms, canteens, chat areas -- informal spaces for people to meet and exchange. So the organizational structure of this building was a hybrid between the technical and the social, the human and the performative. And of course, we used the loop of the building as a circulatory system, to thread everything together and to allow both visitors and staff to experience all these different functions in a great unity.
Još uvijek mi se veoma sviđa ova slika. Podsjeća me na sat biologije, ako se sjećate ljudskog tijela sa svim organima i krvožilnim sustavom, kao u školi. I odjednom ne mislite o arhitekturi kao o sagrađenoj materiji, nego kao o organizmu, obliku života. I kako počinjete secirati ovaj organizam, identificirate niz primarnih tehničkih grupa -- produkcija programa, centar za emitiranje i vijesti. Oni su usko isprepleteni s društvenim grupama: sobe za sastanke, kantine, dnevni boravci -- neformalni prostori za sastajanje ljudi i razmjenu. Organizacijska struktura ove građevine je bila hibrid između tehničke i društvene, ljudske i izvedbene. I naravno, iskoristili smo petlju zgrade kao krvožilni sustav, da nanižemo sve zajedno i dopustimo i posjetiocima i osoblju da iskuse sve ove drukčije funkcije u velikom zajedništvu.
With 473,000 square meters, it is one of the largest buildings ever built in the world. It has a population of over 10,000 people, and of course, this is a scale that exceeds the comprehension of many things and the scale of typical architecture. So we stopped work for a while and sat down and cut 10,000 little sticks and glued them onto a model, just simply to confront ourselves with what that quantity actually meant.
Sa 473 000 kvadratnih metara, ovo je jedna od najvećih zgrada ikad sagrađenih na svijetu. Ima populaciju preko 10 000 ljudi, i naravno, ovo je razmjer koji premašuje poimanje mnoštva stvari i razmjer tipične arhitekture. Tako da smo prestali raditi nakratko i sjeli i izrezali 10 000 malih štapića i zalijepili ih u model, samo da se suočimo s tim što ta količina zapravo znači.
But of course, it's not a number, it is the people, it is a community that inhabits the building, and in order to both comprehend this, but also script this architecture, we identified five characters, hypothetical characters, and we followed them throughout their day in a life in this building, thought of where they would meet, what they would experience. So it was a way to script and design the building, but of course, also to communicate its experiences. This was part of an exhibition with the Museum of Modern Art in both New York and Beijing.
Naravno, to nije broj, već ljudi, zajednica koja nastanjuje ovu zgradu, i da bi shvatili ovo, ali i napravili rukopis za arhitekturu, identificirali smo pet likova, hipotetskih likova, i pratili ih tijekom dana u životu ove građevine, smišljali gdje bi se sreli, što bi iskusili. To je bio način da režiramo i dizajniramo zgradu, no naravno, i da prenesemo njena iskustva. Ovo je bio dio izložbe u Muzeju moderne umjetnosti u New Yorku i Pekingu.
This is the main broadcast control room, a technical installation so large, it can broadcast over 200 channels simultaneously. And this is how the building stands in Beijing today. Its first broadcast live was the London Olympics 2012, after it had been completed from the outside for the Beijing Olympics. And you can see at the very tip of this 75-meter cantilever, those three little circles. And they're indeed part of a public loop that goes through the building. They're a piece of glass that you can stand on and watch the city pass by below you in slow motion.
Ovo je glavna kontrolna prostorija za emitiranje, tehnička instalacija toliko velika, da može emitirati preko 200 kanala istovremeno. A ovo je kako zgrada izgleda danas u Pekingu. Prvo emitiranje uživo su bile Olimpijske igre u Londonu 2012, nakon što je završena izvana za Olimpijadu u Pekingu. Možete vidjeti na na samom vrhu 75 metara visoke grede, ove tri male kružnice. Oni su uistinu dio javne petlje koja ide kroz zgradu. To su komadi stakla na kojima možete stajati i gledati kako grad diše ispod vas u usporenom ritmu.
The building has become part of everyday life in Beijing. It is there. It has also become a very popular backdrop for wedding photography.
Građevina je postala dio svakodnevnog života u Pekingu. Ondje je. Također, postala je veoma popularno mjesto za fotografije s vjenčanja.
(Laughter)
(Smijeh)
But its most important moment is maybe sill this one. "That's Beijing" is similar to "Time Out," a magazine that broadcasts what is happening in town during the week, and suddenly you see the building portrayed no longer as physical matter, but actually as an urban actor, as part of a series of personas that define the life of the city. So architecture suddenly assumes the quality of a player, of something that writes stories and performs stories. And I think that could be one of its primary meanings that we believe in.
No, najvažniji trenutak je vjerojatno još uvijek ovaj. "That's Beijing" je sličan "Time Out-u" časopisu koji pokriva događanja u gradu tijekom tjedna, i odjednom vidite zgradu prikazanu ne kao fizički objekt, nego kao, zapravo, urbani sudionik, kao dio niza persona koje definiraju život grada. Arhitektura odjednom poprima kvalitetu igrača, nečega što piše priče i izvodi te priče. Ja mislim da bi to mogla biti jedno od primarnih značenja u koje vjerujemo.
But of course, there's another story to this building. It is the story of the people that made it -- 400 engineers and architects that I was guiding over almost a decade of collaborative work that we spent together in scripting this building, in imagining its reality and ultimately getting it built in China.
No, naravno, postoji druga priča ove građevine. To je priča ljudi koji su ju napravili -- 400 inženjera i arhitekata koje sam vodio preko gotovo desetljeća zajedničkog rada koje smo proveli zajedno u pravljenju ove zgrade, u zamišljanju njene stvarnosti i konačno sagradnje u Kini.
This is a residential development in Singapore, large scale. If we look at Singapore like most of Asia and more and more of the world, of course, it is dominated by the tower, a typology that indeed creates more isolation than connectedness, and I wanted to ask, how could we think about living, not only in terms of the privacy and individuality of ourselves and our apartment, but in an idea of a collective? How could we think about creating a communal environment in which sharing things was as great as having your own?
Ovo je stambeni razvoj u Singapuru, u velikom razmjeru. Ako pogledamo Singapur kao ostatak Azije i sve više dijelova svijeta, naravno, dominiraju tornjevi, tipologija koja stvara izolaciju, a ne povezanost, i pitao sam se, kako da razmišljamo o življenju, ne samo u smislu privatnosti i naše individualnosti i našeg stana, nego kao o ideji kolektiva? Kako možemo razmišljati o stvaranju zajedničkog okružja u kojem je dijeljenje stvari jednako odlično kao i posjedovanje vlastitih?
The typical answer to the question -- we had to design 1,040 apartments -- would have looked like this: 24-story height limit given by the planning authorities, 12 towers with nothing but residual in between -- a very tight system that, although the tower isolates you, it doesn't even give you privacy, because you're so close to the next one, that it is very questionable what the qualities of this would be.
Tipični odgovor na to pitanje -- morali smo dizajnirali 1040 stanova -- bi izgledao ovako: 24-katno ograničenje visine koje su nam dali vlasti, 12 tornjeva s ničim osim ostataka u sredini -- vrlo tijesan sustav koji osim što vas izolira, ne dopušta ni privatnost, jer ste preblizu jedni drugima, vrlo je upitna kakva će biti kvaliteta ovoga.
So I proposed to topple the towers, throw the vertical into the horizontal and stack them up, and what looks a bit random from the side, if you look from the viewpoint of the helicopter, you can see its organizational structure is actually a hexagonal grid, in which these horizontal building blocks are stacked up to create huge outdoor courtyards -- central spaces for the community, programmed with a variety of amenities and functions. And you see that these courtyards are not hermetically sealed spaces. They're open, permeable; they're interconnected. We called the project "The Interlace," thinking that we interlace and interconnect the human beings and the spaces alike. And the detailed quality of everything we designed was about animating the space and giving the space to the inhabitants. And, in fact, it was a system where we would layer primarily communal spaces, stacked to more and more individual and private spaces. So we would open up a spectrum between the collective and the individual.
Tako da sam predložio srušiti tornjeve, pretvoriti vertikalu u horizontalu i poslagati ih, što izgleda nasumično sa strane, ako pogledate iz gledišta helikoptera, možete vidjeti da je organizacijska struktura zapravo šesterokutna mreža, u kojoj su ovi horizontalni blokovi poslagani da tvore ogromna vanjska dvorišta -- središnji prostor za zajednicu, programiran s različitim sadržajima i funkcijama. I vidite da ova dvorišta nisu hermetički zatvoreni prostori. Otvoreni su, propusni; međusobno povezani. Projekt smo nazvali "Prepletanje," sa mišlju da isprepletemo i međusobno povežemo ljudska bića i prostore. Detaljna kvaliteta svega što smo dizajnirali se radi o animaciji prostora i pružanja prostora stanarima. Ustvari, to je sustav gdje bi prvo stavili sloj javnih prostora, te slagali sve više individualnih i privatnih prostora. Tako da bi otvorili spektar između kolektivnog i individualnog.
A little piece of math: if we count all the green that we left on the ground, minus the footprint of the buildings, and we would add back the green of all the terraces, we have 112 percent green space, so more nature than not having built a building. And of course this little piece of math shows you that we are multiplying the space available to those who live there. This is, in fact, the 13th floor of one of these terraces. So you see new datum planes, new grounds planes for social activity.
Malo matematike: ako izbrojimo svo zelenilo koje smo ostavili na tlu, minus otisak zgrada, i ako dodamo natrag svo zelenilo terasa, imamo 112 posto zelene površine, prema tome više prirode nego da nismo sagradili zgradu. I naravno, ovo malo matematike nam pokazuje da umnožavamo prostor dostupan za život ondje. Ovo je, zapravo, 13. kat jedne od ovih terasa. Vidite nove ravnine, novo tlo za društvene aktivnosti.
We paid a lot of attention to sustainability. In the tropics, the sun is the most important thing to pay attention to, and, in fact, it is seeking protection from the sun. We first proved that all apartments would have sufficient daylight through the year. We then went on to optimize the glazing of the facades to minimize the energy consumption of the building. But most importantly, we could prove that through the geometry of the building design, the building itself would provide sufficient shading to the courtyards so that those would be usable throughout the entire year. We further placed water bodies along the prevailing wind corridors, so that evaporative cooling would create microclimates that, again, would enhance the quality of those spaces available for the inhabitants. And it was the idea of creating this variety of choices, of freedom to think where you would want to be, where you would want to escape, maybe, within the own complexity of the complex in which you live.
Obratili smo mnogo pozornosti na održivost. U tropskim krajevima, sunce je najbitnija stvar na koju treba obratiti pozornost, i, zapravo, traži zaštitu od sunca. Prvo smo dokazali da će svi stanovi imati dovoljno dnevne svjetlosti tijekom godine. Onda smo krenuli na optimiranje ostakljenja fasada da bi smanjili potrošnju energije zgrade na minimum. No, najbitnije je da smo pokazali da kroz geometriju dizajna zgrade, sama zgrada pruža dovoljno hlada dvorištima tako da se mogu koristiti tijekom cijele godine. Zatim smo postavili vodena tijela uz prevladavajuće kanale zraka, tako da isparavajuće hlađenje stvara mikroklimu što, opet, povećava kvalitetu ovih prostora dostupnih za stanare. Ideja za stvaranje ove raznovrsnosti izbora, slobode da razmislite gdje želite biti, gdje želite pobjeći, možda, unutar složenosti kompleksa u kojem živite.
But coming from Asia to Europe: a building for a German media company based in Berlin, transitioning from the traditional print media to the digital media. And its CEO asked a few very pertinent questions: Why would anyone today still want to go to the office, because you can actually work anywhere? And how could a digital identity of a company be embodied in a building? We created not only an object, but at the center of this object we created a giant space, and this space was about the experience of a collective, the experience of collaboration and of togetherness. Communication, interaction as the center of a space that in itself would float, like what we call the collaborative cloud, in the middle of the building, surrounded by an envelope of standard modular offices. So with only a few steps from your quiet work desk, you could participate in the giant collective experience of the central space.
No iz Azije u Europu je došla: zgrada za njemačku medijsku tvrtku iz Berlina, prelazeći iz tradicionalnog medija koji printa u digitalni medij. Njihov CEO je postavio par značajnih pitanja: Zašto bi itko još uvijek htio ići u ured, jer zapravo možeš raditi bilo gdje? I kako se digitalni identitet tvrtke može utjeloviti u zgradu? Stvorili smo ne samo objekt, nego u središtu ovog objekta smo stvorili ogroman prostor, ovaj prostor se radi o iskustvu zajednice, iskustvu suradnje i zajedništva. Komunikacija, interakcija kao središte ovog prostora koji pluta, ono što nazivamo suradnički oblak, u središtu zgrade, okružen omotom standardnih modularnih ureda. Tako da sa samo par koraka od svog mirnog radnog stola, možete sudjelovati u ogromnom kolektivnom iskustvu središnjeg prostora.
Finally, we come to London, a project commissioned by the London Legacy Development Corporation of the Mayor of London. We were asked to undertake a study and investigate the potential of a site out in Stratford in the Olympic Park. In the 19th century, Prince Albert had created Albertopolis. And Boris Johnson thought of creating Olympicopolis.
Konačno, došli smo u London, do projekta koji je naručila Londonska korporacija za razvoj nasljeđa gradonačelnika Londona. Trebali smo provesti studiju i istražiti potencijal položaja u Stratfordu u Olimpijskom parku. U 19. stoljeću, princ Albert je napravio Albertopolis. A Boris Johnson je mislio napraviti Olympicopolis.
The idea was to bring together some of Britain's greatest institutions, some international ones, and to create a new system of synergies. Prince Albert, as yet, created Albertopolis in the 19th century, thought of showcasing all achievements of mankind, bringing arts and science closer together. And he built Exhibition Road, a linear sequence of those institutions.
Ideja je bila povezati neke od najboljih britanskih institucija, neke internacionalne i stvoriti novi sustav sinergija. Princ Albert je sagradio Albertopolis u 19. stoljeću, mislio je prikazati sva postignuća čovječanstva, približiti umjetnost i znanost. Te je izgradio Ulicu izložbe, linearni slijed tih institucija.
But of course, today's society has moved on from there. We no longer live in a world in which everything is as clearly delineated or separated from each other. We live in a world in which boundaries start to blur between the different domains, and in which collaboration and interaction becomes far more important than keeping separations. So we wanted to think of a giant culture machine, a building that would orchestrate and animate the various domains, but allow them to interact and collaborate. At the base of it is a very simple module, a ring module. It can function as a double-loaded corridor, has daylight, has ventilation. It can be glazed over and turned into a giant exhibitional performance space. These modules were stacked together with the idea that almost any function could, over time, occupy any of these modules. So institutions could shrink or contract, as, of course, the future of culture is, in a way, the most uncertain of all. This is how the building sits, adjacent to the Aquatics Centre, opposite the Olympic Stadium. And you can see how its cantilevering volumes project out and engage the public space and how its courtyards animate the public inside.
No naravno, današnje društvo je napredovalo odatle. Više ne živimo u svijetu u kojem je sve jasno ocrtano ili odvojeno jedno od drugog. Živimo u svijetu u kojem se granice između pojedinih domena počinju zamagljivati, i u kojem suradnja i interakcija postaju važniji od održavanja razdvojenosti. Pa sam htio smisliti ogromni kulturni stroj, zgradu koja bi upravljala i pokretala različite domene, no dopuštala im da međusobno djeluju i surađuju. U temelju je veoma jednostavan modul, prstenasti modul. Može djelovati kao dvostruki hodnik, ima pristup dnevnom svjetlu, ima ventilaciju. Može se zamagliti i pretvoriti u ogromni izložbeni prostor za izvođenje. Ovi moduli su poslagani zajedno uz ideju da gotovo sve funkcije mogu, tijekom vremena, zauzeti bilo koji od tih modula. Tako da se institucije mogu smanjiti ili skupiti, jer je, naravno, budućnost kulture, na neki način, najnesigurnija. Ovako zgrada stoji, susjedno Centru za vodene sportove, nasuprot Olimpijskom stadionu. I možete vidjeti kako se noseći volumen projicira i uključuje javni prostor i kako dvorišta animiraju javnost unutra.
The idea was to create a complex system in which institutional entities could maintain their own identity, in which they would not be subsumed in a singular volume. Here's a scale comparison to the Centre Pompidou in Paris. It both shows the enormous scale and potential of the project, but also the difference: here, it is a multiplicity of a heterogeneous structure, in which different entities can interact without losing their own identity. And it was this thought: to create an organizational structure that would allow for multiple narratives to be scripted -- for those in the educational parts that create and think culture; for those that present the visual arts, the dance; and for the public to be admitted into all of this with a series of possible trajectories, to script their own reading of these narratives and their own experience.
Ideja je bila stvoriti složen sustav u kojem institucionalni entiteti mogu zadržati svoj vlastiti identitet, u kojem se neće svesti na pojedinačni volumen. Ovo je razmjer za usporedbu s centrom Pompidou u Parizu. Istovremeno pokazuje ogromni razmjer i potencijal projekta, no, također, i razliku: to je raznovrsnost heterogene strukture, u kojoj različiti entiteti stupaju u interakciju bez gubitka vlastitog identiteta. Ovo je bila misao: stvoriti organizacijsku strukturu koja omogućuje višestruke priče -- za one u obrazovnim dijelovima koji stvaraju i misle o kulturi; za one koji predstavljaju vizualne umjetnosti, ples; i za gledatelje da se propuste u sve ovo s nizom mogućih putanja, da naprave vlastiti rukopis ovih priča i vlastitih iskustava.
And I want to end on a project that is very small, in a way, very different: a floating cinema in the ocean of Thailand. Friends of mine had founded a film festival, and I thought, if we think of the stories and narratives of movies, we should also think of the narratives of the people that watch them. So I designed a small modular floating platform, based on the techniques of local fishermen, how they built their lobster and fish farms. We collaborated with the local community and built, out of recycled materials of their own, this fantastical floating platform that gently moved in the ocean as we watched films from the British film archive, [1903] "Alice in Wonderland," for example. The most primordial experiences of the audience merged with the stories of the movies.
Želim završiti na projektu koji je veoma mali, i na neki način veoma drukčiji: plutajuća kino dvorana u oceanu na Tajlandu. Moj prijatelj je osnovao filmski festival, i pomislio sam, ako razmislimo o pričama i pripovijestima u filmovima, trebamo, također, razmisliti o pričama ljudi koji ih gledaju. Tako da sam dizajnirao malu modularnu plutajuću platformu, temeljenu na tehnikama lokalnih ribara, kako su sagradili svoje farme jastoga i riba. Surađivali smo s lokalnom zajednicom i sagradili od recikliranih materijala, ovu fantastičnu plutajuću platformu koja se nježno kreće u oceanu dok gledamo filmove iz britanske arhive. [1904] "Alisa u zemlji čudesa," na primjer. Najiskonskije iskustvo gledaoca stopljeno s pričom filmova.
So I believe that architecture exceeds the domain of physical matter, of the built environment, but is really about how we want to live our lives, how we script our own stories and those of others.
Vjerujem da arhitektura premašuje domene fizičke materije. izgrađenog okoliša, radi se o tome kako želimo živjeti svoje živote, kako upravljamo vlastitim pričama i pričama drugih.
Thank you.
Hvala vam.
(Applause)
(Pljesak)