There's a beautiful statement on the screen that says, "Light creates ambiance, light makes the feel of a space, and light is also the expression of structure." Well, that was not by me. That was, of course, by Le Corbusier, the famous architect. And here you can see what he meant in one of his beautiful buildings -- the chapel Notre Dame Du Haut De Ronchamp -- where he creates this light that he could only make because there's also dark. And I think that is the quintessence of this 18-minute talk -- that there is no good lighting that is healthy and for our well-being without proper darkness.
Na ekranu je prelijepa izjava koja kaže "Svjetlost stvara ambijent, svjetlost stvara osjećaj prostora, a svjetlost je također i izraz strukture." Ova izreka ipak nije moja. Potječe naravno od Le Corbusiera, poznatog arhitekta. A ovdje možete vidjeti što je pod tim mislio na jednoj od njegovih prelijepih građevina -- kapela Notre Dame du Haut Ronchamp -- u kojoj stvara osvjetljenje koje je mogao stvoriti jedino zato što tamo postoji i tama. Mislim da je to suština ovog 18-minutnog govora -- da nema dobrog osvjetljenja koje je zdravo i za našu dobrobit bez odgovarajuće tame.
So this is how we normally would light our offices. We have codes and standards that tell us that the lights should be so much Lux and of great uniformity. This is how we create uniform lighting from one wall to the other in a regular grid of lamps. And that is quite different from what I just showed you from Le Corbusier. If we would apply these codes and standards to the Pantheon in Rome, it would never have looked like this, because this beautiful light feature that goes around there all by itself can only appear because there is also darkness in that same building. And the same is more or less what Santiago Calatrava said when he said, "Light: I make it in my buildings for comfort." And he didn't mean the comfort of a five-course dinner as opposed to a one-course meal, but he really meant the comfort of the quality of the building for the people. He meant that you can see the sky and that you can experience the sun. And he created these gorgeous buildings where you can see the sky, and where you can experience the sun, that give us a better life in the built environment, just because of the relevance of light in its brightness and also in its shadows.
Dakle, ovako bismo inače osvijetlili naše urede. Imamo norme i standarde koji nam kažu da bi rasvjeta trebala imati određeni luks i da bi trebala biti velike ujednačenosti. Ovako stvaramo ujednačeno osvjetljenje od jednog zida do drugog u uobičajenoj mreži lampi. A to je sasvim drugačije od ovoga što sam vam upravo pokazao od Le Corbusiera. Ako bismo primijenili ove norme i standarde na Pantheon u Rimu, nikada ne bi izgledao ovako, zato što se ova prelijepa značajka svjetla koja se širi sama od sebe može pojaviti jedino zato što u toj istoj građevini postoji i tama. I više-manje to je isto ono što je rekao i Santiago Calatrava kad je rekao: "Svjetlost, stvorio sam ga u mojim građevinama radi udobnosti." A on nije mislio na udobnost bogate večere u odnosu na jedan običan obrok, nego je mislio na stvarnu udobnost kvalitete građevine za ljude. Mislio je na to da možete vidjeti nebo i da možete osjetiti sunce. Zato je izgradio te veličanstvene građevine u kojima možete vidjeti nebo i doživjeti sunce, što nam pruža bolji život u izgrađenom okruženju, i to zbog značaja osvjetljenja u svojem svjetlu i u svojim sjenama.
And what it all boils down to is, of course, the sun. And this image of the Sun may suggest that the Sun is something evil and aggressive, but we should not forget that all energy on this planet actually comes from the Sun, and light is only a manifestation of that energy.
Sve se svodi, naravno, na sunce. Ova slika sunca može sugerirati da je sunce štogod loše i agresivno. Ali ne bismo trebali zaboraviti da sva energija na ovom planetu zapravo potječe od sunca. Svjetlo je samo manifestacija te energije.
The sun is for dynamics, for color changes. The sun is for beauty in our environment, like in this building -- the High Museum in Atlanta, which has been created by Renzo Piano from Italy, together with Arup Lighting, a brilliant team of lighting designers, who created a very subtle modulation of light across the space, responding to what the sun does outside, just because of all these beautiful openings in the roof. So in an indirect way, you can see the sun. And what they did is they created an integral building element to improve the quality of the space that surrounds the visitors of the museum. They created this shade that you can see here, which actually covers the sun, but opens up to the good light from the sky. And here you can see how they really crafted a beautiful design process with physical models, with quantitative as well as qualitative methods, to come to a final solution that is truly integrated and completely holistic with the architecture. They allowed themselves a few mistakes along the way. As you can see here, there's some direct light on the floor, but they could easily figure out where that comes from. And they allow people in that building to really enjoy the sun, the good part of the sun.
Sunce je za dinamiku, za promjene boja, sunce je za ljepotu u našem okruženju, kao u ovoj zgradi -- Veliki muzej u Atlanti, koji je projektirao Renzo Piano iz Italije zajedno s Arupom Lightingom, fantastični tim dizajnera osvjetljenja koji su kreirali vrlo suptilnu modulaciju svjetla u prostoriji, odgovarajući na ponašanje sunca izvana, zahvaljujući ovim predivnim otvorima na krovu. Zato, na indirektan način, možete vidjeti sunce. A ono što su učinili je da su stvorili jedan sastavni dio zgrade da poboljšaju kvalitetu prostora koja okružuje posjetitelje muzeja. Stvorili su sjenu koju ovdje možete vidjeti, koja zapravo prekriva sunce, ali se otvara prema dobroj svjetlosti s neba. A ovdje možete vidjeti kako su prelijepo projektirali s maketama s kvantitetnim kao i s kvalitetnim metodama da bi došli do završnog rezultata koji je uistinu integriran i potpuno cjelovit s arhitekturom. Usput su sebi dozvolili nekoliko pogrešaka. Kao što možete vidjeti ovdje, postoji direktna svjetlost na podu, pa su mogli lako zaključiti odakle potiče. I dozvoljavaju ljudima u toj zgradi da stvarno uživaju u suncu, u dobrom dijelu sunca.
And enjoying the sun can be in many different ways, of course. It can be just like this, or maybe like this, which is rather peculiar, but this is in 1963 -- the viewing of a sun eclipse in the United States. And it's just a bit bright up there, so these people have found a very intriguing solution. This is, I think, a very illustrative image of what I try to say -- that the beautiful dynamics of sun, bringing these into the building, creates a quality of our built environment that truly enhances our lives. And this is all about darkness as much as it is about lightness, of course, because otherwise you don't see these dynamics.
A uživanje u suncu može naravno biti različito. Može biti ovako, ili možda ovako, što je dosta čudno, ali ovo je 1963. -- promatranje pomrčine sunca u SAD-u. A samo je mala količina svjetla gore, tako da su oni našli jedno intrigantno rješenje. Ovo je, mislim, vrlo ilustrativni prikaz onoga što pokušavam reći -- da prelijepa dinamičnost sunca, donoseći ove nijanse u građevine, stvara kvalitetu našeg izgrađenog okruženja koje zaista poboljšava naše živote. A ovo je sve o tami koliko i o svjetlu, naravno, jer u suprotnom se ova dinamika ne može vidjeti.
As opposed to the first office that I showed you in the beginning of the talk, this is a well-known office, which is the Weidt Group. They are in green energy consulting, or something like that. And they really practice what they preach because this office doesn't have any electric lighting at all. It has only, on one side, this big, big glass window that helps to let the sunlight enter deep into the space and create a beautiful quality there and a great dynamic range. So it can be very dim over there, and you do your work, and it can be very bright over there, and you do your work. But actually, the human eye turns out to be remarkably adaptable to all these different light conditions that together create an environment that is never boring and that is never dull, and therefore helps us to enhance our lives.
Suprotno od prvog ureda koji sam vam pokazao ne početku govora, ovo je poznata kancelarija koja se zove White Group. Oni su konzultanti za "zelenu" energiju ili nešto slično tome. Oni stvarno rade ono što govore, zato ova kancelarija nema nikakvo električno osvjetljenje. Samo na jednoj strani ima ovaj veliki, veliki prozor koji dozvoljava ulazak sunčeve svjetlosti duboko u prostor i stvara prelijepu kvalitetu i veliki raspon intenziteta svjetlosti. Dakle može biti vrlo slabo osvjetljenje a vi radite svoj posao, a može biti i vrlo svijetlo a vi radite svoj posao. Ali u stvari ljudsko oko može biti izuzetno prilagodljivo na različite svjetlosne uvjete koji zajedno stvaraju okruženje koje nikad nije dosadno ni tmurno, i zato nam pomaže da poboljšamo naše živote.
I really owe a short introduction of this man to you. This is Richard Kelly who was born 100 years ago, which is the reason I bring him up now, because it's kind of an anniversary year. In the 1930s, Richard Kelly was the first person to really describe a methodology of modern lighting design. And he coined three terms, which are "focal glow," "ambient luminescence" and "play of the brilliants" -- three very distinctly different ideas about light in architecture that all together make up this beautiful experience.
Dugujem vam kratak uvod o ovom čovjeku. Ovo je Richard Kelly koji je rođen prije 100 godina, što je razlog zbog čega ga sada spominjem, zato što je neka vrsta godišnjice. Godine 1930. Richard Kelly bio je prva osoba koja je stvarno opisala metodologiju modernog dizajna osvjetljenja. On je uzeo tri termina, koji su " fokusni sjaj", "ambijentalna luminescencija" i " igra briljanata" kroz vrlo različite ideje o svjetlosti u arhitekturi koje u cjelini stvaraju ovo prelijepo iskustvo.
So to begin with, focal glow. He meant something like this -- where the light gives direction to the space and helps you to get around. Or something like this, which is the lighting design he did for General Motors, for the car showroom. And you enter that space, and you feel like, "Wow! This is so impressive," just because of this focal point, this huge light source in the middle. To me, it is something from theater, and I will get back to that a little bit later. It's the spotlight on the artist that helps you to focus. It could also be the sunlight that breaks through the clouds and lights up a patch of the land, highlighting it compared to the dim environment. Or it can be in today's retail, in the shopping environment -- lighting the merchandise and creating accents that help you to get around.
Znači počinjete s fokusnim sjajem. Mislio je na nešto kao ovo -- gdje svjetlost daje pravac prostoru i pomaže vam da kružite. Ili nešto ovako, što je njegov dizajn osvjetljenja za General Motors, za salon automobila. Kada uđete u taj prostor, osjećate se kao: "Vau! Ovo je tako impresivno!", baš zbog ove središnje točke, zbog velikog izvora svjetlosti u sredini. Za mene to je nešto iz kazališta, i na to ću se vratiti malo poslije. Stavljanje akcenta na umjetnika pomaže nam u fokusiranju. To također može biti sunčeva svjetlost koja se probija kroz oblake i osvjetljava dio zemlje, naglašavajući je u usporedbi s prigušenim okruženjem. Ili to može biti u današnjim dućanima, u okruženju za kupovinu -- osvjetljavajući proizvode
Ambient luminescence is something very different. Richard Kelly saw it as something infinite, something without any focus, something where all details actually dissolve in infinity. And I see it as a very comfortable kind of light that really helps us to relax and to contemplate. It could also be something like this: the National Museum of Science in London, where this blue is embracing all the exhibitions and galleries in one large gesture.
i stavljajući naglaske koji vam pomažu u snalaženju. Ambijentalna luminescencija je nešto sasvim drugo. Richard Kelly ju je vidio kao štogod beskonačno, štogod bez fokusa, štogod gdje se svi detalji ustvari rastvaraju u beskonačnost. I ja to vidim kao jednu vrlo udobnu vrstu svjetlosti koja nam pomaže da se opustimo i meditiramo. Može također biti i štogod ovakvog: Nacionalni muzej znanosti u Londonu, gdje ova plava grli sve izložbe i galerije u jednoj velikoj gesti.
And then finally, Kelly's play of brilliants added to that really some play, I think, of the skyline of Hong Kong, or perhaps the chandelier in the opera house, or in the theater here, which is the decoration, the icing on the cake, something playful, something that is just an addition to the architectural environment, I would say. These three distinct elements, together, make a lighting environment that helps us to feel better. And we can only create these out of darkness. And I will explain that further. And I guess that is something that Richard Kelly, here on the left, was explaining to Ludwig Mies van Der Rohe. And behind them, you see that Seagram Building that later turned into an icon of modern lighting design.
I konačno, Kellyjev stav o igri brilijanata. Kao stvarna igra linije horizonta Hong Konga, ili možda lustera u operi, ili ovdje u kazalištu, gdje je dekoracija, šlag na torti, nešto razigrano, nešto što je samo dodatak arhitektonskom okruženju, rekao bih. Ova tri različita elementa, zajedno stvaraju svjetlosno okruženje koje nam pomaže da se osjećamo bolje. A njih možemo stvoriti samo iz tame. I to ću dalje obrazložiti. I pretpostavljam da je to ono što je Richard Kelly, ovdje slijeva, objašnjavao Ludwigu Miesu Van der Roheu. A iza njih vidite zgradu Seagram koja se poslije pretvorila u ikonu modernog dizajna osvjetljenja.
Those times, there were some early attempts also for light therapy already. You can see here a photo from the United States Library of Medicine, where people are put in the sun to get better. It's a little bit of a different story, this health aspect of light, than what I'm telling you today. In today's modern medicine, there is a real understanding of light in an almost biochemical way. And there is the idea that, when we look at things, it is the yellow light that helps us the most, that we are the most sensitive for. But our circadian rhythms, which are the rhythms that help us to wake and sleep and be alert and relaxed and so forth and so on, they are much more triggered by blue light. And by modulating the amount of blue in our environment, we can help people to relax, or to be alert, to fall asleep, or to stay awake.
U to vrijeme bilo je i ranih pokušaja svjetlosne terapije. Ovdje možete vidjeti fotografiju iz Medicinske biblioteke Sjedinjenih Država, gdje su ljudi izloženi suncu radi oporavka. Malo je drugačija priča ova zdravstvena strana svjetlosti o kojoj vam danas govorim. U suvremenoj medicini postoji stvarno razumijevanje svjetlosti na skoro biokemijski način. I postoji ideja da kada promatramo stvari žuta svjetlost nam najviše pomaže i na nju smo najosjetljiviji. Ali nam biološki ritam, ritam koji nam pomaže da se probudimo i da spavamo, da smo oprezni, i opušteni, i tako dalje, više pokreće plava svjetlost. I modificirajući količinu plave u našem okruženju, možemo pomoći ljudima da se opuste ili da budu oprezni, da usnu ili da ostanu budni.
And that is how, maybe in the near future, light can help hospitals to make people better sooner, recover them quicker. Maybe in the airplane, we can overcome jet lag like that. Perhaps in school, we can help children to learn better because they concentrate more on their work. And you can imagine a lot more applications. But I would like to talk further about the combination of light and darkness as a quality in our life.
I na ovaj način, možda u skoroj budućnosti, svjetlost može pomoći bolnicama da ljudi brže ozdrave, i da se brže oporave. Možda u avionu možemo na taj način pobijediti jet leg. Možda bismo u školi mogli pomoći djeci da bolje uče zato što bi se bolje koncentrirala na rad. Mogli biste zamisliti još brojne druge mogućnosti primjene. Ali nadalje bih htio govoriti o kombinaciji svjetla i tame kao kvalitete u našem životu.
So light is, of course, for social interaction also -- to create relationships with all the features around us. It is the place where we gather around when we have to say something to each other. And it is all about this planet. But when you look at this planet at night, it looks like this. And I think this is the most shocking image in my talk today. Because all this light here goes up to the sky. It never reaches the ground where it was meant for. It never is to the benefit of people. It only spoils the darkness. So at a global scale, it looks like this. And, I mean, that is quite amazing, what you see here -- how much light goes up into the sky and never reaches the ground. Because if we look at the Earth the way it should be, it would be something like this very inspiring image where darkness is for our imagination and for contemplation and to help us to relate to everything.
Svjetlost je, naravno, za društvenu interakciju također -- za ostvarivanje odnosa sa svim karakteristikama oko nas. To je mjesto oko kojeg se okupljamo kada jedan drugom imamo štogod za reći. I sve je ovo o ovom planetu. Ali kada ovaj planet pogledate noću, on izgleda ovako. I držim da je ovo najšokantnija slika u mom današnjem izlaganju. Zato što sva ova svjetlost ovdje odlazi u nebo. Nikad ne doseže tla gdje je namijenjena. Nikad nije u korist ljudi. Samo kvari tamu. Tako da na globalnoj skali izgleda ovako. I smatram da je zaista fascinantno ovo što možete vidjeti ovdje -- kolika količina svjetlosti odlazi u nebo i nikad ne doseže zemlju. Zato što ako gledamo Zemlju kakva bi trebala biti, bila bi to ovakva inspirativna slika gdje je tama za našu maštu, i za razmišljanje, i pomaže nam da se povežemo sa svim.
The world is changing though, and urbanization is a big driver of everything. I took this photo two weeks ago in Guangzhou, and I realized that 10 years ago, there was nothing like this, of these buildings. It was just a much smaller city, and the pace of urbanization is incredible and enormous. And we have to understand these main questions: How do people move through these new urban spaces? How do they share their culture? How do we tackle things like mobility? And how can light help there? Because the new technologies, they seem to be in a really interesting position to contribute to the solutions of urbanization and to provide us with better environments.
Ipak svijet se mijenja i urbanizacija je veliki pokretač svega. Ovo sam fotografirao prije dvije nedjelje u Guangzhou, i shvatio sam da prije 10 godina, nije bilo ničeg sličnog ovim zgradama. To je bio mnogo manji grad i da je tempo urbanizacije nevjerojatan i enorman. I moramo shvatiti ova glavna pitanja: Kako se ljudi kreću kroz te nove urbane prostore? Kako dijele svoju kulturu? Kako se hvatamo u koštac sa stvarima poput mobilnosti? I kako nam svjetlo tu može pomoći? Zato što nove tehnologije, čini se da su u vrlo interesantnoj poziciji da doprinesu rješenjima urbanizacije i da nam pruže bolje uvjete.
It's not that long ago that our lighting was just done with these kinds of lamps. And of course, we had the metal-halide lamps and fluorescent lamps and things like that. Now we have LED, but here you see the latest one, and you see how incredibly small it is. And this is exactly what offers us a unique opportunity, because this tiny, tiny size allows us to put the light wherever we really need it. And we can actually leave it out where it's not needed at all and where we can preserve darkness. So that is a really interesting proposition, I think, and a new way of lighting the architectural environment with our well-being in mind. The problem is, though, that I wanted to explain to you how this really works -- but I can have four of these on my finger, so you would not be able to really see them. So I asked our laboratory to do something about it, and they said, "Well, we can do something." They created for me the biggest LED in the world especially for TEDx in Amsterdam.
Ne tako davno naše je osvjetljenje bilo postavljeno s ovim vrstama lampi. I naravno, imali smo halogene lampe i fluorescentne lampe i slično. Sada imamo LED, ali ovdje vidite najnoviju, i vidite kako je nevjerojatno mala. I ovo nam zaista pruža jedinstvenu priliku, zato što nam ove vrlo, vrlo male lampe dozvoljavaju da postavimo svjetlo tamo gdje nam je zaista potrebno. A tamo gdje ga ne trebamo, gdje treba ostati tama, možemo ga izbjeći. Dakle, smatram da je ovo jako interesantan prijedlog, i nov način osvjetljenja arhitektonskog prostora imajući na umu naše zdravlje. Problem je u tome što vam želim objasniti kako ovo stvarno funkcionira -- ali mogu imati četiri ovakve na mom prstu, pa ih vi ne biste mogli vidjeti. Tražio sam od našeg laboratorija da učine nešto po tom pitanju i oni su rekli: "Dobro, učinit ćemo nešto." Napravili su za mene najveću LED na svijetu specijalno za TEDx u Amsterdamu.
So here it is. It's the same thing as you can see over there -- just 200 times bigger. And I will very quickly show you how it works. So just to explain. Now, every LED that is made these days gives blue light. Now, this is not very pleasant and comfortable. And for that reason, we cover the LED with a phosphor cap. And the phosphor is excited by the blue and makes the light white and warm and pleasant. And then when you add the lens to that, you can bundle the light and send it wherever you need it without any need to spill any light to the sky or anywhere else. So you can preserve the darkness and make the light. I just wanted to show that to you so you understand how this works.
Dakle evo je. To je ista stvar koju možete vidjeti tamo -- samo 200 puta veća. Brzo ću vam pokazati kako radi. Dakle samo da objasnim. Svaka LED koji se danas proizvodi daje plavo svjetlo. To nije baš ugodno. I iz tog razloga, prekrivamo LED fosfornim poklopcem. Fosfor je stimuliran plavom svjetlošću i proizvodi svjetlost koja je bijela, topla i ugodna. I kad tome dodate leću, svjetlost možete poslati gdje god poželite bez ikakve potrebe da prosipate svjetlost prema nebu ili bilo gdje drugdje. Tako da možete sačuvati tamu i stvoriti svjetlost. To sam vam samo želio pokazati da biste shvatili kako funkcionira.
(Applause)
Hvala.
Thank you.
(Applause)
Možemo nastaviti.
We can go further. So we have to rethink the way we light our cities. We have to think again about light as a default solution. Why are all these motorways permanently lit? Is it really needed? Can we maybe be much more selective and create better environments that also benefit from darkness? Can we be much more gentle with light? Like here -- this is a very low light level actually. Can we engage people more in the lighting projects that we create, so they really want to connect with it, like here? Or can we create simply sculptures that are very inspiring to be in and to be around? And can we preserve the darkness? Because to find a place like this today on Earth is really very, very challenging. And to find a starry sky like this is even more difficult.
Možemo preispitati način na koji osvjetljavamo gradove. Moramo još jednom razmisliti o svjetlu kao rješenju koje se podrazumijeva. Zašto su autoceste trajno osvijetljene? Je li to zaista potrebno? Možemo li biti selektivniji i stvarati bolja okruženja koja će imati korist i od tame? Možemo li biti pažljiviji prema svjetlu? Kao ovdje -- ovo je zapravo vrlo mali svjetlosni nivo. Možemo li ljude više angažirati u projektima osvjetljenja koje stvaramo, da se požele zaista povezati s tim, kao ovdje? Ili možemo izrađivati skulpture u kojima i oko kojih je biti vrlo inspirativno? Možemo li sačuvati tamu? Zato što je naći neko ovakvo mjesto na Zemlji danas stvarno vrlo, vrlo izazovno. I naći ovakvo zvjezdano nebo je još teže.
Even in the oceans, we are creating a lot of light that we could actually ban also for animal life to have a much greater well-being. And it's known that migrating birds, for example, get very disoriented because of these offshore platforms. And we discovered that when we make those lights green, the birds, they actually go the right way. They are not disturbed anymore. And it turns out once again that spectral sensitivity is very important here.
Čak i u oceanima stvaramo dosta svjetla koje bismo također mogli smanjiti za zaštitu zdravlja životinjskog svijeta. Poznato je da ptice selice, na primjer, postaju vrlo dezorijentirane zbog ovih naftnih platformi. I otkrili smo da kada ta svjetla osvijetlimo u zeleno, ptice, zaista mogu letjeti pravim putem. Više nisu uznemirene. I ponovno ispada da je spektralna osjetljivost ovdje jako bitna.
In all of these examples, I think, we should start making the light out of darkness, and use the darkness as a canvas -- like the visual artists do, like Edward Hopper in this painting. I think that there is a lot of suspense in this painting. I think, when I see it, I start to think, who are those people? Where have they come from? Where are they going? What just happened? What will be happening in the next five minutes? And it only embodies all these stories and all this suspense because of the darkness and the light.
I u svim ovim primjerima smatram da bismo trebali početi stvarati svjetlost iz tame, i koristiti tamu kao platno -- kao što je to slučaj kod vizualnih umjetnika, kao Edward Hopper na ovoj slici. Mislim da postoji mnogo neizvjesnosti na ovoj slici. Mislim, kada je vidim, počinjem misliti, tko su ovi ljudi? Odakle su došli? Kamo idu? Što se upravo dogodilo? Što će se događati u narednih pet minuta? I sve te priče i neizvjesnost dolaze do izražaja samo zbog svjetla i tame. Edward Hopper bio je veliki majstor
Edward Hopper was a real master in creating the narration by working with light and dark. And we can learn from that and create more interesting and inspiring architectural environments. We can do that in commercial spaces like this. And you can still also go outside and enjoy the greatest show in the universe, which is, of course, the universe itself. So I give you this wonderful, informative image of the sky, ranging from the inner city, where you may see one or two stars and nothing else, all the way to the rural environments, where you can enjoy this great and gorgeous and beautiful performance of the constellations and the stars.
u stvaranju naracije radeći sa svjetlom i tamom. I mi možemo učiti na tome i stvarati interesantnije i inspirativnije arhitektonske sredine. Možemo to raditi u komercijalnim prostorima ovako. I dalje možete izaći i uživati u najvećoj predstavi u univerzumu, a ti je, naravno, sam univerzum. Dakle, predstavljam vam ovu fantastičnu, informativnu sliku neba počevši od centra grada gdje možete vidjeti jednu ili dvije zvijezde i ništa više sve do ruralnih sredina gdje možete uživati u ovom fantastičnom i prelijepom performansu sazviježđa i zvijezda.
In architecture, it works just the same. By appreciating the darkness when you design the light, you create much more interesting environments that truly enhance our lives. This is the most well-known example, Tadao Ando's Church of the Light. But I also think of Peter Zumthor's spa in Vals, where light and dark, in very gentle combinations, alter each other to define the space. Or Richard MacCormac's Southwark tube station in London, where you can really see the sky, even though you are under the ground.
U arhitekturi to jednako funkcionira. Cijeneći tamu kada dizajnirate osvjetljenje, stvarate interesantnija okruženja koja zaista poboljšavaju naše živote. Ovo je najpoznatiji primjer Tadao Andova Crkva svjetlosti. Ali također mislim i na liječilište Petera Zumthora u Valsu, gdje svjetlost i tama, u jako nježnim kombinacijama mijenjaju jedan drugog da bi definirali prostor. Ili Južna postaja podzemne željeznice u Londonu od Richarda McCormacka, gdje zaista možete vidjeti nebo, iako ste ispod zemlje.
And finally, I want to point out that a lot of this inspiration comes from theater. And I think it's fantastic that we are today experiencing TEDx in a theater for the first time because I think we really owe to the theater a big thanks. It wouldn't be such an inspiring scenography without this theater. And I think the theater is a place where we truly enhance life with light.
I konačno želim naznačiti da dosta inspiracije potiče iz kazališta. I smatram da je fantastično da se danas po prvi put TEDx održava u kazalištu, zato što mislim da kazalištu zaista mnogo dugujemo. Scenografija ne bi bila toliko inspirativna bez kazališta. I smatram da je kazalište mjesto na kojem pomoću svjetlosti zaista poboljšavamo život.
Thank you very much.
Mnogo vam hvala.
(Applause)
(Pljesak)