Hello, my name is Thomas Heatherwick. I have a studio in London that has a particular approach to designing buildings. When I was growing up, I was exposed to making and crafts and materials and invention on a small scale. And I was there looking at the larger scale of buildings and finding that the buildings that were around me and that were being designed and that were there in the publications I was seeing felt soulless and cold. And there on the smaller scale, the scale of an earring or a ceramic pot or a musical instrument, was a materiality and a soulfulness. And this influenced me. The first building I built was 20 years ago. And since, in the last 20 years, I've developed a studio in London. Sorry, this was my mother, by the way, in her bead shop in London. I spent a lot of time counting beads and things like that.
Dobar dan, moje ime je Thomas Heatherwick. Imam studio u Londonu koji ima poseban pristup dizajniranju zgrada. Tijekom mog odrastanja, bio sam izložen izrađivanju i zanatu i materijalima i izumima na maloj razini. I odonda sam promatrao zgrade na višoj razini i pronalazio kako se zgrade koje su bile oko mene i koje su dizajnirane i koje su bile u publikacijama koje sam pratio doimaju bez duše i hladne. A na manjoj razini, razini naušnice ili keramičkog lonca ili glazbenog instrumenta, to je bila materijalnost i duševnost. I to je utjecalo na mene. Prvu zgradu sam izgradio prije 20 godina. I otada, u posljednjih 20 godina, razvio sam studio u Londonu. Oprostite, ovo je bila moja majka, usput, u svojoj trgovini perlama u Londonu. Proveo sam mnogo vremena brojeći perle i stvari poput toga.
I'm just going to show, for people who don't know my studio's work, a few projects that we've worked on. This is a hospital building. This is a shop for a bag company. This is studios for artists. This is a sculpture made from a million yards of wire and 150,000 glass beads the size of a golf ball. And this is a window display. And this is pair of cooling towers for an electricity substation next to St. Paul's Cathedral in London. And this is a temple in Japan for a Buddhist monk. And this is a cafe by the sea in Britain.
Pokazat ću, za ljude koji nisu upoznati s radom mog studija, nekoliko projekata na kojima smo radili. Ovo je zgrada bolnice. Ovo je trgovina za kompaniju torbi. Ovo je studio za umjetnike. Ovo je skulptura napravljena od 914,4 kilometra žice i 150.000 staklenih perli veličine loptice za golf. A ovo je prikaz na prozoru. A ovo je par tornjeva za hlađenje za električnu trafostanicu pokraj katedrale Svetog Pavla u Londonu. A ovo je hram u Japanu za budističke svećenike. A ovo je kafić uz more u Britaniji.
And just very quickly, something we've been working on very recently is we were commissioned by the mayor of London to design a new bus that gave the passenger their freedom again. Because the original Routemaster bus that some of you may be familiar with, which had this open platform at the back -- in fact, I think all our Routemasters are here in California now actually. But they aren't in London. And so you're stuck on a bus. And if the bus is going to stop and it's three yards away from the bus stop, you're just a prisoner. But the mayor of London wanted to reintroduce buses with this open platform. So we've been working with Transport for London, and that organization hasn't actually been responsible as a client for a new bus for 50 years. And so we've been very lucky to have a chance to work. The brief is that the bus should use 40 percent less energy. So it's got hybrid drive. And we've been working to try to improve everything from the fabric to the format and structure and aesthetics.
I samo vrlo kratko, nešto na čemu smo radili nedavno i za što smo dobili narudžbu od gradonačelnika Londona je dizajn novog autobusa koji bi vratio putnicima ponovno njihovu slobodu. Jer izvorni Routemaster autobus s kojim su neki od vas upoznati, koji je u stražnjem dijelu imao otvorenu platformu -- zapravo, mislim kako su svi naši Routemasteri upravo ovdje u Kaliforniji. Ali nisu u Londonu. I tako ste vi zaglavili na autobusu. I ukoliko autobus stane i to tri metra dalje od autobusne postaje, vi ste samo ztvorenik. Ali gradonačelnik Londona je želio ponovno predstaviti autobuse s tim otvorenim platformama. Dakle, mi smo radili s Transportom za London, a ta organizacija nije bila odgovorna kao klijent za novi autobus proteklih 50 godina. I tako smo mi imali puno sreće dobiti priliku to raditi. Informacija je bila kako bi autobus trebao koristiti 40 posto manje energije. Dakle, ima hibridni pogon. I radili smo kako bismo pokušali poboljšati sve od tkanine do formata i strukture i estetike.
I was going to show four main projects. And this is a project for a bridge. And so we were commissioned to design a bridge that would open. And openings seemed -- everyone loves opening bridges, but it's quite a basic thing. I think we all kind of stand and watch. But the bridges that we saw that opened and closed -- I'm slightly squeamish -- but I once saw a photograph of a footballer who was diving for a ball. And as he was diving, someone had stamped on his knee, and it had broken like this. And then we looked at these kinds of bridges and just couldn't help feeling that it was a beautiful thing that had broken.
Htio sam pokazati četiri glavna projekta. A ovo je projekt za most. I tako smo dobili narudžbu da dizajniramo most koji bi se otvarao. A otvorenja su se činila -- svi vole mostove koji se otvaraju, ali to je zapravo osnovna stvar. Mislim kako svi mi stojimo i gledamo. Ali mostovi koje smo mi vidjeli a koji su se otvarali i zatvarali -- malo sam gadljiv -- ali jednom sam vidio fotografiju nogometaša koji je zaronio za loptom. I kako je zaranjao, netko mu je nagazio na koljeno, i slomilo se nekako ovako. I zatim smo promatrali sve te vrste mostova i nismo si mogli pomoći a da ne osjećamo kako je lijepa stvar to što se slomilo.
And so this is in Paddington in London. And it's a very boring bridge, as you can see. It's just steel and timber. But instead of what it is, our focus was on the way it worked. (Applause) So we liked the idea that the two farthest bits of it would end up kissing each other. (Applause) We actually had to halve its speed, because everyone was too scared when we first did it. So that's it speeded up.
I ovo je u Paddingtonu u Londonu. I to je vrlo dosadan most, kao što možete vidjeti. To je samo čelik i drvo. Ali umjesto toga što je, naš fokus je bio na tome kako je funkcionirao. (Pljesak) Stoga nam se sviđala ideja kako bi njegova dva najudaljenija kraja završila skupa i spojila se poljupcem. (Pljesak) Morali smo zapravo prepoloviti njegovu brzinu, jer su se svi previše bojali kada smo to prvi puta učinili. Dakle, ovo je ubrzano.
A project that we've been working on very recently is to design a new biomass power station -- so a power station that uses organic waste material. In the news, the subject of where our future water is going to come from and where our power is going to come from is in all the papers all the time. And we used to be quite proud of the way we generated power. But recently, any annual report of a power company doesn't have a power station on it. It has a child running through a field, or something like that.
Projekt na kojem radimo odnedavno je dizajn nove energetske stanice za biomasu -- dakle energetska stanica koja koristi organski otpadni materijal. U vijestima, predmet otkuda bi naša buduća voda mogla dolaziti i otkuda će naša energija dolaziti je u svim novinama cijelo vrijeme. I bili smo prilično ponosni na način na koji smo dobivali energiju. Ali u zadnje vrijeme, bilo koje godišnje izvješće neke energetske kompanije nema energetsku stanicu u sebi. Ima dijete koje trči kroz polje, ili nešto nalik tome.
(Laughter)
(Smijeh)
And so when a consortium of engineers approached us and asked us to work with them on this power station, our condition was that we would work with them and that, whatever we did, we were not just going to decorate a normal power station. And instead, we had to learn -- we kind of forced them to teach us. And so we spent time traveling with them and learning about all the different elements, and finding that there were plenty of inefficiencies that weren't being capitalized on. That just taking a field and banging all these things out isn't necessarily the most efficient way that they could work.
I stoga kada nam je konzorcij inžinjera pristupio i zamolio nas da radimo s njima na toj energetskoj stanici, naš uvjet je bio kako ćemo raditi s njima i kako, štogod da učinili, nećemo samo ukrasiti normalnu energetsku stanicu. I umjesto toga, morali smo učiti -- morali smo ih na neki način prisiliti da nas nauče. I tako smo proveli vrijeme putujući s njima i učeći o svim tim različitim elementima, i otkrivajući kako je postojalo mnogo neučinkovitosti koje nisu bile kapitalizirane. Kako uzimanje polja i izbacivanje svih tih stvari van nije nužno najučinkovitiji način na koji bi one mogle raditi.
So we looked at how we could compose all those elements -- instead of just litter, create one composition. And what we found -- this area is one of the poorest parts of Britain. It was voted the worst place in Britain to live. And there are 2,000 new homes being built next to this power station. So it felt this has a social dimension. It has a symbolic importance. And we should be proud of where our power is coming from, rather than something we are necessarily ashamed of.
Stoga smo gledali kako bismo mogli posložiti sve te elemente -- umjesto samog smeća, mogli bismo stvoriti jedan sastav. A ono što smo otkrili -- ovo područje je jedno od najsiromašnijih u Britaniji. Bilo je izglasano kao najgore mjesto za živjeti u Britaniji. A 2.000 novih domova se gradi odmah pokraj te elektrane. Stoga se činilo kako ovo ima društvenu dimenziju. Ima simboličku važnost. A trebali bismo biti ponosni na to otkuda naša energija dolazi, a ne se sramiti toga.
So we were looking at how we could make a power station, that, instead of keeping people out and having a big fence around the outside, could be a place that pulls you in. And it has to be -- I'm trying to get my -- 250 feet high. So it felt that what we could try to do is make a power park and actually bring the whole area in, and using the spare soil that's there on the site, we could make a power station that was silent as well. Because just that soil could make the acoustic difference. And we also found that we could make a more efficient structure and have a cost-effective way of making a structure to do this.
Stoga smo promatrali kako bismo mogli izgraditi elektranu, koja, umjesto da drži ljude podalje i ima veliku ogradu izvana, može biti mjesto koje vas vuče unutra. I mora biti -- pokušavam preračunati -- 60 metara visoka. Dakle, učinilo mi se kako bismo mogli pokušati stvoriti energetski park i zapravo unijeti cijelo područje unutra, i koristeći suvišnu zemlju koja nam na gradilištu ostane, mogli bismo izgraditi elektranu koja je jednako tiha. Jer upravo ta zemlja bi mogla učiniti akustičnu razliku. I ujedno smo otkrili kako bismo mogli strukturu učiniti učinkovitijom i imati viši troškovni učinak ukoliko bi zgrada mogla to raditi.
The finished project is meant to be more than just a power station. It has a space where you could have a bar mitzvah at the top. (Laughter) And it's a power park. So people can come and really experience this and also look out all around the area, and use that height that we have to have for its function.
Finalni proizvod je zamišljen da bude više od same elektrane. Ima prostor gdje možete imati bar mitzvah na vrhu. (Smijeh) A to je i energetski park. Dakle, ljudi mogu doći i uistinu iskusiti ovo i isto tako promatrati cijelo područje, i koristiti tu visinu koju imamo za njegovu funkciju.
In Shanghai, we were invited to build -- well we weren't invited; what am I talking about. We won the competition, and it was painful to get there. (Laughter) So we won the competition to build the U.K. pavilion. And an expo is a totally bonkers thing. There's 250 pavilions. It's the world's biggest ever expo that had ever happened. So there are up to a million people there everyday. And 250 countries all competing. And the British government saying, "You need to be in the top five." And so that became the governmental goal -- is, how do you stand out in this chaos, which is an expo of stimulus? So our sense was we had to do one thing, and only one thing, instead of trying to have everything. And so what we also felt was that whatever we did we couldn't do a cheesy advert for Britain.
U Šangaju, pozvani smo da izgradimo -- pa, nismo bili pozvani; o čemu ja pričam. Osvojili smo natječaj, i bilo je bolno doći tamo. (Smijeh) Dobili smo natječaj da izgradimo paviljon Ujedinjenog Kraljevstva. A Expo je potpuno luda stvar. Tamo ima 250 paviljona. To je najveći Expo koji se ikad dogodio na svijetu. Dakle, tamo dođe do milijun ljudi svaki dan. I 250 zemalja se sve natječu. A Britanska vlada kaže, "Morate biti u prvih pet." I tako je to postao vladin cilj -- a to je, kako ćete se uzdići u tom kaosu, koji predstavlja Expo podražaja? Dakle, naš smisao je kako smo morali učiniti jednu stvar, i samo jednu stvar, umjesto da pokušamo imati sve. I ono što smo isto osjećali jest kako, štogod da napravimo, ne možemo imati otrcan oglas za Britaniju.
(Laughter)
(Smijeh)
But the thing that was true, the expo was about the future of cities, and particularly the Victorians pioneered integrating nature into the cities. And the world's first public park of modern times was in Britain. And the world's first major botanical institution is in London, and they have this extraordinary project where they've been collecting 25 percent of all the world's plant species. So we suddenly realized that there was this thing. And everyone agrees that trees are beautiful, and I've never met anyone who says, "I don't like trees." And the same with flowers. I've never met anyone who says, "I don't like flowers." But we realized that seeds -- there's been this very serious project happening -- but that seeds -- at these major botanical gardens, seeds aren't on show. But you just have to go to a garden center, and they're in little paper packets. But this phenomenal project's been happening. So we realized we had to make a project that would be seeds, some kind of seed cathedral.
Ali ono što je bila istina, na expu se radilo o budućnosti gradova, i naročito su Viktorijci bili pioniri u integraciji prirode u gradove. A prvi javni park na svijetu modernih vremena je bio u Britaniji. A prva veća botanička institucija u svijetu je u Londonu. I imaju taj jedinstveni projekt gdje sakupljaju 25 posto svih svjetskih biljnih vrsta. Stoga smo odjednom shvatili kako to postoji. I svi se slažu kako su drveća lijepa. I nikada nisam sreo nekoga tko je rekao, "Ne volim drveća." A isto je i s cvijećem. Nikada nisam sreo nekoga tko je rekao, "Ne volim cvijeće." Ali shvatili smo kako sjemenke -- događao se taj vrlo ozbiljan projekt -- kako sjemenke -- u tim velikim botaničkim vrtovima sjemenke se ne prikazuju. Već samo morate otići u vrtni centar, i one se nalaze u malim papirnatim paketićima. Ali taj fenomenalan projekt se odvijao. Stoga smo shvatili kako moramo osmisliti projekt koje će biti sjemenke, neka vrste katedrale sjemenki.
But how could we show these teeny-weeny things? And the film "Jurassic Park" actually really helped us. Because the DNA of the dinosaur that was trapped in the amber gave us some kind of clue that these tiny things could be trapped and be made to seem precious, rather than looking like nuts. So the challenge was, how are we going to bring light and expose these things? We didn't want to make a separate building and have separate content. So we were trying to think, how could we make a whole thing emanate. By the way, we had half the budget of the other Western nations. So that was also in the mix with the site the size of a football pitch. And so there was one particular toy that gave us a clue.
Ali kako bismo mogli prikazati te sićušne stvarčice? I film "Jurski park" nam je zapravo pomogao. Jer DNK dinosaura koja je bila zatočena u jantaru dala nam je neku vrstu indikacije kako bi te male stvarčice mogle biti zatočene i odati dojam kako su dragocjene, a ne samo da izgledaju poput oraha. Dakle, izazov je bio, kako ćemo dovesti svijetlo i izložiti te stvari? Nismo željeli izgraditi odvojenu zgradu i imati odvojen sadržaj. Stoga smo pokušali razmišljati, kako bismo mogli učiniti cijelu tu stvar kao da se širi. Usput rečeno, mi smo imali pola budžeta u odnosu na druge zapadne zemlje. Dakle, to je bio također dio mješavine sa zemljištem veličine nogometnog igrališta. I tako je tamo bila jedna posebna igračka koja nam je dala trag.
(Video) Voice Over: The new Play-Doh Mop Top Hair Shop. Song: ♫ We've got the Mop Tops, the Play-Doh Mop Tops ♫ ♫ Just turn the chair and grow Play-Doh hair ♫ ♫ They're the Mop Tops ♫
(Video) Glas: Novi Play-Doh Mop Top Salon kose. Pjesma: ♫ Imamo Mop Tops, Play-Doh Mop Tops ♫ ♫ Samo okreni stolicu i uzgoji Play-Doh kosu ♫ ♫ One su Mop Tops ♫
Thomas Heatherwick: Okay, you get the idea. So the idea was to take these 66,000 seeds that they agreed to give us, and to take each seed and trap it in this precious optical hair and grow that through this box, very simple box element, and make it a building that could move in the wind. So the whole thing can gently move when the wind blows. And inside, the daylight -- each one is an optic and it brings light into the center. And by night, artificial light in each one emanates and comes out to the outside. And to make the project affordable, we focused our energy. Instead of building a building as big as the football pitch, we focused it on this one element. And the government agreed to do that and not do anything else, and focus our energy on that. And so the rest of the site was a public space. And with a million people there a day, it just felt like offering some public space.
Thomas Heatherwick: U redu, shvatili ste bit. Dakle ideja je bila uzeti tih 66.000 sjemenki koje su oni odlučili nam dati, i uzeti svaku sjemenku i zatočiti je u tu dragocjenu optičku vlas i uzgojito to kroz ovu kutiju, vrlo jednostavan element kutije, i učiniti je zgradom koja bi se mogla pomicati na vjetru. Dakle, cijela stvar se može lagano njihati kada vjetar puše. A unutra, dnevna svjetlost -- svaka od njih je optička i usmjerava svjetlost prema sredini. A tijekom noći, umjetno svjetlo u svakoj od njih prolazi kroz njih i izlazi s vanjske strane. A kako bismo učinili ovaj projekt isplativim, usmjerili smo našu energiju. Umjesto gradnje zgrade velike poput nogometnog igrališta, usmjerili smo je na taj jedan element. I vlada se složila to učiniti i ne učiniti ništa više, i usmjeriti našu energiju na to. I stoga je ostatak zemljišta bio javni prostor. A s milijun ljudi dnevno koji tamo prolaze, bilo je prikladno ponuditi javni prostor.
We worked with an AstroTurf manufacturer to develop a mini-me version of the seed cathedral, so that, even if you're partially-sighted, that it was kind of crunchy and soft, that piece of landscape that you see there. And then, you know when a pet has an operation and they shave a bit of the skin and get rid of the fur -- in order to get you to go into the seed cathedral, in effect, we've shaved it.
Radili smo s proizvođačem Astro Turfa na razvijanju minijaturne verzije katedrale sjemenki, tako da, čak i ako ste slabovidni, to je bilo pomalo hrskavo i mekano, ovaj komad krajolika koji vidite ovdje. I zatim, znate kada kućni ljubimac ide na operaciju, i oni obriju dio kože i riješe se krzna -- kako bi vas doveli u katedralu sjemenki, mi smo je obrijali.
And inside there's nothing; there's no famous actor's voice; there's no projections; there's no televisions; there's no color changing. There's just silence and a cool temperature. And if a cloud goes past, you can see a cloud on the tips where it's letting the light through. This is the only project that we've done where the finished thing looked more like a rendering than our renderings.
A unutra nema ničega; nema glasa poznatog glumca; nema projekcija; nema televizije; nema mijenjanja boja; postoji samo tišina i ugodna temperatura. A ako oblak prolazi, možete vidjeti oblak na vrhovima kroz koji dolazi svjetlost. Ovo je jedini projekt koji smo napravili gdje finalni proizvod izgleda više kao nacrt nego naši nacrti.
(Laughter)
(Smijeh)
A key thing was how people would interact. I mean, in a way it was the most serious thing you could possible do at the expo. And I just wanted to show you. The British government -- any government is potentially the worst client in the world you could ever possibly want to have. And there was a lot of terror. But there was an underlying support. And so there was a moment when suddenly -- actually, the next thing. This is the head of U.K. Trade and Investment, who was our client, with the Chinese children, using the landscape.
Ključna stvar je bila kako će ljudi vršiti interakciju. Mislim, u jednu ruku bila je to najozbiljnija stvar koju ste mogli učiniti na Expu. I samo sam vam htio pokazati. Britanska vlada -- bilo koja vlada je potencijalno najgori klijent na svijetu kojeg biste mogli poželjeti. I bilo je mnogo terora. Ali postojala je i osnovna potpora. I došao je trenutak kada odjednom -- zapravo, iduća stvar. Ovo je čelnik britanske Trgovine i investicija, koji je bio naš klijent, s kineskom djecom, koristeći krajolik.
(Video) Children: One, two, three, go.
(Video) Djeca: Jedan, dva, tri, idemo.
(Laughter)
(Smijeh)
TH: I'm sorry about my stupid voice there.
TH: Ja se ispričavam zbog svog glupog glasa tamo.
(Laughter)
(Smijeh)
So finally, texture is something. In the projects we've been working on, these slick buildings, where they might be a fancy shape, but the materiality feels the same, is something that we've been trying to research really, and explore alternatives. And the project that we're building in Malaysia is apartment buildings for a property developer. And it's in a piece of land that's this site. And the mayor of Kuala Lumpur said that, if this developer would give something that gave something back to the city, they would give them more gross floor area, buildable. So there was an incentive for the developer to really try to think about what would be better for the city.
Dakle, konačno, tekstura je nešto. Na projektima na kojima smo radili, te glatke zgrade, gdje bi moglo biti otmjenog oblika, ali materijalnost se doima istom, su nešto što smo doista pokušavali proučavati, i otkriti opcije. A projekt koji gradimo u Maleziji su stanovi za građevinsku kompaniju. A nalaze se na komadu zemlje koji je ovo zemljište. I gradonačelnik Kuala Lumpura je rekao, ako taj vlasnik građevinskog poduzeća napravi nešto što će vratiti nekako gradu, oni će mu dati više ukupne površine na kojoj može graditi. Dakle, postojao je poticaj građevinaru da doista pokuša razmisliti o tome što bi bilo bolje za grad.
And the conventional thing with apartment buildings in this part of the world is you have your tower, and you squeeze a few trees around the edge, and you see cars parked. It's actually only the first couple of floors that you really experience, and the rest of it is just for postcards. The lowest value is actually the bottom part of a tower like this. So if we could chop that away and give the building a small bottom, we could take that bit and put it at the top where the greater commercial value is for a property developer. And by linking these together, we could have 90 percent of the site as a rainforest, instead of only 10 percent of scrubby trees and bits of road around buildings.
A konvencionalna stvar sa stanovima u tom dijelu svijeta je da imate svoju zgradu, i ugurate nekoliko drveća oko rubova, i vidite parkirane aute. Zapravo, samo prvih par katova doista možete iskusiti, a svi ostali su samo za razglednicu. Najniža vrijednost je zapravo u donjem dijelu nebodera poput ovog. Dakle, ako bismo mogli to odrezati i dati zgradi malo podnožje, mogli bismo uzeti taj komad i staviti ga na vrh gdje se nalazi veća komercijalna vrijednost za građevinara. I povezujući to zajedno, mogli bismo imati 90 posto zemljišta kao prašumu, umjesto samo 10 posto zakržljalih drveća i komadiće ceste oko zgrada.
(Applause)
(Pljesak)
So we're building these buildings. They're actually identical, so it's quite cost-effective. They're just chopped at different heights. But the key part is trying to give back an extraordinary piece of landscape, rather than engulf it. And that's my final slide.
Dakle, gradimo te zgrade. One su zapravo identične, stoga je to prilično troškovno učinkovito. One su samo odrezane na različitim visinama. Ali ključni dio je pokušati vratiti natrag izniman dio krajolika, umjesto okružiti isti. I to je moj posljednji slajd.
Thank you.
Hvala vam.
(Applause)
(Pljesak)
Thank you.
Hvala vam.
(Applause)
(Pljesak)
June Cohen: So thank you. Thank you, Thomas. You're a delight. Since we have an extra minute here, I thought perhaps you could tell us a little bit about these seeds, which maybe came from the shaved bit of the building.
June Cohen: Dakle, hvala ti. Hvala ti, Thomase. Bilo je zadovoljstvo. Kako sada imamo dodatnu minutu, možda bi nam mogao reći malo više o tim sjemenkama, koje možda dolaze s obrijanog dijela zgrade.
TH: These are a few of the tests we did when we were building the structure. So there were 66,000 of these. This optic was 22 feet long. And so the daylight was just coming -- it was caught on the outside of the box and was coming down to illuminate each seed. Waterproofing the building was a bit crazy. Because it's quite hard to waterproof buildings anyway, but if you say you're going to drill 66,000 holes in it -- we had quite a time. There was one person in the contractors who was the right size -- and it wasn't a child -- who could fit between them for the final waterproofing of the building.
TH: Ovo su neki od testova koje smo radili kada smo gradili strukturu. Dakle, bilo ih je 66.000 takvih. Ova optika je 6.6 metara dugačka. I stoga je dnevna svjetlost dolazila -- uhvaćena je s vanjske strane kutije i spuštala se kako bi osvjetlila svako sjeme. Učiniti zgradu vodootpornom je bilo pomalo ludo. Jer je ionako teško učiniti zgrade vodootpornim, ali kada kažete kako ćete izbušiti 66.000 rupa u njoj -- dobro smo se zabavljali. Postojala je jedna osoba među fizičkim radnicima koja je bila prave veličine -- i nije bila dijete -- koja je mogla stati između njih a koja je privela kraju proces postajanja zgrade vodootpornom.
JC: Thank you, Thomas.
JC: Hvala ti, Thomase.
(Applause)
(Pljesak)