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.
Dobrý deň, moje meno je Thomas Heatherwick. Mám štúdio v Londýne, ktoré má zvláštny prístup k navrhovaniu budov. Keď som vyrastal, bol som priamo pri výrobe, procese, materiáloch a vynálezoch v malej mierke. A ja som sa pozeral na budovy vo väčších rozmeroch a zistil som, že budovy okolo mňa a tie, ktoré sa navrhujú a tie, ktoré som videl na verejnosti, vyvolávajú pocit chladu a sú ako bez duše. A v menšej mierke, veľkosti náušnice alebo keramickej kanvice alebo hudobného nástroja mali veci dušu. A to ma ovplyvnilo. Prvú budovu som postavil pred 20 rokmi. A odvtedy, za posledných 20 rokov, som vybudoval štúdio v Londýne. Toto je moja mama, mimochodom, vo svojom obchodíku s korálkami v Londýne. Strávil som tam veľa času rátaním korálok a podobných vecí.
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.
Len vám ukážem, pre tých, ktorí nepoznajú prácu môjho štúdia, niekoľko projektov, na ktorých sme pracovali. Toto je nemocnica. Toto je obchod pre firmu vyrábajúcu kabelky. Toto je ateliér pre umelcov. Toto je socha vyrobená z miliónu metrov vlákna a zo 150 000 sklenených korálok veľkosti golfovej loptičky. A toto je okno. Toto je dvojica chladiacich veží pre elektrickú stanicu pri Katedrále sv. Pavla v Londýne. Toto je chrám v Japonsku pre budhistického mnícha. A toto je kaviareň pri mori vo Veľkej Británii.
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.
A len veľmi rýchlo, nedávno sme začali pracovať z poverenia starostu Londýna na návrhu nového autobusu, ktorý by dal cestujúcim opäť voľnosť. Pretože pôvodný autobus Routemaster, ktorý niektorí z vás možno poznajú, mal vzadu otvorenú platformu -- vlastne, myslím, že všetky naše Routemastery sú teraz v Kalifornii. Ale nie sú v Londýne. Takže ste v autobuse uväznení. A ak ide autobus zastaviť a je tri metre od zastávky, ste ako väzeň. Ale starosta Londýna chce znovu zaviesť autobusy s otvorenou platformou. Takže pracujeme s Dopravným podnikom Londýna a táto organizácia nebola klientom pre nový autobus už 50 rokov. Máme to šťastie, že s nimi môžeme spolupracovať. V skratke, tento autobus by mal využívať o 40 percent menej energie. Má hybridné poháňanie. A pracujeme na zlepšení všetkého, od materiálu cez tvar a štruktúru až po estetiku.
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.
Chcel som vám ukázať štyri hlavné projekty. Toto je projekt mostu. Mali sme navrhnúť most, ktorý by sa otváral. A otváranie sa zdá byť -- každý má rád otváracie mosty, ale je to dosť základná vec. Myslím, že všetci sa zastavíme a pozeráme sa. Ale mosty, ktoré sme videli, sa otvárali a zatvárali -- toto bude trochu chúlostivé, ale raz som videl fotografiu futbalistu, ktorý sa naťahoval za loptou. A ako sa pohol dopredu, niekto mu stúpil na koleno, a mal ho takto zlomené. A keď sa pozriem na tento typ mostov, nemôžem si pomôcť, ale cítim, ako by sa tá krásna vec zlomila.
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.
Toto je na Paddingtone v Londýne. Je to veľmi nudný most, ako vidíte. Len oceľ a drevo. Ale namiesto toho, čo to je, sme sa zamerali na to, ako to funguje. (Potlesk) Páčila sa nám myšlienka, že dva vzdialené konce sa nakoniec pobozkajú. (Potlesk) Museli sme o polovicu znížiť rýchlosť, pretože každý sa zľakol, keď sme to pustili prvý raz. Takto je to zrýchlené.
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.
V poslednej dobe pracujeme na návrhu novej elekrárne na biomasu -- teda takej, ktorá používa organický odpadový materiál. Podľa novín bude z takej elektrárne pochádzať voda aj elektrina, ktorú budeme používať v budúcnosti. A kedysi sme boli hrdí na to, ako vyrábame elektrinu. Ale v poslednej dobe nemá žiadna výročná správa elektrárne na obale elektráreň. Je tam dieťa bežiace cez pole alebo niečo podobné.
(Laughter)
(Smiech)
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.
Takže, keď nás kontaktovalo konzorcium inžinierov s požiadavkou pracovať s nimi na tejto elektrárni, našou podmienkou bolo, že budeme spolupracovať a že, čokoľvek nakoniec urobíme, nebude to len ozdobenie normálnej elektrárne. A namiesto toho, sme sa museli naučiť -- tak trochu sme ich donútili, aby nás učili. Strávili sme veľa času cestovaním s nimi a učili sme sa o všetkých možných častiach a našli sme množstvo nedostatkov, ktoré si predtým neuvedomili. Vziať priestor a poskladať tam tie veci na hromadu, nie je nutne najefektívnejšií spôsob, ako to spraviť.
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.
Pozreli sme sa na to, ako môžeme tie prvky spojiť -- namiesto nahádzania na jednu kopu, vytvoriť kompozíciu. A zistili sme -- táto oblasť je jedna z najchudobnejších v Británii. V hlasovaní ju zvolili za najhoršie miesto pre život v Británii. A vedľa tejto elektrárne sa stavia 2000 nových domov. Takže to má sociálnu dimenziu. Má to symbolický význam. Mali by sme byť hrdí na to, odkiaľ pochádza naša energia, a nie sa za to hanbiť.
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.
A tak sme sa pozreli na to, ako postaviť elektráreň, ktorá by namiesto veľkého plotu naokolo, ktorý ľudí odrádza, bola miestom, ktoré ľudí priťahuje. Musí byť -- snažím sa spomenúť si -- musí byť 60 metrov vysoká. A tak sme si povedali, že sa pokúsime urobiť elektro park, a vtiahnuť celý priestor dnu a zvyšné miesto, ktoré je na pozemku, využijeme na výstavby zvukovo izolovanej elektrárne. Pretože už len tá zemina ten hluk zníži. A tiež sme zistili, že môžeme urobiť efektívnejšiu a ekonomicky výhodnú štruktúru, keď to bude vyzerať takto.
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.
Dokončený projekt bude viac ako len elektráreň. Je to miesto, kde môžete mať na vrchu bar mitzvah. (Smiech) A je to aj park. Takže ľudia môžu prísť a poobzerať sa a využiť tú výšku, ktorá tam kvôli funkcii musí byť.
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.
Boli sme pozvaní postaviť v Šanghaji -- teda, neboli sme pozvaní, čo to rozprávam. Vyhrali sme konkurz a bola to fuška dostať sa tam. (Smiech) Takže sme vyhrali konkurz na návrh pavilónu Veľkej Británie. A výstava je šialená vec. Je tam 250 pavilónov. Bola to najväčšia svetová výstava, aká sa kedy uskutočnila. Každý deň tam bolo viac ako milión návštevníkov. A všetkých 250 krajín medzi sebou súťažilo. A britská vláda nám povedala, "Musíte byť v prvej päťke." A tak sa vládnym cieľom stalo, ako môžete vyčnievať nad tým chaosom, ktorým je svetová výstava? Cítili sme, že sa musíme zamerať na jednu vec a len na jednu vec, namiesto snahy mať všetko. A tiež sme cítili, že bez ohľadu na to, čo nakoniec urobíme, nemôže to byť len trápna reklama na Britániu.
(Laughter)
(Smiech)
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.
Pravdou však bolo, že výstava bola o budúcnosti miest a predovšetkým vo viktoriánskom období sa príroda prvýkrát integrovala do miest. Prvé verejné parky moderných čias na svete boli v Británii. A prvá väčšia botanická inštitúcia bola založená v Londýne. A práve v nej majú neobyčajný projekt, v ktorom zbierajú 25 percent všetkých druhov rastlín na svete. Náhle sme si toto všetko uvedomili. A všetci súhlasili s tým, že stromy sú nádherné. Nikdy som nestretol nikoho, kto by povedal, "Nemám rád stromy." A rovnaké je to s kvetinami. Nikdy som nestretol nikoho, kto by povedal, "Nemám rád kvety." Ale uvedomili sme si, že semienka -- ktorým sa tento projekt vážne venuje -- ale tie semienka -- v žiadnej veľkej botanickej záhrade sa nevystavujú semienka. Nájdete ich len v záhradníckych centrách, kde sú v malých papierových vreckách. Ale tento úžasný projekt prebieha. A tak sme si povedali, že urobíme projekt, ktorý bude o semienkach, nejaká katedrála semien.
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.
Ale ako by sme mohli ukázať tieto malinké veci? Pomohol nám film Jurský park. Pretože DNA dinosaura, ktorý bol uväznený v jantári, nám vnukla nápad, že tieto malinké veci môžu byť zachytené takým spôsobom, aby vyzerali vzácne a nielen ako oriešky. Výzvou teda bolo, ako ukážeme tieto veci vo svetle? Nechceli sme urobiť osobitne budovu a potom do nej vložiť semienka. Rozmýšľali sme, ako by mohla celá budova žiariť. Mimochodom, oproti západným krajinám sme mali polovičný rozpočet. A museli sme brať do úvahy, že máme k dispozícii priestor veľkosti futbalového ihriska. Jedna hračka nám vnukla nápad.
(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) Dabing: Nový Play-Doh Mop Top Hair Shop. Pieseň: ♫ Máme Mop Tops, Play-Doh Mop Tops ♫ ♫ Len otoč stoličkou a Play-Doh bude mať dlhé vlasy ♫ ♫ Sú to 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: Takže máte predstavu. Myšlienkou bolo vziať 66 000 semienok, ktoré boli ochotní nám dať, a vziať každé z nich a uložiť ho v tomto vzácnom optickom vlákne. A pomocou tohto jednoduchého princípu ukázať semienka a postaviť budovu, ktorá sa môže hýbať vo vetre. Celá tá vec sa jemne pohybuje, keď zafúka vietor. A vnútri, denné svetlo -- každý z nich je optický a privádza svetlo do stredu. A v noci umelé osvetlenie v každom z nich žiari a svetlo vychádza von. A aby sme si to mohli dovoliť, sústredili sme sa na energiu. Namiesto stavby veľkosti futbalového ihriska sme všetko zamerali na tento jeden prvok. Vláda súhlasila, že urobíme to a len to a na to zameriame všetko naše úsilie. A zvyšok priestoru bude verejným miestom. Každý deň tam bolo milión návštevníkov, chceli sme im dať trochu miesta.
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.
Spolupracovali sme s výrobcom umelých vlákien a vyvinuli sme menšiu verziu katedrály semien, aby aj čiastočne nevidiaci mohli vidieť tú štruktúru, krehkú a mäkkú. Viete, keď ide zviera na operáciu, oholia mu trochu kože a zbavia ho srsti -- podobne aj tu, aby sme sa dostali dovnútra katedrály, trochu sme ju oholili.
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 vnútri nie je nič, žiadny hlas známeho herca, žiadne projekcie, žiadne obrazovky, žiadna meniaca sa farba, je tam len ticho a chlad. A ak ponad ňu preletí oblak, môžete ho vidieť na koncoch, ktorými sa dostáva dovnútra svetlo. Toto je jediný projekt, ktorý v skutočnosti vyzeral, akoby bol len zobrazený na počítači.
(Laughter)
(Smiech)
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.
Kľúčovou otázkou bolo, ako budú ľudia reagovať. Istým spôsobom je to najvážnejšia vec, akú môžete urobiť na výstave. Len som vám to chcel ukázať. Britská vláda -- akákoľvek vláda je najhorším možným klientom na svete, akého kedy dostanete. Bola to hrôza. Ale aj podpora. A bola tam chvíľa, kedy zrazu -- vlastne som chcel povedať niečo iné. Toto je riaditeľ U.K. Trade and Investment, ktorý bol naším klientom, a spolu s čínskymi deťmi sa zabáva v našom pavilóne.
(Video) Children: One, two, three, go.
(Video) Deti: Raz, dva, tri, ideš.
(Laughter)
(Smiech)
TH: I'm sorry about my stupid voice there.
TH: Ospravedlňujem sa za môj hlúpy hlas, ktorý tam počujete.
(Laughter)
(Smiech)
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.
A nakoniec by som niečo povedal o štruktúre povrchu. V projektoch, na ktorých sme pracovali, boli budovy hladké, mali pekný tvar, ale materiál vyzerá stále rovnako. To sme chceli podrobne preskúmať a nájsť alternatívy. A v jednom projekte v Malajzii staviame bytové domy pre investora. Na takomto kúsku zeme, toto je pozemok. A starosta Kuala Lumpur povedal, že ak tento investor dá niečo naspäť mestu, dajú mu viac pozemkov, na ktorých sa dá stavať. To bol pre investora podnet naozaj porozmýšľať, čo by bolo pre mesto dobré.
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.
Bytové domy v tejto časti sveta vyzerajú obyčajne tak, že máte vežu a okolo nej dáte na kraj zopár stromov a na zvyšku parkujú autá. Všetko sa týka len prvých pár poschodí, zvyšok je len kvôli pohľadniciam. Najmenej sú hodnotné byty v spodnej časti takejto budovy. Čo ak by sme ich odsekli a dali budove malú spodnú časť, a vzali by sme tento kúsok a dali ho navrch, kde je pre investora komerčne výhodnejší. A spojením týchto mohlo 90 percent pozemku vyzerať ako dažďový prales, namiesto 10 percent úbohých stromov a ciest okolo budovy.
(Applause)
(Potlesk)
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.
Takže takéto budovy staviame. Sú vlastne rovnaké, takže je to ekonomicky výhodné. Len sú nasekané v rôznych výškach. Ale kľúčovou časťou je pokúšať sa vrátiť tento neobyčajný kúsok zeme namiesto toho, aby sme ho len pohltili. A to je môj posledný slajd.
Thank you.
Ďakujem.
(Applause)
(Potlesk)
Thank you.
Ďakujem.
(Applause)
(Potlesk)
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: Ďakujem, Thomas. Si skvelý. Keďže máme ešte chvíľku času, možno by si nám mohol ešte niečo povedať o týchto semienkach, ktoré možno pochádzajú z tej oholenej časti budovy.
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: Toto je z pár testov, ktoré sme robili, keď sme stavali budovu. Takýchto tam bolo 66 000. Toto vlákno je skoro sedem metrov dlhé. Slnečné svetlo prichádzalo -- zachytávalo sa zvonka budovy a schádzalo dolu, pričom osvetľovalo každé semienko. Utesniť túto budovu bolo šialené. Pretože tesnenie je ťažké už samo o sebe, ale ak poviete, že do budovy potrebujete urobiť 66 000 dier -- celkom sme si to užili. Len jedna osoba mala ruku správnej veľkosti -- a nebolo to dieťa -- ktorá by sa vošla medzi tesnenie budovy.
JC: Thank you, Thomas.
JC: Ďakujem, Thomas.
(Applause)
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