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Ole Scheeren: Why great architecture should tell a story
Ole Širen (Ole Scheeren): Zašto bi značajna arhitektura trebalo da priča priču
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Za arhitektu Ola Širena su ljudi koji žive i rade unutar građevine podjednako deo te građevine kao i beton, čelik i staklo. On pita: može li arhitektura da bude o saradnji i pripovedanju, umesto o izolaciji i hijerarhiji tipičnih nebodera? Posetite pet Širenovih građevina - od upletenog tornja u Kini do plutajućeg bioskopa u okeanu u Tajlandu - i saznajte priče o njima.
Ole Scheeren - Architect
Ole Scheeren designs buildings that generate both functional and social spaces. Full bio
Ole Scheeren designs buildings that generate both functional and social spaces. Full bio
Double-click the English transcript below to play the video.
00:13
For much of the past century,
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Većim delom prošlog veka,
00:14
architecture was under the spell
of a famous doctrine.
of a famous doctrine.
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arhitektura je bila pod čarolijom
čuvene doktrine.
čuvene doktrine.
00:18
"Form follows function" had become
modernity's ambitious manifesto
modernity's ambitious manifesto
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"Formu prati funkcionalnost" je postao
ambiociozni manifest modernizma
ambiociozni manifest modernizma
00:22
and detrimental straitjacket,
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i štetna ludačka košulja,
00:24
as it liberated architecture
from the decorative,
from the decorative,
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koja je, oslobodivši arhitekturu dekora,
00:27
but condemned it to utilitarian rigor
and restrained purpose.
and restrained purpose.
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osudila je na utilitarističku strogost
i ograničenu svrhu.
i ograničenu svrhu.
00:32
Of course, architecture is about function,
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Naravno da se arhitektura
svodi na funkcionalnost,
svodi na funkcionalnost,
00:35
but I want to remember a rewriting
of this phrase by Bernard Tschumi,
of this phrase by Bernard Tschumi,
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ali želim da se setim kako je ovu frazu
preoblikovao Bernard Čumi
preoblikovao Bernard Čumi
00:38
and I want to propose
a completely different quality.
a completely different quality.
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i želim da predložim
potpuno drugačiji kvalitet.
potpuno drugačiji kvalitet.
00:43
If form follows fiction,
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Ako bi formu pratila fikcija,
00:45
we could think of architecture
and buildings as a space of stories --
and buildings as a space of stories --
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mogli bismo da razmišljamo o arhtekturi
i zgradama kao prostoru priča -
i zgradama kao prostoru priča -
00:49
stories of the people that live there,
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priča ljudi koji žive u njima,
00:52
of the people that work
in these buildings.
in these buildings.
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ljudi koji rade u ovim zgradama.
00:55
And we could start to imagine
the experiences our buildings create.
the experiences our buildings create.
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I mogli bismo početi da zamišljamo
iskustva koja naše zgrade stvaraju.
iskustva koja naše zgrade stvaraju.
00:59
In this sense, I'm interested in fiction
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U tom smislu, interesuje me fikcija,
01:02
not as the implausible but as the real,
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ne kao nešto neverovatno, već stvarno,
01:06
as the reality of what architecture means
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poput realnosti
onoga šta arhitektura znači
onoga šta arhitektura znači
01:08
for the people that live
in it and with it.
in it and with it.
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ljudima koji žive u njoj i sa njom.
01:11
Our buildings are prototypes,
ideas for how the space of living
ideas for how the space of living
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Naše zgrade su prototipi,
zamisli o tome kako bi životni prostor
zamisli o tome kako bi životni prostor
01:15
or how the space of working
could be different,
could be different,
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ili kako bi radni prostor
mogao da bude drugačiji
mogao da bude drugačiji
01:18
and what a space of culture
or a space of media could look like today.
or a space of media could look like today.
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i kako bi prostor kulture
ili prostor medija mogao da izgleda danas.
ili prostor medija mogao da izgleda danas.
01:23
Our buildings are real;
they're being built.
they're being built.
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Naše zgrade su stvarne;
u fazi su izgradnje.
u fazi su izgradnje.
01:25
They're an explicit engagement
in physical reality
in physical reality
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One su eksplicitni angažman
u fizičkoj stvarnosti
u fizičkoj stvarnosti
01:28
and conceptual possibility.
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i konceptualnoj mogućnosti.
01:32
I think of our architecture
as organizational structures.
as organizational structures.
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Gledam na našu arhitekturu
kao na organizacione strukture.
kao na organizacione strukture.
01:36
At their core is indeed
structural thinking, like a system:
structural thinking, like a system:
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U njihovoj srži je zaista
strukturno razmišljanje, nalik sistemu:
strukturno razmišljanje, nalik sistemu:
01:39
How can we arrange things
in both a functional
in both a functional
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kako da uredimo stvari i na funkcionalan
01:43
and experiential way?
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i na doživljajan način?
01:46
How can we create structures
that generate a series
that generate a series
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Kako da napravimo strukture
koje stvaraju niz
koje stvaraju niz
01:48
of relationships and narratives?
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veza i narativa?
01:51
And how can fictive stories
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I kako fiktivne priče
01:53
of the inhabitants and users
of our buildings
of our buildings
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o stanovnicima i korisnicima
naših zgrada
naših zgrada
01:56
script the architecture,
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daju scenario za arhitekturu,
01:58
while the architecture scripts
those stories at the same time?
those stories at the same time?
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dok arhitektura istovremeno
podešava scenario za te priče?
podešava scenario za te priče?
02:02
And here comes the second term into play,
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A ovde u igru ulazi drugi termin,
02:04
what I call "narrative hybrids" --
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koji zovem "narativnim hibridima" -
02:06
structures of multiple
simultaneous stories
simultaneous stories
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to su strukture sa višestrukim
istovremenim pričama
istovremenim pričama
02:09
that unfold throughout
the buildings we create.
the buildings we create.
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koje se odvijaju
kroz zgrade koje stvaramo.
kroz zgrade koje stvaramo.
02:12
So we could think of architecture
as complex systems of relationships,
as complex systems of relationships,
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Mogli bismo da razmišljamo o arhitekturi
kao složenom sistemu odnosa,
kao složenom sistemu odnosa,
02:17
both in a programmatic and functional way
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i na programski i na funkcionalan način,
02:20
and in an experiential
and emotive or social way.
and emotive or social way.
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kao i na iskustveni
i emotivan ili društven način.
i emotivan ili društven način.
02:27
This is the headquarters
for China's national broadcaster,
for China's national broadcaster,
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Ovo je sedište
kineskog nacionalnog emitera,
kineskog nacionalnog emitera,
02:29
which I designed together
with Rem Koolhaas at OMA.
with Rem Koolhaas at OMA.
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kojeg sam dizajnirao
zajedno sa Remom Kulasom iz OMA.
zajedno sa Remom Kulasom iz OMA.
02:33
When I first arrived in Beijing in 2002,
the city planners showed us this image:
the city planners showed us this image:
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Kada sam prvi put stigao u Peking 2002,
gradski projektant nam je pokazao ovo:
gradski projektant nam je pokazao ovo:
02:38
a forest of several hundred skyscrapers
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šumu od nekoliko stotina nebodera
koji će da niknu
u centralnom poslovnom okrugu,
u centralnom poslovnom okrugu,
02:40
to emerge in the central
business district,
business district,
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02:42
except at that time,
only a handful of them existed.
only a handful of them existed.
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samo što je tada
samo nekoliko njih postojalo.
samo nekoliko njih postojalo.
Pa smo morali da dizajniramo u kontekstu
o kom skoro ništa nismo znali,
o kom skoro ništa nismo znali,
02:45
So we had to design in a context
that we knew almost nothing about,
that we knew almost nothing about,
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02:48
except one thing:
it would all be about verticality.
it would all be about verticality.
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osim jedne stvari:
sve će se svoditi na vertikalnost.
sve će se svoditi na vertikalnost.
02:52
Of course, the skyscraper is vertical --
it's a profoundly hierarchical structure,
it's a profoundly hierarchical structure,
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Naravno da je neboder vertikalan -
to je krajnje hijerarhijska struktura,
to je krajnje hijerarhijska struktura,
02:57
the top always the best,
the bottom the worst,
the bottom the worst,
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vrh je uvek najbolji, dno je uvek najgore,
02:59
and the taller you are,
the better, so it seems.
the better, so it seems.
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a što ste više, to bolje, kako se čini.
03:03
And we wanted to ask ourselves,
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A mi smo želeli da se zapitamo,
03:05
could a building be about
a completely different quality?
a completely different quality?
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može li kod zgrade da se radi
o skroz drugačijem kvalitetu?
o skroz drugačijem kvalitetu?
03:08
Could it undo this hierarchy,
and could it be about a system
and could it be about a system
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Može li da se poništi hijerarhija
i može li da se radi o sistemu
i može li da se radi o sistemu
03:11
that is more about collaboration,
rather than isolation?
rather than isolation?
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koji je usmereniji na saradnju
nego izolaciju?
nego izolaciju?
03:15
So we took this needle
and bent it back into itself,
and bent it back into itself,
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Pa smo uzeli ovu iglu
i savili je nazad u sebe samu,
i savili je nazad u sebe samu,
03:18
into a loop of interconnected activities.
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u petlju povezanih aktivnosti.
03:21
Our idea was to bring all aspects
of television-making
of television-making
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Naša zamisao je bila da spojimo
sve aspekte televizijske delatnosti
sve aspekte televizijske delatnosti
03:25
into one single structure: news,
program production, broadcasting,
program production, broadcasting,
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u jednu strukturu: vesti,
programsku produkciju, prenose,
programsku produkciju, prenose,
03:29
research and training, administration --
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istraživanje i obuku, administraciju -
03:31
all into a circuit
of interconnected activities
of interconnected activities
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sve u kolo povezanih aktivnosti,
03:35
where people would meet in a process
of exchange and collaboration.
of exchange and collaboration.
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gde bi se ljudi susretali
u procesu razmene i saradnje.
u procesu razmene i saradnje.
03:39
I still very much like this image.
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Još uvek mi se sviđa ovaj prizor.
03:41
It reminds one of biology classes,
if you remember the human body
if you remember the human body
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Podseća me na časove iz biologije,
ako se sećate ljudskog tela
ako se sećate ljudskog tela
sa svim njegovim organima
i cirkulatornim sistemima, kao u školi.
i cirkulatornim sistemima, kao u školi.
03:44
with all its organs
and circulatory systems, like at school.
and circulatory systems, like at school.
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03:47
And suddenly you think of architecture
no longer as built substance,
no longer as built substance,
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I iznenada više ne razmišljate
o arhitekturi kao o izgrađenoj materiji,
o arhitekturi kao o izgrađenoj materiji,
03:51
but as an organism, as a life form.
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već kao organizmu, kao obliku života.
03:54
And as you start to dissect this organism,
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I kako počinjete
da secirate ovaj organizam,
da secirate ovaj organizam,
03:56
you can identify a series
of primary technical clusters --
of primary technical clusters --
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možete da prepoznate
niz osnovnih tehničkih sektora -
niz osnovnih tehničkih sektora -
04:01
program production,
broadcasting center and news.
broadcasting center and news.
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programska produkcija,
centar za emitovanje i vesti.
centar za emitovanje i vesti.
04:04
Those are tightly intertwined
with social clusters:
with social clusters:
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Ovi su tesno prepleteni
sa društvenim sektorima:
sa društvenim sektorima:
04:08
meeting rooms, canteens, chat areas --
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prostorijama za sastanke,
menzama, prostorima za ćaskanje -
menzama, prostorima za ćaskanje -
04:11
informal spaces for people
to meet and exchange.
to meet and exchange.
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neformalnim prostorima
gde se ljudi sreću i razgovaraju.
gde se ljudi sreću i razgovaraju.
04:15
So the organizational structure
of this building was a hybrid
of this building was a hybrid
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Pa je organizaciona struktura
ove građevine bio hibrid
ove građevine bio hibrid
04:19
between the technical and the social,
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između tehnološkog i društvenog,
04:21
the human and the performative.
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ljudskog i izvršnog.
04:24
And of course, we used the loop
of the building as a circulatory system,
of the building as a circulatory system,
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I, naravno, koristili smo petlju zgrade
kao cirkulatorni sistem
kao cirkulatorni sistem
04:27
to thread everything together
and to allow both visitors and staff
and to allow both visitors and staff
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da bi sve upleli zajedno i omogućili,
i posetiocima i zaposlenim,
i posetiocima i zaposlenim,
04:31
to experience all these different
functions in a great unity.
functions in a great unity.
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da dožive sve te različite funkcije
u velikom jedinstvu.
u velikom jedinstvu.
04:37
With 473,000 square meters,
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Sa svojih 473,000 metara kvardatnih,
04:40
it is one of the largest buildings
ever built in the world.
ever built in the world.
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ovo je jedna od najvećih građevina
ikad napravljenih na svetu.
ikad napravljenih na svetu.
04:43
It has a population of over 10,000 people,
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U njoj živi 10,000 ljudi
04:45
and of course, this is a scale
that exceeds the comprehension
that exceeds the comprehension
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i to je naravno razmera
koja prevazilazi razumevanje mnogo čega
koja prevazilazi razumevanje mnogo čega
04:49
of many things and the scale
of typical architecture.
of typical architecture.
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i razmere tipične arhitekture.
04:52
So we stopped work for a while
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Pa smo stali s radom na kratko,
04:53
and sat down and cut 10,000 little sticks
and glued them onto a model,
and glued them onto a model,
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seli smo i isekli 10,000 štapića
i zalepili smo ih na maketu,
i zalepili smo ih na maketu,
04:58
just simply to confront ourselves
with what that quantity actually meant.
with what that quantity actually meant.
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prosto da bismo se suočili s tim
šta ta količina zaista znači.
šta ta količina zaista znači.
Ali naravno da se ne radi o broju,
05:03
But of course, it's not a number,
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05:04
it is the people, it is a community
that inhabits the building,
that inhabits the building,
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radi se o ljudima, o zajednici
koja naseljava zgradu,
koja naseljava zgradu,
05:09
and in order to both comprehend
this, but also script this architecture,
this, but also script this architecture,
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i kako bismo razumeli ovo,
ali i napisali scenario ove arhitekture,
ali i napisali scenario ove arhitekture,
05:14
we identified five characters,
hypothetical characters,
hypothetical characters,
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identifikovali smo pet likova,
hipotetičnih likova,
hipotetičnih likova,
05:17
and we followed them throughout their day
in a life in this building,
in a life in this building,
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i pratili smo ih tokom njihovog
jednog dana života u ovoj zgradi,
jednog dana života u ovoj zgradi,
05:21
thought of where they would meet,
what they would experience.
what they would experience.
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zamišljali smo gde bi se susretali,
šta bi doživljavali.
šta bi doživljavali.
Pa je to bio način
da napravimo scenario i dizajn zgrade,
da napravimo scenario i dizajn zgrade,
05:24
So it was a way to script and design
the building, but of course,
the building, but of course,
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ali naravno i da izrazimo njena iskustva.
05:27
also to communicate its experiences.
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05:29
This was part of an exhibition
with the Museum of Modern Art
with the Museum of Modern Art
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Ovo je deo izložbe
u Muzeju moderne umetnosti
u Muzeju moderne umetnosti
05:33
in both New York and Beijing.
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u Njujorku i Pekingu.
05:36
This is the main broadcast control room,
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Ovo je glavna prostorija za emitovanje,
05:39
a technical installation so large,
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tehnička instalacija toliko velika
05:40
it can broadcast over 200
channels simultaneously.
channels simultaneously.
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da može da prenosi 200 kanala istovremeno.
05:45
And this is how the building
stands in Beijing today.
stands in Beijing today.
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A ovako danas izgleda ta zgrada u Pekingu.
05:49
Its first broadcast live
was the London Olympics 2012,
was the London Olympics 2012,
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Njen prvi živi prenos
je bila Olimpijada u Londonu 2012,
je bila Olimpijada u Londonu 2012,
05:53
after it had been completed
from the outside for the Beijing Olympics.
from the outside for the Beijing Olympics.
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nakon što je spolja završena
za Olimpijadu u Pekingu.
za Olimpijadu u Pekingu.
05:57
And you can see at the very tip
of this 75-meter cantilever,
of this 75-meter cantilever,
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I možete da vidite na samom vrhu
ovog nosača od 75 metara
ovog nosača od 75 metara
06:02
those three little circles.
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ta tri kružića.
06:03
And they're indeed part of a public loop
that goes through the building.
that goes through the building.
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I oni su uistinu deo javne petlje
koja prolazi kroz zgradu.
koja prolazi kroz zgradu.
06:07
They're a piece of glass
that you can stand on
that you can stand on
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To su komadi stakla
na kojim možete da stojite
na kojim možete da stojite
06:09
and watch the city pass by
below you in slow motion.
below you in slow motion.
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i da posmatrate grad
kako usporeno prolazi ispod vas.
kako usporeno prolazi ispod vas.
06:15
The building has become
part of everyday life in Beijing.
part of everyday life in Beijing.
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Zgrada je postala
deo pekinške svakodnevice.
deo pekinške svakodnevice.
06:18
It is there.
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Nalazi se ovde.
06:20
It has also become a very popular backdrop
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Takođe je postala poznata pozadina
06:23
for wedding photography.
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na slikama s venčanja.
06:24
(Laughter)
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(Smeh)
06:30
But its most important moment
is maybe sill this one.
is maybe sill this one.
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Ali njen do sad najvažniji trenutak
je možda ovaj.
je možda ovaj.
06:33
"That's Beijing" is similar to "Time Out,"
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"That's Beijing" je sličan "Time Out-u";
06:35
a magazine that broadcasts what
is happening in town during the week,
is happening in town during the week,
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to je časopis koji prenosi
šta se dešava u gradu tokom nedelje;
šta se dešava u gradu tokom nedelje;
06:40
and suddenly you see the building
portrayed no longer as physical matter,
portrayed no longer as physical matter,
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i iznenada vidite zgradu prikazanu,
ne više kao fizičku stvar,
ne više kao fizičku stvar,
06:45
but actually as an urban actor,
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već kao urbanog aktera,
06:47
as part of a series of personas
that define the life of the city.
that define the life of the city.
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kao deo niza ličnosti
koje definišu gradski život.
koje definišu gradski život.
06:52
So architecture suddenly
assumes the quality of a player,
assumes the quality of a player,
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Pa, iznenada arhitektura
preuzima kvalitet učesnika,
preuzima kvalitet učesnika,
06:57
of something that writes stories
and performs stories.
and performs stories.
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nečega što piše priče i ostvaruje priče.
07:02
And I think that could be one
of its primary meanings
of its primary meanings
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I smatram da bi to moglo da bude
jedno od najvažnijih značenja
jedno od najvažnijih značenja
07:06
that we believe in.
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u koje verujemo.
07:08
But of course, there's another
story to this building.
story to this building.
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Međutim, naravno da ova zgrada
ima još jednu priču.
ima još jednu priču.
07:10
It is the story of the people
that made it --
that made it --
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To je priča o ljudima
koju su je sagradili -
koju su je sagradili -
07:13
400 engineers and architects
that I was guiding
that I was guiding
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400 inženjera i arhitekata
koje sam predvodio
koje sam predvodio
07:16
over almost a decade of collaborative work
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tokom skoro decenije saradnje
07:19
that we spent together
in scripting this building,
in scripting this building,
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koju smo proveli praveći nacrt ove zgrade,
07:22
in imagining its reality
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zamišljajući njenu stvarnost
07:24
and ultimately getting it built in China.
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i naposletku gradeći je u Kini.
07:29
This is a residential development
in Singapore, large scale.
in Singapore, large scale.
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Ovo je stambeni kvart
velikih razmera, u Singapuru.
velikih razmera, u Singapuru.
07:34
If we look at Singapore like most of Asia
and more and more of the world,
and more and more of the world,
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Ako pogledamo Singapur, kao i većinom
Azije i većim delom sveta,
Azije i većim delom sveta,
07:38
of course, it is dominated by the tower,
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naravno, njime dominiraju tornjevi,
07:42
a typology that indeed creates
more isolation than connectedness,
more isolation than connectedness,
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tipologija koja zaista stvara
više izolacije nego povezanosti,
više izolacije nego povezanosti,
07:46
and I wanted to ask, how
could we think about living,
could we think about living,
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a želeo sam da pitam
možemo li da razmišljamo o životu,
možemo li da razmišljamo o životu,
07:50
not only in terms of the privacy
and individuality of ourselves
and individuality of ourselves
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ne samo u smislu privatnosti
i sopstvene individualnosti
i sopstvene individualnosti
07:53
and our apartment,
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i naših stanova,
07:55
but in an idea of a collective?
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već kao o ideji kolektivnog?
07:58
How could we think about creating
a communal environment
a communal environment
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Kako možemo da razmišljamo o stvaranju
zajedničke sredine
zajedničke sredine
08:01
in which sharing things was as great
as having your own?
as having your own?
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u kojoj je deljenje stvari jednako sjajno
kao i njihovo posedovanje?
kao i njihovo posedovanje?
08:06
The typical answer to the question --
we had to design 1,040 apartments --
we had to design 1,040 apartments --
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Tipičan odgovor na to pitanje -
morali smo da dizajniramo 1,040 stanova -
morali smo da dizajniramo 1,040 stanova -
08:11
would have looked like this:
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izgledao bi ovako:
Uprava za projektovanje
je ograničila izgradnju na 24 sprata,
je ograničila izgradnju na 24 sprata,
08:12
24-story height limit given
by the planning authorities,
by the planning authorities,
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08:15
12 towers with nothing
but residual in between --
but residual in between --
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12 tornjeva sa samo prazninom između -
08:19
a very tight system that,
although the tower isolates you,
although the tower isolates you,
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veoma zbijen sistem,
iako vas toranj izoluje,
iako vas toranj izoluje,
08:22
it doesn't even give you privacy,
because you're so close to the next one,
because you're so close to the next one,
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on vam čak ni ne obezbeđuje privatnost
jer ste tako blizu jedni drugih,
jer ste tako blizu jedni drugih,
08:26
that it is very questionable
what the qualities of this would be.
what the qualities of this would be.
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da je veoma upitno
kakav bi bio kvalitet toga.
kakav bi bio kvalitet toga.
08:30
So I proposed to topple the towers,
throw the vertical into the horizontal
throw the vertical into the horizontal
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Pa sam predložio da oborimo tornjeve,
da bacimo vertikalu u horizontalu
da bacimo vertikalu u horizontalu
08:34
and stack them up,
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i da ih nagomilamo,
08:36
and what looks a bit random from the side,
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a ono što izgleda
malčice nasumično sa strane,
malčice nasumično sa strane,
08:39
if you look from the viewpoint
of the helicopter,
of the helicopter,
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ako pogledate iz ugla helikoptera,
08:42
you can see its organizational structure
is actually a hexagonal grid,
is actually a hexagonal grid,
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videćete da je njena organizaciona
struktura zapravo heksagonalna rešetka
struktura zapravo heksagonalna rešetka
08:46
in which these horizontal
building blocks are stacked up
building blocks are stacked up
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u kojoj su ovi horizontalni
građevinski blokovi naslagani
građevinski blokovi naslagani
08:50
to create huge outdoor courtyards --
central spaces for the community,
central spaces for the community,
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kako bi tvorili velika spoljna dvorišta -
centralne prostore za zajednicu,
centralne prostore za zajednicu,
08:55
programmed with a variety
of amenities and functions.
of amenities and functions.
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programirane raznovrsnim
pogodnostima i funkcijama.
pogodnostima i funkcijama.
08:59
And you see that these courtyards
are not hermetically sealed spaces.
are not hermetically sealed spaces.
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A vidite da ova dvorišta
nisu hermetički zatvoreni prostori.
nisu hermetički zatvoreni prostori.
09:03
They're open, permeable;
they're interconnected.
they're interconnected.
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Otvorena su, propustljiva,
međusobno povezana.
međusobno povezana.
09:05
We called the project "The Interlace,"
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Nazvali smo projekat: "Preplitanje";
09:07
thinking that we interlace
and interconnect
and interconnect
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razmišljali smo o preplitanju
i međupovezanosti
i međupovezanosti
09:10
the human beings and the spaces alike.
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ljudskih bića i prostora.
09:14
And the detailed quality
of everything we designed
of everything we designed
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A detaljistički kvalitet
svega što smo dizajnirali
svega što smo dizajnirali
09:17
was about animating the space
and giving the space to the inhabitants.
and giving the space to the inhabitants.
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se svodio na oživljavanje porostora
i pružanje prostora stanarima.
i pružanje prostora stanarima.
09:21
And, in fact, it was a system
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I, zapravo, to je bio sistem
09:22
where we would layer
primarily communal spaces,
primarily communal spaces,
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gde smo stavljali slojeve,
pre svega, zajedničkih prostora,
pre svega, zajedničkih prostora,
09:26
stacked to more and more
individual and private spaces.
individual and private spaces.
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naslagane uz sve više i više
individualnog i privatnog prostora.
individualnog i privatnog prostora.
09:30
So we would open up a spectrum
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Razotkrivali smo spektar
09:32
between the collective and the individual.
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između kolektivnog i individualnog.
09:36
A little piece of math:
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Malo matematike:
09:37
if we count all the green
that we left on the ground,
that we left on the ground,
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ako uračunamo sve zelenilo
koje smo ostavili na tlu,
koje smo ostavili na tlu,
09:39
minus the footprint of the buildings,
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a oduzmemo otisak zgrada,
09:42
and we would add back
the green of all the terraces,
the green of all the terraces,
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i dodamo opet zelenilo sa terasa,
09:45
we have 112 percent green space,
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dobićemo 112 procenata zelenog prostora,
09:47
so more nature than not
having built a building.
having built a building.
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dakle imamo više prirode
nego pre izgradnje zgrade.
nego pre izgradnje zgrade.
09:50
And of course this little piece of math
shows you that we are multiplying
shows you that we are multiplying
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A ova matematika vam pokazuje
da smo umnožavali
da smo umnožavali
09:54
the space available
to those who live there.
to those who live there.
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prostor dostupan onima koji tu žive.
09:57
This is, in fact, the 13th floor
of one of these terraces.
of one of these terraces.
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Ovo je zapravo terasa na 13. spratu.
10:01
So you see new datum planes,
new grounds planes for social activity.
new grounds planes for social activity.
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Dakle, vidite nove prostorne površine,
nove terene za društvene aktivnosti.
nove terene za društvene aktivnosti.
10:06
We paid a lot of attention
to sustainability.
to sustainability.
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Obratili smo mnogo pažnje na održivost.
10:10
In the tropics, the sun is the most
important thing to pay attention to,
important thing to pay attention to,
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U tropima je najvažnije
obratiti pažnju na sunce
obratiti pažnju na sunce
10:13
and, in fact, it is seeking
protection from the sun.
protection from the sun.
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i, zapravo, zahteva se zaštita od sunca.
10:16
We first proved that all apartments
would have sufficient daylight
would have sufficient daylight
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Prvo smo dokazali da će svi stanovi
imati dovoljno dnevne svetlosti
imati dovoljno dnevne svetlosti
10:20
through the year.
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tokom godine.
10:21
We then went on to optimize
the glazing of the facades
the glazing of the facades
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Zatim smo prešli na optimizaciju
izglačanosti fasada
izglačanosti fasada
10:24
to minimize the energy
consumption of the building.
consumption of the building.
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kako bismo minimizirali
potrošnju građevine.
potrošnju građevine.
10:27
But most importantly, we could prove
that through the geometry
that through the geometry
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Ali, još važnije je da smo dokazali
da će putem geometrije
da će putem geometrije
10:31
of the building design,
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dizajna zgrade,
10:33
the building itself would provide
sufficient shading to the courtyards
sufficient shading to the courtyards
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zgrada sama da obezbeđuje
dovoljnu količinu hlada dvorištima,
dovoljnu količinu hlada dvorištima,
10:36
so that those would be usable
throughout the entire year.
throughout the entire year.
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kako bi ona bila upotrebljiva
tokom cele godine.
tokom cele godine.
10:39
We further placed water bodies
along the prevailing wind corridors,
along the prevailing wind corridors,
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Pri tom smo postavili vodene površine
duž vodećih vetrovitih koridora,
duž vodećih vetrovitih koridora,
10:42
so that evaporative cooling
would create microclimates
would create microclimates
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kako bi rashlađena para
stvarala mikroklime
stvarala mikroklime
10:46
that, again, would enhance
the quality of those spaces
the quality of those spaces
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koje bi, opet, poboljšavale
kvalitet ovih prostora
kvalitet ovih prostora
10:50
available for the inhabitants.
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dostupnih stanarima.
10:53
And it was the idea of creating
this variety of choices,
this variety of choices,
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A zamisao je bila da se stvori
raznovrsnost izbora,
raznovrsnost izbora,
10:57
of freedom to think
where you would want to be,
where you would want to be,
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sloboda da razmislite
gde želite da budete,
gde želite da budete,
11:01
where you would want to escape, maybe,
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gde želite da pobegnete, možda,
11:03
within the own complexity
of the complex in which you live.
of the complex in which you live.
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unutar sopstvene složenosti
kompleksa u kom živite.
kompleksa u kom živite.
11:09
But coming from Asia to Europe:
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Međutim, prelazimo iz Azije u Evropu:
11:11
a building for a German
media company based in Berlin,
media company based in Berlin,
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zgrada za nemačku medijsku firmu,
smeštenu u Berlinu,
smeštenu u Berlinu,
11:14
transitioning from the traditional
print media to the digital media.
print media to the digital media.
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koja je prelazila iz tradicionalne štampe
u digitalni medij.
u digitalni medij.
11:19
And its CEO asked a few
very pertinent questions:
very pertinent questions:
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A njihov izvršni direktor
je pitao nekoliko važnih pitanja:
je pitao nekoliko važnih pitanja:
11:23
Why would anyone today
still want to go to the office,
still want to go to the office,
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zašto bi bilo ko danas
želeo da dolazi u kancelariju
želeo da dolazi u kancelariju
11:25
because you can actually work anywhere?
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jer možete, zapravo, da radite od svuda?
11:27
And how could a digital identity
of a company be embodied
of a company be embodied
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I kako bi digitalni identitet firme
mogao da bude otelotvoren
mogao da bude otelotvoren
11:31
in a building?
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1151
u zgradi?
11:34
We created not only an object,
but at the center of this object
but at the center of this object
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Ne samo da smo napravili objekat,
već smo u središtu tog objekta
već smo u središtu tog objekta
11:37
we created a giant space,
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napravili ogroman prostor,
11:39
and this space was about
the experience of a collective,
the experience of a collective,
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a ovaj prostor je o kolektivnom iskustvu,
11:43
the experience of collaboration
and of togetherness.
and of togetherness.
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iskustvu saradnje i združenosti.
11:47
Communication, interaction
as the center of a space
as the center of a space
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Komunikacija, inetrakcija
u središtu prostora
u središtu prostora
11:50
that in itself would float,
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koji bi sam po sebi lebdeo,
poput nečega što smo nazvali
oblakom saradnje,
oblakom saradnje,
11:53
like what we call the collaborative cloud,
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11:55
in the middle of the building,
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u sred zgrade;
11:56
surrounded by an envelope
of standard modular offices.
of standard modular offices.
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koji je opkoljen slojem
standardnih modularnih kancelarija.
standardnih modularnih kancelarija.
12:00
So with only a few steps
from your quiet work desk,
from your quiet work desk,
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Dakle, samo za nekoliko koraka
od vašeg tihog stola,
od vašeg tihog stola,
12:04
you could participate
in the giant collective experience
in the giant collective experience
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mogli biste da učestvujete
u ogromnom kolektivnom iskustvu
u ogromnom kolektivnom iskustvu
12:07
of the central space.
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središnjeg prostora.
12:12
Finally, we come to London,
a project commissioned
a project commissioned
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3579
Na kraju stižemo do Londona,
do projekta koga je naručila
do projekta koga je naručila
12:15
by the London Legacy
Development Corporation
Development Corporation
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Londonska firma za razvoj legata
12:18
of the Mayor of London.
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londonskog gradonačelnika.
12:20
We were asked to undertake a study
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Zatraženo je od nas
da sprovedemo istraživanje
da sprovedemo istraživanje
12:22
and investigate the potential of a site
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i da istražimo potencijal prostora
12:25
out in Stratford in the Olympic Park.
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u Olimpijskom parku u Stratfordu.
12:28
In the 19th century, Prince Albert
had created Albertopolis.
had created Albertopolis.
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Princ Albert je u 19. veku
napravio Albertopolis.
napravio Albertopolis.
12:32
And Boris Johnson thought
of creating Olympicopolis.
of creating Olympicopolis.
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A Boris Džonson je razmišljao
o izgradnji Olimpikopolisa.
o izgradnji Olimpikopolisa.
12:37
The idea was to bring together
some of Britain's greatest institutions,
some of Britain's greatest institutions,
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Zamisao je bila da se okupe neke
od najvažnijih britanskih institucija,
od najvažnijih britanskih institucija,
12:41
some international ones,
and to create a new system of synergies.
and to create a new system of synergies.
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3860
neke međunarodne
i da se stvori novi sinergijski sistem.
i da se stvori novi sinergijski sistem.
12:45
Prince Albert, as yet, created
Albertopolis in the 19th century,
Albertopolis in the 19th century,
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Princ Albert je svojevremeno,
sagradivši Albertopolis u 19. veku.
sagradivši Albertopolis u 19. veku.
12:50
thought of showcasing
all achievements of mankind,
all achievements of mankind,
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imao na umu prikazivanje
svih ljudskih dostignuća,
svih ljudskih dostignuća,
12:52
bringing arts and science closer together.
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spajanje umetnosti i nauke.
12:56
And he built Exhibition Road,
a linear sequence of those institutions.
a linear sequence of those institutions.
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I sagradio je Izložbeni put,
linearni niz ovih institucija.
linearni niz ovih institucija.
13:01
But of course, today's society
has moved on from there.
has moved on from there.
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Međutim, naravno da je današnje društvo
odmaklo odatle.
odmaklo odatle.
13:05
We no longer live in a world
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Više ne živimo u svetu
13:07
in which everything
is as clearly delineated
is as clearly delineated
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2680
u kome je sve jasno ocrtano
13:10
or separated from each other.
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1502
ili odvojeno jedno od drugog.
13:11
We live in a world in which
boundaries start to blur
boundaries start to blur
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Živimo u svetu u kome
granice počinju da se mute
granice počinju da se mute
13:15
between the different domains,
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između različitih domena
13:16
and in which collaboration and interaction
becomes far more important
becomes far more important
237
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i u kome saradnja i interakcija
postaju daleko važnije
postaju daleko važnije
13:20
than keeping separations.
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1784
od očuvanja razdvojenosti.
13:23
So we wanted to think
of a giant culture machine,
of a giant culture machine,
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3019
Pa smo želeli da razmislimo
o džinovskoj kulturnoj mašini,
o džinovskoj kulturnoj mašini,
13:26
a building that would orchestrate
and animate the various domains,
and animate the various domains,
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građevini koja bi orkestrirala
i oživela različite domene,
i oživela različite domene,
13:31
but allow them to interact
and collaborate.
and collaborate.
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ali bi im omogućavala
da interaguju i da sarađuju.
da interaguju i da sarađuju.
13:35
At the base of it is a very simple module,
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2105
U njenoj osnovi je jednostavan modul,
13:37
a ring module.
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1151
modul prstena.
13:38
It can function as a double-loaded
corridor, has daylight, has ventilation.
corridor, has daylight, has ventilation.
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3643
On može da funkcioniše kao dvostrani
hodnik, ima dnevnu svetlost, ventilaciju.
hodnik, ima dnevnu svetlost, ventilaciju.
13:42
It can be glazed over
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1151
Može da se izmeni
13:43
and turned into a giant
exhibitional performance space.
exhibitional performance space.
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2873
i pretvori u ogromni izložbeni prosor.
13:46
These modules were stacked together
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Ovi moduli su zajedno naslagani
13:48
with the idea that almost any
function could, over time,
function could, over time,
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s idejom da skoro svaka funkcija,
vremenom,
vremenom,
13:52
occupy any of these modules.
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može da zauzme bilo koji modul.
13:53
So institutions could shrink or contract,
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Dakle, institucije se mogu
skupljati ili sklapati,
skupljati ili sklapati,
13:57
as, of course, the future of culture
is, in a way, the most uncertain of all.
is, in a way, the most uncertain of all.
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kako je naravno, budućnost kulture,
na neki način, najneizvesnija od svega.
na neki način, najneizvesnija od svega.
14:02
This is how the building sits,
adjacent to the Aquatics Centre,
adjacent to the Aquatics Centre,
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Ovako zgrada sedi
u blizini Vodenog centra,
u blizini Vodenog centra,
14:05
opposite the Olympic Stadium.
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preko puta Olimpijskog stadiona.
14:08
And you can see how
its cantilevering volumes
its cantilevering volumes
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I možete da vidite kako
njegove noseće prostorije
njegove noseće prostorije
14:10
project out and engage the public space
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projektuju i angažuju javni prostor
14:13
and how its courtyards
animate the public inside.
animate the public inside.
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i kako njegova dvorišta
animiraju publiku u unutrašnjosti.
animiraju publiku u unutrašnjosti.
14:19
The idea was to create a complex system
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Zamisao je bila
da se napravi složen sistem
da se napravi složen sistem
14:22
in which institutional entities
could maintain their own identity,
could maintain their own identity,
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u kom bi institucionalne jedinice
mogle da zadrže sopstveni identitet,
mogle da zadrže sopstveni identitet,
14:27
in which they would not
be subsumed in a singular volume.
be subsumed in a singular volume.
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u kom ne bi bile
podvedene u jednu prostoriju.
podvedene u jednu prostoriju.
14:30
Here's a scale comparison
to the Centre Pompidou in Paris.
to the Centre Pompidou in Paris.
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Ovo je poređenje njegove veličine
s centrom Pompidu u Parizu.
s centrom Pompidu u Parizu.
14:33
It both shows the enormous scale
and potential of the project,
and potential of the project,
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Oba su ogromnih razmera
i pokazuju potencijal projekta,
i pokazuju potencijal projekta,
14:37
but also the difference:
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ali takođe se vide razlike:
14:38
here, it is a multiplicity
of a heterogeneous structure,
of a heterogeneous structure,
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Ovde se radi o mnoštvu
heterogenih struktura,
heterogenih struktura,
14:42
in which different entities can interact
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u kojim različite jedinice
mogu da interaguju,
mogu da interaguju,
14:45
without losing their own identity.
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a da ne izgube sopstveni identitet.
14:48
And it was this thought: to create
an organizational structure
an organizational structure
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A zamisao je bila sledeća:
napraviti organizacionu građevinu
napraviti organizacionu građevinu
14:52
that would allow for multiple
narratives to be scripted --
narratives to be scripted --
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koja bi omogućavala
višestrukim narativima da se ispišu -
višestrukim narativima da se ispišu -
14:55
for those in the educational parts
that create and think culture;
that create and think culture;
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za one iz obrazovnih delova
koji stvaraju i osmišljavaju kulturu;
koji stvaraju i osmišljavaju kulturu;
15:00
for those that present
the visual arts, the dance;
the visual arts, the dance;
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za one koji predstavljaju
vizuelne umetnosti, ples;
vizuelne umetnosti, ples;
15:04
and for the public to be
admitted into all of this
admitted into all of this
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i za javnost koju će sve ovo da prima
15:07
with a series of possible trajectories,
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uz niz mogućih putanja,
15:09
to script their own reading
of these narratives
of these narratives
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koje će da ispišu njihovo čitanje
ovih narativa
ovih narativa
15:12
and their own experience.
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i njihovo lično iskustvo.
15:16
And I want to end on a project
that is very small,
that is very small,
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I želeo bih da završim projektom
koji je veoma mali,
koji je veoma mali,
15:19
in a way, very different:
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na neki način drugačiji:
15:21
a floating cinema
in the ocean of Thailand.
in the ocean of Thailand.
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plutajući bioskop
u okeanu pored Tajlanda.
u okeanu pored Tajlanda.
15:23
Friends of mine had founded
a film festival,
a film festival,
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Moji prijatelji
su osnovali filmski festival
su osnovali filmski festival
15:27
and I thought,
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i pomislio sam,
15:29
if we think of the stories
and narratives of movies,
and narratives of movies,
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ako razmišljamo
o filmskim pričama i narativima,
o filmskim pričama i narativima,
15:32
we should also think of the narratives
of the people that watch them.
of the people that watch them.
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trebalo bi takođe da razmišljamo
o narativima ljudi koji ih gledaju.
o narativima ljudi koji ih gledaju.
15:36
So I designed a small
modular floating platform,
modular floating platform,
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Stoga sam dizajnirao malu
maketu plutajuće platforme,
maketu plutajuće platforme,
15:39
based on the techniques
of local fishermen,
of local fishermen,
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zasnovanu na tehnikama lokalnih ribara,
15:41
how they built their lobster
and fish farms.
and fish farms.
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kako grade farme za jastoge i ribe.
15:43
We collaborated with the local community
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Sarađivali smo sa lokalnom zajednicom
15:46
and built, out of recycled
materials of their own,
materials of their own,
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i sagradili, reciklirajući
njihove stare materijale,
njihove stare materijale,
15:49
this fantastical floating platform
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ovu fantastičnu plutajuću platformu
15:52
that gently moved in the ocean
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koja se nežno pokretala u okeanu
15:54
as we watched films
from the British film archive,
from the British film archive,
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dok smo gledali filmove
iz britanske filmske arhive,
iz britanske filmske arhive,
15:56
[1903] "Alice in Wonderland," for example.
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na primer, "Alisu u zemlji čuda" iz 1904.
15:59
The most primordial
experiences of the audience
experiences of the audience
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Najiskonskije iskustvo publike,
16:03
merged with the stories of the movies.
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stopljeno s pričama iz filmova.
16:07
So I believe that architecture exceeds
the domain of physical matter,
the domain of physical matter,
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Zato verujem da arhitektura prevazilazi
domen fizičke tvari,
domen fizičke tvari,
16:12
of the built environment,
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izgrađene životne sredine,
16:14
but is really about how
we want to live our lives,
we want to live our lives,
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već se zaista radi o tome
kako želimo da živimo svoje živote,
kako želimo da živimo svoje živote,
16:17
how we script our own stories
and those of others.
and those of others.
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kako ispisujemo sopstvene priče
i priče drugih.
i priče drugih.
16:20
Thank you.
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Hvala vam.
16:22
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Ole Scheeren - ArchitectOle Scheeren designs buildings that generate both functional and social spaces.
Why you should listen
Ole Scheeren is a German architect and principal of Buro Ole Scheeren with offices in Hong Kong, Beijing, Berlin and Bangkok. He is chief designer and leading the company’s creative vision and strategic development.
Ole Scheeren’s current work includes the Guardian Art Center, a new exhibition space and headquarters for China’s oldest art auction house currently under construction near the Forbidden City in Beijing; 1500 West Georgia, a residential high-rise in downtown Vancouver; DUO, a large-scale mixed-use urban development under construction in Singapore; MahaNakhon, at 314 meters Bangkok’s tallest tower housing the Ritz-Carlton Residences; Angkasa Raya, a 268 meter tall landmark building in the center of Kuala Lumpur; and a large-scale mixed-use urban development in Shenzhen, China.
Prior to launching Buro Ole Scheeren in 2010, Ole was Director and Partner along with Rem Koolhaas at OMA and responsible for the office’s work across Asia. As partner-in-charge of one of the largest buildings in the world, he successfully led the design and realization of the CCTV and TVCC Towers in Beijing. Other projects include The Interlace, a residential complex in Singapore and the Taipei Performing Arts Center in Taiwan. He also directed OMA’s work for Prada and completed the Prada Epicenters in New York and Los Angeles.
Through Studio Ole Scheeren, he is exploring his more personal interest in non-architectural projects and interventions, such as Archipelago Cinema, a floating auditorium in the Andaman Sea for the “Film on the Rocks” Festival in Yao Noi, Thailand, and subsequently installed at the 13th Architecture Biennale in Venice. He also developed Mirage City Cinema, a cinema-architecture space commissioned by the Sharjah Art Foundation as part of the Sharjah Biennial 11 Film Programme.
Ole Scheeren has contributed to various arts and culture projects and exhibitions throughout his career, including triennials in Beijing and Milan, China Design Now in London, the exhibition Cities on the Move at London’s Hayward Gallery and in the city of Bangkok, Media City Seoul and the Rotterdam Film Festival. For the Museum of Modern Art he designed two exhibitions in New York and Beijing featuring the CCTV project.
He regularly lectures at various international institutions and conferences, serves on juries for awards and competitions, and has been awarded numerous prizes, including the CTBUH 2013 Best Tall Building award for CCTV and the 2015 inaugural Urban Habitat Award for The Interlace.
Educated at the universities of Karlsruhe and Lausanne, Ole Scheeren graduated from the Architectural Association in London and was awarded the RIBA Silver Medal.
Ole Scheeren | Speaker | TED.com