TEDGlobal 2014
Alison Killing: There’s a better way to die, and architecture can help
Elisona Kilinga: Ir labāks veids, kā nomirt, un arhitektūra var palīdzēt
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Šajā īsajā, izaicinošajā runā arhitekte Elisona Kilinga pievēršas ēkām, kur notiek miršana un nāve — kapsētām, slimnīcām, mājām. Tas, kā mēs nomirstam, mainās, un tas, kā mēs ceļam ēkas mirstošajiem... varbūt arī tam vajadzētu mainīties. Pārsteidzoši aizraujošs skatījums uz mūsu pilsētu un mūsu dzīvju slēpto aspektu.
Alison Killing - Architect
An architect and urban designer, Alison Killing uses journalism, filmmaking and exhibitions to help people better understand the built environment. Full bio
An architect and urban designer, Alison Killing uses journalism, filmmaking and exhibitions to help people better understand the built environment. Full bio
Double-click the English transcript below to play the video.
00:12
I'd like to tell you a story
about death and architecture.
about death and architecture.
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Es vēlos jums pastāstīt
par nāvi un arhitektūru.
par nāvi un arhitektūru.
00:16
A hundred years ago, we tended to die
of infectious diseases like pneumonia,
of infectious diseases like pneumonia,
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Pirms simts gadiem mēs mirām
no tādām slimībām kā pneimonija,
no tādām slimībām kā pneimonija,
kas, reiz saķerta,
būtu mūs pievārējusi ātri vien.
būtu mūs pievārējusi ātri vien.
00:21
that, if they took hold,
would take us away quite quickly.
would take us away quite quickly.
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Mēs mēdzām mirt mājās,
savās gultās, ģimenes aprūpēti,
savās gultās, ģimenes aprūpēti,
00:24
We tended to die at home,
in our own beds, looked after by family,
in our own beds, looked after by family,
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00:28
although that was the default option
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lai gan tas bija pamata variants,
00:30
because a lot of people
lacked access to medical care.
lacked access to medical care.
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jo daudziem cilvēkiem
nebija pieeja medicīniskajai aprūpei.
nebija pieeja medicīniskajai aprūpei.
00:33
And then in the 20th century
a lot of things changed.
a lot of things changed.
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Tad 20. gadsimtā daudz kas mainījās.
Mēs atklājām tādas zāles kā penicilīns,
00:36
We developed new medicines like penicillin
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00:38
so we could treat
those infectious diseases.
those infectious diseases.
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lai varētu ārstēt
šīs infekciozās slimības.
šīs infekciozās slimības.
Izgudroja jaunas medicīnas tehnoloģijas,
piemēram, rentgena aparātu.
piemēram, rentgena aparātu.
00:40
New medical technologies
like x-ray machines were invented.
like x-ray machines were invented.
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00:44
And because they were
so big and expensive,
so big and expensive,
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Tā kā tās bija tik lielas un dārgas,
mums vajadzēja lielas,
centralizētas ēkas, kur tās glabāt,
centralizētas ēkas, kur tās glabāt,
00:46
we needed large, centralized
buildings to keep them in,
buildings to keep them in,
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00:49
and they became our modern hospitals.
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un tās kļuva par mūsdienu slimnīcām.
00:51
After the Second World War,
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Pēc Otrā pasaules kara
daudzas valstis ieviesa vispārējas
veselības aprūpes sistēmas,
veselības aprūpes sistēmas,
00:53
a lot of countries set up
universal healthcare systems
universal healthcare systems
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00:55
so that everyone who needed
treatment could get it.
treatment could get it.
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lai jebkurš, kam vajadzēja
ārstēšanu, to saņemtu.
ārstēšanu, to saņemtu.
00:58
The result was that lifespans extended
from about 45 at the start of the century
from about 45 at the start of the century
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Tādējādi dzīves ilgums palielinājās
no apmēram 45 gadiem gadsimta sākumā
no apmēram 45 gadiem gadsimta sākumā
01:02
to almost double that today.
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līdz gandrīz divtik lielam vecumam
mūsdienās.
mūsdienās.
01:04
The 20th century was this time of huge
optimism about what science could offer,
optimism about what science could offer,
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20. gadsimts bija liela optimisma laiks
par to, ko zinātne varētu piedāvāt,
par to, ko zinātne varētu piedāvāt,
01:09
but with all of the focus on life,
death was forgotten,
death was forgotten,
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bet ar visu uzsvaru uz dzīvi,
nāve tika aizmirsta,
nāve tika aizmirsta,
01:12
even as our approach to death
changed dramatically.
changed dramatically.
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lai gan krasi mainījās mūsu pieeja nāvei.
01:15
Now, I'm an architect,
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Es esmu arhitekte,
un pēdējā pusotra gada laikā
esmu skatījusies uz šīm pārmaiņām
esmu skatījusies uz šīm pārmaiņām
01:16
and for the past year and a half
I've been looking at these changes
I've been looking at these changes
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un ko tās nozīmē arhitektūrai,
kas saistīta ar nāvi un miršanu.
kas saistīta ar nāvi un miršanu.
01:20
and at what they mean for architecture
related to death and dying.
related to death and dying.
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01:23
We now tend to die
of cancer and heart disease,
of cancer and heart disease,
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Tagad mēs mēdzam mirt
no vēža un sirds slimībām,
no vēža un sirds slimībām,
01:26
and what that means is that many of us
will have a long period of chronic illness
will have a long period of chronic illness
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un tas nozīmē, ka daudzi no mums
mūža beigās ilgstoši slimos
ar hroniskām slimībām
ar hroniskām slimībām
01:30
at the end of our lives.
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Šajā laika posmā
01:32
During that period,
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mēs visticamāk pavadīsim daudz laika
slimnīcās un aprūpes namos.
slimnīcās un aprūpes namos.
01:33
we'll likely spend a lot of time
in hospitals and hospices and care homes.
in hospitals and hospices and care homes.
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01:38
Now, we've all been in a modern hospital.
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Mēs visi esam bijuši mūsdienu slimnīcā.
01:40
You know those fluorescent lights
and the endless corridors
and the endless corridors
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Jūs zināt tās fluorescentās gaismas
nebeidzami garajos gaiteņos
nebeidzami garajos gaiteņos
01:44
and those rows of uncomfortable chairs.
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un rindas ar neērtajiem krēsliem.
01:47
Hospital architecture
has earned its bad reputation.
has earned its bad reputation.
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Slimnīcu arhitektūra
ir pelnījusi savu slikto slavu.
ir pelnījusi savu slikto slavu.
01:50
But the surprising thing is,
it wasn't always like this.
it wasn't always like this.
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Taču pārsteidzošā kārtā
tā tāda nav bijusi vienmēr.
tā tāda nav bijusi vienmēr.
01:54
This is L'Ospedale degli Innocenti,
built in 1419 by Brunelleschi,
built in 1419 by Brunelleschi,
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Lūk, Brunelleski 1419. gadā celtā
L'Ospedale degli Innocenti.
L'Ospedale degli Innocenti.
01:58
who was one of the most famous
and influential architects of his time.
and influential architects of his time.
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Viņš bija viens no sava laika slavenākajiem
un ietekmīgākajiem arhitektiem.
un ietekmīgākajiem arhitektiem.
Un, kad es skatos uz šo ēku
un domāju par slimnīcām mūsdienās,
un domāju par slimnīcām mūsdienās,
02:02
And when I look at this building
and then think about hospitals today,
and then think about hospitals today,
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02:05
what amazes me is
this building's ambition.
this building's ambition.
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mani pārsteidz šīs ēkas mērķis.
Tā vienkārši ir patiesi laba ēka.
02:08
It's just a really great building.
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02:10
It has these courtyards in the middle
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Tai vidū ir pagalmi,
02:12
so that all of the rooms
have daylight and fresh air,
have daylight and fresh air,
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lai visām istabām būtu
dienas gaisma un svaigs gaiss,
dienas gaisma un svaigs gaiss,
02:14
and the rooms are big
and they have high ceilings,
and they have high ceilings,
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un istabas ir lielas,
ar augstiem griestiem,
ar augstiem griestiem,
02:17
so they just feel
more comfortable to be in.
more comfortable to be in.
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tāpēc tajās ir daudz patīkamāk uzturēties.
02:19
And it's also beautiful.
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Un tā ir arī skaista.
02:21
Somehow, we've forgotten
that that's even possible for a hospital.
that that's even possible for a hospital.
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Kaut kā mēs esam aizmirsuši, ka kas tāds,
runājot par slimnīcu, maz ir iespējams.
runājot par slimnīcu, maz ir iespējams.
02:25
Now, if we want better buildings
for dying, then we have to talk about it,
for dying, then we have to talk about it,
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Ja gribam labākas ēkas mirstošajiem,
mums par to ir jārunā,
mums par to ir jārunā,
02:29
but because we find the subject
of death uncomfortable,
of death uncomfortable,
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bet, tā kā nāves temats
mums liek justies neērti,
mums liek justies neērti,
02:31
we don't talk about it,
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mēs par to nerunājam,
02:33
and we don't question how we
as a society approach death.
as a society approach death.
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un mēs necenšamies saprast,
kā mēs kā sabiedrība pieejam nāvei.
kā mēs kā sabiedrība pieejam nāvei.
02:36
One of the things that surprised me
most in my research, though,
most in my research, though,
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Viena no lietām, kas mani pētot
visvairāk pārsteidza, ir tas,
visvairāk pārsteidza, ir tas,
cik mainīga patiesībā ir mūsu nostāja.
02:39
is how changeable attitudes actually are.
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02:42
This is the first crematorium in the U.K.,
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Lūk, pirmā krematorija Lielbritānijā,
02:44
which was built in Woking in the 1870s.
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kas uzcelta 1870. gados Vokingā.
02:47
And when this was first built,
there were protests in the local village.
there were protests in the local village.
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Kad to sākumā uzcēla,
vietējā ciematā bija protesti.
vietējā ciematā bija protesti.
02:50
Cremation wasn't socially acceptable,
and 99.8 percent of people got buried.
and 99.8 percent of people got buried.
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Kremēšana nebija sabiedrībā pieņemta,
un 99,8 procentus cilvēku apglabāja.
un 99,8 procentus cilvēku apglabāja.
02:55
And yet, only a hundred years later,
three quarters of us get cremated.
three quarters of us get cremated.
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Un tomēr tikai simts gadus vēlāk
trīs ceturtdaļas no mums kremē.
trīs ceturtdaļas no mums kremē.
02:59
People are actually really open
to changing things
to changing things
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Cilvēki patiesībā ir atvērti pārmaiņām,
ja viņiem tiek dota iespēja par tām runāt.
03:02
if they're given the chance
to talk about them.
to talk about them.
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03:04
So this conversation
about death and architecture
about death and architecture
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Šī saruna par nāvi un arhitektūru
bija tas, ko gribēju uzsākt,
bija tas, ko gribēju uzsākt,
03:07
was what I wanted to start
when I did my first exhibition on it
when I did my first exhibition on it
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jūnijā Venēcijā veidojot
savu pirmo izstādi par to
savu pirmo izstādi par to
03:10
in Venice in June,
which was called "Death in Venice."
which was called "Death in Venice."
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ar nosaukumu „Nāve Venēcijā”.
03:14
It was designed to be quite playful
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Tā bija veidota diezgan rotaļīga,
03:17
so that people would
literally engage with it.
literally engage with it.
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lai cilvēki tajā praktiski iesaistītos.
03:19
This is one of our exhibits,
which is an interactive map of London
which is an interactive map of London
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Lūk, viens no mūsu eksponātiem -
interaktīva Londonas karte,
interaktīva Londonas karte,
03:22
that shows just how much
of the real estate in the city
of the real estate in the city
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kas parāda cik daudz
pilsētas nekustamā īpašuma
pilsētas nekustamā īpašuma
03:25
is given over to death and dying,
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ir veltīts nāvei un miršanai,
03:27
and as you wave your hand across the map,
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un, slidinot roku pāri kartei,
atklājas nekustamā īpašuma,
celtnes vai kapsētas nosaukums.
celtnes vai kapsētas nosaukums.
03:29
the name of that piece of real estate,
the building or cemetery, is revealed.
the building or cemetery, is revealed.
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Vēl viens no mūsu eksponātiem
bija pastkaršu sērija,
bija pastkaršu sērija,
03:34
Another of our exhibits
was a series of postcards
was a series of postcards
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03:37
that people could take away with them.
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ko cilvēki varēja ņemt sev līdzi.
Tajās bija attēloti
veco ļaužu nami, slimnīcas,
veco ļaužu nami, slimnīcas,
03:39
And they showed people's homes
and hospitals
and hospitals
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03:41
and cemeteries and mortuaries,
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kapsētas un kapličas,
03:44
and they tell the story
of the different spaces
of the different spaces
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un tās stāsta par dažādām vietām,
03:46
that we pass through
on either side of death.
on either side of death.
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kurām izejam cauri
vienā vai otrā nāves pusē.
vienā vai otrā nāves pusē.
03:49
We wanted to show
that where we die
that where we die
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Mēs vēlējāmies parādīt,
ka tas, kur mēs mirstam,
ka tas, kur mēs mirstam,
03:51
is a key part of how we die.
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ir galvenā daļa no tā, kā mēs mirstam.
03:54
Now, the strangest thing was the way
that visitors reacted to the exhibition,
that visitors reacted to the exhibition,
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Savādākais bija tas,
kā apmeklētāji reaģēja uz izstādi,
kā apmeklētāji reaģēja uz izstādi,
03:59
especially the audio-visual works.
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it īpaši audiovizuālajiem eksponātiem.
04:02
We had people dancing
and running and jumping
and running and jumping
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Cilvēki dejoja, skrēja un leca,
04:05
as they tried to activate
the exhibits in different ways,
the exhibits in different ways,
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dažādi cenzdamies iedarbināt eksponātus,
04:08
and at a certain point
they would kind of stop
they would kind of stop
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un vienā brīdī viņi it kā apstājās
04:11
and remember that they were in
an exhibition about death,
an exhibition about death,
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un atcerējās, ka atrodas izstādē par nāvi
04:13
and that maybe that's not
how you're supposed to act.
how you're supposed to act.
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un ka varbūt tā nebūtu jāuzvedas.
04:16
But actually, I would question
whether there is one way
whether there is one way
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Taču patiesībā es gribētu apšaubīt,
ka ir kāds viens veids,
ka ir kāds viens veids,
04:19
that you're supposed to act around death,
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kā būtu jāuzvedas, saskaroties ar nāvi,
04:21
and if there's not, I'd ask you to think
about what you think a good death is,
about what you think a good death is,
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un, ja tāda nav, es lūgtu jums padomāt
par to, kas, jūsuprāt, ir laba nāve
par to, kas, jūsuprāt, ir laba nāve
04:26
and what you think that architecture
that supports a good death might be like,
that supports a good death might be like,
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un kāda varētu būt arhitektūra,
kas atbalsta labu nāvi,
kas atbalsta labu nāvi,
04:29
and mightn't it be a little less like this
and a little more like this?
and a little more like this?
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un vai tā nevarētu būt nedaudz mazāk šāda
un nedaudz vairāk šāda?
un nedaudz vairāk šāda?
04:34
Thank you.
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Paldies!
(Aplausi)
04:36
(Applause)
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ABOUT THE SPEAKER
Alison Killing - ArchitectAn architect and urban designer, Alison Killing uses journalism, filmmaking and exhibitions to help people better understand the built environment.
Why you should listen
Alison Killing is an architect and urban designer working to engage people with their built environment, via design of buildings and urban strategies, film making, exhibitions and events. She explores the relationship between death and modern architecture, looking at how cities are rebuilt after disaster.
Recent projects include Death in the City (and its first iteration, Death in Venice, which was shown as an independent event during the opening week of the Venice Architecture Biennale), a touring exhibition about death and modern architecture; work with the International Federation of Red Cross and Red Crescent Societies on better rebuilding after disaster and how to integrate relevant urban design tools into humanitarian response; and a study of financial models for arts and community projects temporarily using vacant buildings to help these projects become self-sustaining.
Alison Killing | Speaker | TED.com