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Transcript Transcribed by Joseph Geni Reviewed by Morton Bast 0:11 When we use the word "architect" or "designer," what we usually mean is a professional, someone who gets paid, and we tend to assume that it's those professionals who are going to be the ones to help us solve the really big, systemic design challenges that we face like climate change, urbanization and social inequality. That's our kind of working presumption. And I think it's wrong, actually. 0:37 In 2008, I was just about to graduate from architecture school after several years, and go out and get a job, and this happened. The economy ran out of jobs. And a couple of things struck me about this. One, don't listen to career advisers. And two, actually this is a fascinating paradox for architecture, which is that, as a society, we've never needed design thinking more, and yet architecture was literally becoming unemployed. It strikes me that we talk very deeply about design, but actually there's an economics behind architecture that we don't talk about, and I think we need to. 1:16 And a good place to start is your own paycheck. So, as a bottom-of-the-rung architecture graduate, I might expect to earn about 24,000 pounds. That's about 36,000, 37,000 dollars. Now in terms of the whole world's population, that already puts me in the top 1.95 richest people, which raises the question of, who is it I'm working for? The uncomfortable fact is that actually almost everything that we call architecture today is actually the business of designing for about the richest one percent of the world's population, and it always has been. The reason why we forgot that is because the times in history when architecture did the most to transform society were those times when, actually, the one percent would build on behalf of the 99 percent, for various different reasons, whether that was through philanthropy in the 19th century, communism in the early 20th, the welfare state, and most recently, of course, through this inflated real estate bubble. And all of those booms, in their own various ways, have now kicked the bucket, and we're back in this situation where the smartest designers and architects in the world are only really able to work for one percent of the population. 2:32 Now it's not just that that's bad for democracy, though I think it probably is, it's actually not a very clever business strategy, actually. I think the challenge facing the next generation of architects is, how are we going to turn our client from the one percent to the 100 percent? And I want to offer three slightly counterintuitive ideas for how it might be done. 2:53 The first is, I think we need to question this idea that architecture is about making buildings. Actually, a building is about the most expensive solution you can think of to almost any given problem. And fundamentally, design should be much, much more interested in solving problems and creating new conditions. So here's a story. The office was working with a school, and they had an old Victorian school building. 3:15 And they said to the architects, "Look, our corridors are an absolute nightmare. They're far too small. They get congested between classes. There's bullying. We can't control them. So what we want you to do is re-plan our entire building, and we know it's going to cost several million pounds, but we're reconciled to the fact." 3:31 And the team thought about this, and they went away, and they said, "Actually, don't do that. Instead, get rid of the school bell. And instead of having one school bell that goes off once, have several smaller school bells that go off in different places and different times, distribute the traffic through the corridors." It solves the same problem, but instead of spending several million pounds, you spend several hundred pounds. Now, it looks like you're doing yourself out of a job, but you're not. You're actually making yourself more useful. Architects are actually really, really good at this kind of resourceful, strategic thinking. And the problem is that, like a lot of design professions, we got fixated on the idea of providing a particular kind of consumer product, and I don't think that needs to be the case anymore. 4:13 The second idea worth questioning is this 20th-century thing that mass architecture is about big -- big buildings and big finance. Actually, we've got ourselves locked into this Industrial Era mindset which says that the only people who can make cities are large organizations or corporations who build on our behalf, procuring whole neighborhoods in single, monolithic projects, and of course, form follows finance. So what you end up with are single, monolithic neighborhoods based on this kind of one-size-fits-all model. And a lot of people can't even afford them. But what if, actually, it's possible now for cities to be made not just by the few with a lot but also by the many with a bit? And when they do, they bring with them a completely different set of values about the place that they want to live. And it raises really interesting questions about, how will we plan cities? How will finance development? How will we sell design services? What would it mean for democratic societies to offer their citizens a right to build? And in a way it should be kind of obvious, right, that in the 21st century, maybe cities can be developed by citizens. 5:23 And thirdly, we need to remember that, from a strictly economic point of view, design shares a category with sex and care of the elderly -- mostly it's done by amateurs. And that's a good thing. Most of the work takes place outside of the monetary economy in what's called the social economy or the core economy, which is people doing it for themselves. And the problem is that, up until now, it was the monetary economy which had all the infrastructure and all the tools. 5:53 So the challenge we face is, how are we going to build the tools, the infrastructure and the institutions for architecture's social economy? And that began with open-source software. And over the last few years, it's been moving into the physical world with open-source hardware, which are freely shared blueprints that anyone can download and make for themselves. And that's where 3D printing gets really, really interesting. Right? When suddenly you had a 3D printer that was open-source, the parts for which could be made on another 3D printer. Or the same idea here, which is for a CNC machine, which is like a large printer that can cut sheets of plywood. What these technologies are doing is radically lowering the thresholds of time and cost and skill. They're challenging the idea that if you want something to be affordable it's got to be one-size-fits-all. And they're distributing massively really complex manufacturing capabilities. We're moving into this future where the factory is everywhere, and increasingly that means that the design team is everyone. That really is an industrial revolution. And when we think that the major ideological conflicts that we inherited were all based around this question of who should control the means of production, and these technologies are coming back with a solution: actually, maybe no one. All of us. 7:13 And we were fascinated by what that might mean for architecture. So about a year and a half ago, we started working on a project called WikiHouse, and WikiHouse is an open-source construction system. And the idea is to make it possible for anyone to go online, access a freely shared library of 3D models which they can download and adapt in, at the moment, SketchUp, because it's free, and it's easy to use, and almost at the click of a switch they can generate a set of cutting files which allow them, in effect, to print out the parts from a house using a CNC machine and a standard sheet material like plywood. And the parts are all numbered, and basically what you end up with is a really big IKEA kit. (Laughter) And it goes together without any bolts. It uses wedge and peg connections. And even the mallets to make it can be provided on the cutting sheets as well. And a team of about two or three people, working together, can build this. They don't need any traditional construction skills. They don't need a huge array of power tools or anything like that, and they can build a small house of about this size in about a day. 8:28 (Applause) 8:35 And what you end up with is just the basic chassis of a house onto which you can then apply systems like windows and cladding and insulation and services based on what's cheap and what's available. Of course, the house is never finished. We're shifting our heads here, so the house is not a finished product. With the CNC machine, you can make new parts for it over its life or even use it to make the house next door. So we can begin to see the seed of a completely open-source, citizen-led urban development model, potentially. 9:05 And we and others have built a few prototypes around the world now, and some really interesting lessons here. One of them is that it's always incredibly sociable. People get confused between construction work and having fun. But the principles of openness go right down into the really mundane, physical details. Like, never designing a piece that can't be lifted up. Or, when you're designing a piece, make sure you either can't put it in the wrong way round, or, if you do, it doesn't matter, because it's symmetrical. Probably the principal which runs deepest with us is the principal set out by Linus Torvalds, the open-source pioneer, which was that idea of, "Be lazy like a fox." Don't reinvent the wheel every time. Take what already works, and adapt it for your own needs. Contrary to almost everything that you might get taught at an architecture school, copying is good. 9:59 Which is appropriate, because actually, this approach is not innovative. It's actually how we built buildings for hundreds of years before the Industrial Revolution in these sorts of community barn-raisings. The only difference between traditional vernacular architecture and open-source architecture might be a web connection, but it's a really, really big difference. We shared the whole of WikiHouse under a Creative Commons license, and now what's just beginning to happen is that groups around the world are beginning to take it and use it and hack it and tinker with it, and it's amazing. There's a cool group over in Christchurch in New Zealand looking at post-earthquake development housing, and thanks to the TED city Prize, we're working with an awesome group in one of Rio's favelas to set up a kind of community factory and micro-university. These are very, very small beginnings, and actually there's more people in the last week who have got in touch and they're not even on this map. I hope next time you see it, you won't even be able to see the map. 10:55 We're aware that WikiHouse is a very, very small answer, but it's a small answer to a really, really big question, which is that globally, right now, the fastest-growing cities are not skyscraper cities. They're self-made cities in one form or another. If we're talking about the 21st-century city, these are the guys who are going to be making it. You know, like it or not, welcome to the world's biggest design team. 11:24 So if we're serious about problems like climate change, urbanization and health, actually, our existing development models aren't going to do it. As I think Robert Neuwirth said, there isn't a bank or a corporation or a government or an NGO who's going to be able to do it if we treat citizens only as consumers. How extraordinary would it be, though, if collectively we were to develop solutions not just to the problem of structure that we've been working on, but to infrastructure problems like solar-powered air conditioning, off-grid energy, off-grid sanitation -- low-cost, open-source, high-performance solutions that anyone can very, very easily make, and to put them all into a commons where they're owned by everyone and they're accessible by everyone? A kind of Wikipedia for stuff? And once something's in the commons, it will always be there. How much would that change the rules? And I think the technology's on our side. 12:27 If design's great project in the 20th century was the democratization of consumption -- that was Henry Ford, Levittown, Coca-Cola, IKEA — I think design's great project in the 21st century is the democratization of production. And when it comes to architecture in cities, that really matters. Thank you very much. (Applause)
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Transcript Translated by Mladen Barešić Reviewed by Ivan Stamenkovic 0:11 Kad rabimo riječ "arhitekt" ili "dizajner", najčešće podrazumijevamo da ona označava profesionalca, nekoga tko biva plaćen. I skloni smo pretpostaviti da su ti profesionalci oni koji će nam pomoći riješiti uistinu velike, sistemske oblikovne izazove s kojima se suočavamo, poput klimatskih promjena, urbanizacije i društvene nejednakosti. To je naša svojevrsna radna pretpostavka. A ja, zapravo, mislim da je ona pogrešna. 0:37 Godine 2008. bio sam pred diplomiranjem na arhitektonskom fakultetu, nakon nekoliko godina studiranja, i trebao sam početi tražiti posao, i ovo se dogodilo. Gospodarstvo je ostalo bez radnih mjesta. Nekoliko sam stvari iz toga naučio. Prva, ne slušaj savjetnike za razvoj karijera. I drugo, što je za arhitekturu zapravo nevjerojatan paradoks, a to je da nam, kao društvu, projektantski stil razmišljanja nikad nije bio potrebniji, a istodobno je arhitektura doslovno postajala besposlena. Nevjerojatno mi je da vrlo promišljeno govorimo o dizajnu, a iza arhitekture, ustvari, postoji ekonomija o kojoj ne govorimo, a mislim da bismo trebali. 1:16 Dobro bi bilo započeti od vlastite plaće. Dakle, kao potpun početnik, diplomirani arhitekt, mogao bih očekivati da ću zarađivati oko 24.000 funti. To je oko 36-37.000 dolara. U okviru cjelokupne svjetske populacije, već me to pozicionira u 1,95% najbogatijih ljudi, što nameće pitanje: A za koga ja to radim? Neugodna je činjenica da je gotovo sve što danas nazivamo arhitekturom, zapravo, posao projektiranja za oko 1% najbogatijih ljudi na svijetu, i oduvijek je to i bila. Razlog zašto to zaboravljamo je taj što su povijesna razdoblja u kojima je arhitektura ponajviše utjecala na društvene promjene, bila ona vremena u kojima je tih 1% gradilo za onih 99%, iz raznih pobuda, bilo to iz čovjekoljublja u 19. stoljeću, u komunizmu ranog 20. stoljeća, u državi blagostanja ili, naravno, kroz nedavno napuhani nekretninski balon. I svi su ti procvati, svaki na svoj način, danas prošlost, a mi smo ponovno u situaciji u kojoj najdomišljatiji svjetski dizajneri i arhitekti mogu raditi jedino za 1% populacije. 2:32 To nije loše samo za demokraciju, iako mislim da vjerojatno jest; to nije baš osobito pametna poslovna strategija. Vjerujem da je pred sljedećom generacijom arhitekata izazov kako našega klijenta dovesti od 1% do 100%? Želim vam ponuditi tri pomalo nerazumne ideje o tome kako bi se to moglo učiniti. 2:53 Prva: Vjerujem da trebamo preispitati tu ideju da je arhitektura - gradnja građevina. Građevina je, zapravo, jedno od najskupljih rješenja koja možete zamisliti kao odgovor na neki problem. A dizajn bi, u suštini, trebao biti mnogo, mnogo zainteresiraniji za rješavanje problema i stvaranje novih uvjeta. Evo jednog primjera. Arhitektonski ured radio je na projektu sa školom, smještenom u staroj viktorijanskoj zgradi. 3:15 Iz škole su arhitektima rekli: "Gledajte, naši su hodnici potpuni užas. Premali su. Previše je djece u njima tijekom odmora. Ne možemo obuzdati vršnjačko nasilje. Stoga bismo željeli da vi preobrazite čitavu našu zgradu. Znamo da će to koštati nekoliko milijuna funti, ali pomirili smo se s tom činjenicom." 3:31 Tim je razmišljao o tome i zaključio: "Zapravo, nemojte to činiti. Umjesto toga, uklonite školsko zvono. I umjesto jednog snažnog školskog zvona, ugradite nekoliko manjih zvona koja se oglašavaju na različitim mjestima i u različitim trenucima, i tako rasporedite kretanje po hodnicima." Riješit ćete tako isti problem, jedino što umjesto da potrošite nekoliko milijuna funti, trošite nekoliko stotina funti. Ovo se čini kao da sami sebi tako oduzimate posao, ali nije tako. Zapravo, činite sami sebe korisnijima. Arhitekti su, zapravo, stvarno, stvarno dobri u takvim oblicima domišljatog, strateškog mišljenja. Problem je u tome, a slično je u mnogim oblikovnim profesijama, što smo se vezali uz ideju pružanja svojevrsne komercijalne usluge, a ne mislim da to tako više treba biti. 4:13 Druga ideja vrijedna propitkivanja je ona u 20. stoljeću uvriježena misao o masovnoj arhitekturi kao nečemu velikome - velikim građevinama i velikim novcima. Zapravo, zaostali smo u tom mentalitetu Industrijskog doba koji kaže da jedini koji mogu izgrađivati gradove su velike organizacije ili korporacije koje grade u naše ime, stvarajući čitave četvrti kroz izdvojene, jednoobrazne projekte i, naravno, forma je rezultat financijskih mogućnosti. I zato dobivamo te izdvojene, jednoobrazne četvrti zasnovane na modelu jednako za sve. A mnogi si ljudi to ne mogu niti priuštiti. Ali, što ako je moguće da gradove danas ne gradi manjina s mnogo, nego i većina s malo? I kad to učine, sa sobom donose potpuno različit skup vrijednosti o tome na kakvom mjestu žele živjeti. I to rađa istinski zanimljiva pitanja o tome kako ćemo planirati svoje gradove? Kako ćemo financirati razvoj? Kako ćemo prodavati oblikovne usluge? Što bi za demokratska društva značilo kad bismo građanima ponudili pravo da grade? Na izvjestan bi način to bilo razumljivo i ispravno da u 21. stoljeću građani mogu graditi gradove. 5:23 I treće: Trebamo upamtiti da, iz isključivo ekonomskog gledišta, dizajn je u istoj kategoriji sa seksom i s brigom za starije osobe -- uglavnom se njime bave amateri. I to je dobro. Većina toga posla zbiva se izvan monetarne ekonomije, u onome što se naziva socijalnom ekonomijom ili bazičnom ekonomijom, što znači da ljudi sami sebi nešto izrađuju. Problem je u tome što je sve dosad monetarna ekonomija posjedovala svu infrastrukturu i sve alate. 5:53 Stojimo pred izazovom kako izgraditi alate, infrastrukturu i institucije za arhitekturu socijalne ekonomije? I to je započelo sa svima dostupnim softverom. Tijekom posljednjih godina, ušlo se i u fizički svijet sa svima dostupnim hardverom, u obliku nacrta koje svatko može preuzeti i sam izraditi. I tu zbilja zanimljivi postaju 3D štampači. Zar ne? Odjednom imate 3D štampač koji je svima dostupan, i za kojeg se dijelovi mogu izraditi na drugom 3D štampaču. Ili poput ove zamisli, za CNC stroj, koja sliči velikom štampaču koji reže listove šperploče. Ovim se tehnologijama drastično smanjuje potrebno vrijeme, trošak i vještina. Njima se izaziva aktualno uvjerenje da ako želite nešto financijski prihvatljivo, to treba biti "jednako za sve". I njima se masovno raspodjeljuju istinski složene proizvodne vještine. Na putu smo u budućnost u kojoj su tvornice posvuda, što sve više znači i da je svatko - dizajnerski tim. To uistinu jest industrijska revolucija. Kad pomislimo da su glavni naslijeđeni ideološki konflikti svi bili zasnovani na pitanju tko bi trebao nadzirati sredstva za proizvodnju, a ove tehnologije uzvraćaju rješenjem: Zapravo, možda nitko. Svi mi. 7:13 Dojmilo nas se što bi to moglo značiti za arhitekturu. Prije godinu i pol dana započeli smo s projektom nazvanim WikiHouse, svima dostupnim konstrukcijskim sustavom. Zamislili smo svima omogućiti da na Internetu slobodno pristupaju bazi 3D modela koje mogu preuzimati i prilagoditi - trenutno u SketchUpu, jer je besplatan i jednostavan za korištenje - i praktično samo na "klik" dobiti niz isječaka koji vam, posljedično, omogućuju da tiskate dijelove kuće koristeći CNC-stroj i standardni lisni materijal poput šperploče. Svi su dijelovi numerirani i, zapravo, na kraju dobijete stvarno velik Ikein pribor. (Smijeh) Spajati se mogu bez ikakvih vijaka. Koriste se klinovi i igle. Čak i batiće možete dobiti zajedno s ostalim priborom. Dvoje ili troje ljudi, radeći zajedno, mogu to načiniti. Nisu im potrebne nikakve tradicionalne konstruktorske vještine. Nije im potrebna silna oprema ni alati, niti išta slično, a kućicu otprilike ove veličine mogu izgraditi u jednome danu. 8:28 (Pljesak) 8:35 Na kraju dobijete samo skelet kuće na koju onda možete ugraditi prozore, obloge, izolaciju i instalacije, ovisno o cijeni i o raspoloživosti. Kuća, dakako, nikad nije dovršena. Ovo je za nas velika promjena; stoga ni kuća nije dovršen proizvod. S CNC-strojem, za nju možete načiniti nove dijelove tijekom vremena, ili ih čak iskoristiti za gradnju susjedne kuće. Možemo uočiti začetak apsolutno svima dostupnog urbanog razvojnog modela čiji su protagonisti - građani. 9:05 Nekoliko nas izradilo je nekoliko prototipova diljem svijeta, i evo nekoliko uistinu zanimljivih pouka. To je uvijek nevjerojatno društveno iskustvo. Ljudi ne vide razliku između gradnje i zabave. Ali, načela otvorenosti očituju se i u stvarno prizemnim, fizičkim detaljima. Recimo, ne konstruirajmo elemente koje ne možemo podići. Ili, kad konstruirate element, osigurajte da ga ili ne možete pogrešno postaviti, ili, ako to i učinite, to nije važno, jer je element simetričan. Načelo s vjerojatno za nas najdubljim implikacijama načelo je Linusa Torvaldsa, pionira ovog pokreta, a to je misao: "Budi lijen poput lisice." Ne izmišljaj toplu vodu. Prihvati što je već prokušano, i prilagodi to svojim potrebama. Oprečno svemu čemu vas možda poučavaju na arhitektonskom fakultetu - oponašanje je dobro. 9:59 Što je primjereno, jer, zapravo, ovaj pristup nije inovativan. Tako smo, ustvari, gradili stotinama godina prije industrijske revolucije u poznatim "zajedničnim" podizanjima sjenika. Jedina razlika između tradicionalne, pučke arhitekture i ove "svima dostupne" arhitekture moglo bi biti internetsko povezivanje, no to je stvarno, stvarno velika razlika. Razdijelili smo čitav WikiHouse pod dopusnicom Creative Commons, i sad se počinje primjećivati da ga skupine diljem svijeta počinju prepoznavati, i koristiti, i komadati ih, i spajati, i to je čudesno! Postoji jedna sjajna skupina u Christchurchu, na Novom Zelandu, koja se bavi razvojem gradnje nakon potresa. A zahvaljujući TED City Prizeu, mi surađujemo s impresivnom skupinom u jednoj od favela Rio de Janeira na uspostavljanju "zajednične" tvornice i mini-sveučilišta. To su vrlo, vrlo mali začeci, a više je ljudi koji su prošloga tjedna uspostavili kontakte i njih na ovom prikazu niti nema. Nadam se da sljedećeg puta kad ga vidite, nećete moći vidjeti kontinente. 10:55 Svjesni smo da je WikiHouse vrlo, vrlo mali odgovor, ali je mali odgovor na zbilja, zbilja veliko pitanje. A to je da globalno, upravo sad, najbrže rastući gradovi nisu gradovi nebodera. To su samo-podignuti gradovi, ove ili one vrste. Govorimo li o gradu 21. stoljeća, ovi će ga dečki graditi. Sviđalo vam se ili ne, dobrodošli u najveći svjetski projektantski tim. 11:24 Dakle, ako se kanimo ozbiljno suočiti s problemima poput klimatskih promjena, urbanizacije i zdravlja, postojeći naši razvojni modeli ih, zapravo, neće moći razriješiti. Mislim da je Robert Neuwirth rekao kako ne postoji banka, niti kompanija, ni vlada, ili nevladina organizacija, koja će to biti kadra učiniti nastavimo li građane tretirati samo kao potrošače. No, kako bi tek izvanredno bilo kad bismo skupno razvijali rješenja ne samo strukturalnih problema na kojima radimo, već i infrastrukturnih problema, poput solarne klimatizacije, izvanmrežne energije, izvanmrežnog zdravstva - niskotarifnih, svima dostupnih, visokodjelotvornih rješenja koja svatko vrlo lako može izraditi, i sve ih pohraniti u Wikimedia Commons gdje ih svatko može posjedovati i svatko im može pristupiti? Neku vrstu Wikipedije za predmete? A jednom kad se nešto nađe u Wikimedia Commons, zauvijek će ondje ostati. Koliko bi to izmijenilo pravila igre? Mislim da je tehnologija na našoj strani. 12:27 Ako je veliki dizajnerski projekt 20. stoljeća bila demokratizacija potrošnje - primjerice, Henry Ford, Levittown, Coca-Cola, IKEA - mislim da je veliki dizajnerski projekt 21. stoljeća demokratizacija proizvodnje. A što se tiče arhitekture u gradovima, to je uistinu bitno. Hvala vam najljepša. (Pljesak)