Architexture| Sergei Tchoban| TEDxPokrovkaSt
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0:10 - 0:12Hello, good afternoon.
-
0:12 - 0:13I'm ...
-
0:14 - 0:19... feeling so excited about attending
such a remarkable event, -
0:19 - 0:21which the one percent
might find interesting -
0:21 - 0:25who have needs beyond food and TV.
-
0:26 - 0:27That's great!
-
0:27 - 0:31I am going to tell you about something
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0:32 - 0:37about which we all think to some extent,
-
0:37 - 0:40perhaps, even, without really
giving ourselves over to it. -
0:41 - 0:45What makes a city beautiful,
how do we go about creating one, -
0:46 - 0:48and how do we make one ugly?
-
0:49 - 0:53And on which criteria is it to be decided
-
0:53 - 0:57that one building is right
for one given site, but not another? -
0:57 - 1:03Why talk about this, when you're
probably not all architects, -
1:03 - 1:04just a tiny percentage of you?
-
1:05 - 1:09Well, today especially, architecture
is a subject of public debate. -
1:09 - 1:12Since I conduct this discussion
with municipalities, -
1:12 - 1:19the representatives of the people
in various cities, -
1:19 - 1:26I can see how great
and how keen the interest is -
1:26 - 1:29in regard to which kind of architecture
we should regard as beautiful. -
1:30 - 1:35And when I talk about this,
I always start by showing this photograph. -
1:35 - 1:38It may seem not to be about architecture,
-
1:38 - 1:43but if we are talking about the principle
of traditional historical harmony, -
1:43 - 1:48then these Smolnyanki, young ladies
at the Smolny Institute for Noble Maidens, -
1:48 - 1:52they just bring it to life
-
1:52 - 1:57with the harmony here, absolutely uniform:
-
1:57 - 1:59the ladies in evening gowns,
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1:59 - 2:02the gentleman playing the piano
-
2:02 - 2:04in a tailcoat,
-
2:04 - 2:08this is a picture of a city
in tailcoat and evening gown. -
2:09 - 2:14It is just like, 100 years ago,
our cities looked. -
2:14 - 2:20They were cities like this,
in tailcoats and evening gowns, -
2:20 - 2:23looking, in fact, the same
as the city folk did. -
2:23 - 2:28When we look at an historical street,
many of us still think today -
2:28 - 2:32that this historical street
is an example of absolute harmony. -
2:32 - 2:35If there is a house of the 18th century,
-
2:35 - 2:38and you want to put up a house next to it,
-
2:38 - 2:42then it should reflect the style
-
2:42 - 2:45of those put up two centuries earlier.
-
2:45 - 2:48But the world today is developing
in a different way. -
2:48 - 2:52Seeing that,
as the esteemed presenter said, -
2:52 - 2:56I'm not only an architect
but an active graphic artist -
2:56 - 2:59who draws architectural works
and popularizes this art form, -
3:00 - 3:04I always verify my feeling
for a beautiful city -
3:04 - 3:09by analysing my drawings.
-
3:09 - 3:13And clearly, all these cities here
are traditionally beautiful. -
3:13 - 3:15You all know them,
or maybe you'll find out more later: -
3:15 - 3:19those were Saint Petersburg,
Venice, Ghent, and Amsterdam. -
3:19 - 3:23And here, at the end of the 19th,
the beginning of the 20th century, -
3:23 - 3:26there arises the conflict
with the modern world, -
3:26 - 3:31when a city stops being totally horizontal
-
3:31 - 3:37and absolutely harmoniously beautiful,
undeniably beautiful. -
3:37 - 3:40This is late 19th,
early 20th century, Chicago. -
3:40 - 3:44I was absolutely delighted
looking at the photos shown earlier. -
3:44 - 3:46Undoubtedly, it was unreal courage.
-
3:46 - 3:49I was scared to death sitting
in a front-row seat: -
3:49 - 3:52I imagined how scary it must be
doing it yourself. -
3:52 - 3:55That he wasn't afraid
must have been a superhuman feat. -
3:55 - 3:57I had very great respect for that,
-
3:57 - 4:01but was interested in
one more point he made. -
4:01 - 4:08When looking at the pictures of nature,
we were all totally persuaded: -
4:08 - 4:09it is very beautiful,
-
4:09 - 4:12nature is always beautiful
without exception. -
4:12 - 4:15But there is so much ugly architecture.
-
4:15 - 4:21These high-rise complexes may be
more beautiful or less beautiful, -
4:21 - 4:23and it is becoming more subjective,
-
4:23 - 4:26and the beginning of this subjectivity
was laid out right there in Chicago, -
4:26 - 4:28where the first skyscrapers appeared.
-
4:28 - 4:30This is late 19th, early 20th century,
-
4:30 - 4:31and, going forward ...
-
4:31 - 4:33this is modern New York City,
-
4:33 - 4:35where the principles of modern beauty,
-
4:35 - 4:37contrasting beauty,
-
4:37 - 4:41allow the bringing together
of the incongruous. -
4:41 - 4:44This is the 19th century,
the first third of the 20th century, -
4:44 - 4:46the then state-of-the-art construction,
-
4:46 - 4:48the trendy SHoP building in New York.
-
4:48 - 4:52These are engineered add-ons
over brick buildings. -
4:52 - 4:54And here we have the architectural form.
-
4:54 - 4:58It speaks out in order to stand out.
-
4:58 - 5:00In order to stand out,
it needs a background. -
5:01 - 5:05If you appear naked or half-naked,
-
5:05 - 5:09you need to have around you
people in strict evening dress. -
5:09 - 5:12Otherwise, if everyone came like it,
no one would stand out. -
5:13 - 5:14And here, in like manner,
-
5:14 - 5:18contemporary architecture
is looking for such a role, -
5:18 - 5:21for a city framework
-
5:21 - 5:26in which it can show itself off
without restraint. -
5:26 - 5:29This wonderful sculpture
everybody probably knows: -
5:29 - 5:32it's by Jeff Koontz, an outstanding
contemporary artist. -
5:32 - 5:38He chose Heracles to say
modern culture is this. -
5:39 - 5:42We need Heracles, not to admire him,
-
5:42 - 5:46but to admire the fantastic glass ball,
-
5:46 - 5:47and to appreciate the contrast.
-
5:47 - 5:52But at that moment,
as the speaker put it so wonderfully, -
5:52 - 5:55when everyone wants to be first,
problems present themselves, -
5:55 - 5:57because when everyone wants to be first,
-
5:57 - 5:59we descend into chaos.
-
6:00 - 6:01Everyone cannot be first,
-
6:01 - 6:05and, unfortunately, modern architecture,
today, cannot get along with itself. -
6:05 - 6:08When we were coming here,
at least when I was, -
6:08 - 6:10crowds of people were wandering
-
6:10 - 6:13between the different
separate buildings in this area, -
6:13 - 6:17and we were just slaves
to this most recent architecture, -
6:17 - 6:20where everyone lived for themselves,
and there was no ensemble. -
6:20 - 6:25Today's architecture is
some kind of conjuncture -
6:25 - 6:28between the desire to stand out
and yet to be befitting. -
6:28 - 6:33And this is a very important feature
that I bring out in my drawings. -
6:33 - 6:35All this ornament
of the urban environment, -
6:35 - 6:39it's just designed to understand
the beauty of this bridge. -
6:39 - 6:44This is the skyline of a traditional city,
we know these cityscapes, -
6:44 - 6:48of London, of Moscow, of Milan, of Paris.
-
6:48 - 6:53They exist to make us realize
that these two buildings stand out. -
6:53 - 6:55Or a contemporary structure:
-
6:55 - 7:00it needs this street
in order to make itself undeniable. -
7:00 - 7:02And these sources of contrasting harmony,
-
7:02 - 7:05we can be proud of them
because they came from Russia. -
7:05 - 7:07Today, the whole world is using them.
-
7:07 - 7:09They derive from Constructivism,
-
7:09 - 7:14because no past trends, no past movements,
-
7:14 - 7:17worked with such contrast
to the historical environment -
7:17 - 7:19as Constructivism did.
-
7:19 - 7:22Take, for example,
Ivan Leonidov's construction. -
7:22 - 7:25We know how it should have stood
in Moscow's structure. -
7:25 - 7:28If, today, an architect
put forward such a design -
7:28 - 7:31to the Committee for Architecture
and Urban Planning of Moscow, -
7:31 - 7:33of which, by the way, I'm a member,
-
7:33 - 7:36I doubt his work
would be met with applause. -
7:36 - 7:40This is what it would look like
in the historical environment, but ... -
7:40 - 7:42we need to realize that
although this was only a design, -
7:42 - 7:46it remains an indisputable icon
of the 20th century. -
7:47 - 7:52And we see that such thinking today
has a huge impact all around the world. -
7:52 - 7:56This is a vista of Paris that you can
only see from the Pompidou Centre, -
7:56 - 7:59but tomorrow it will be
visible everywhere. -
7:59 - 8:01This is another example of Constructivism,
-
8:01 - 8:02designed by Krinsky,
-
8:02 - 8:05it was intended for a corner
of Lubyanka Square. -
8:05 - 8:08This is how it should have been seen
-
8:08 - 8:15from Myasnitskaya Street
looking to Lubyanka Square. -
8:15 - 8:20And these buildings should have formed
a ring around Bely Gorod, -
8:20 - 8:23that is, on the intersections
of the Boulevard Ring -
8:23 - 8:26and the radial streets,
Tverskaya Street, for example. -
8:26 - 8:29This building should have been
opposite the Strastnoy Monastery, -
8:29 - 8:31which has now been demolished.
-
8:31 - 8:34So, here we are talking about
contrasting harmony -
8:34 - 8:38where the new architecture
was not built from scratch, -
8:38 - 8:44but was unreservedly boldly,
almost negligently rashly, -
8:44 - 8:47inserted into the historical
context of the city, -
8:47 - 8:50a worldwide trend today.
-
8:50 - 8:52And this is a purely Russian trend.
-
8:52 - 8:56Neither the Bauhaus, nor other trends
in the architecture of the 1920s, -
8:56 - 8:59entered the fabric of the city
in such a bold manner. -
8:59 - 9:02So here we have
what that trend looks like today. -
9:02 - 9:06This is what's proposed
for the rue de Rivoli - -
9:06 - 9:09everyone's been to Paris
and knows where it is - -
9:09 - 9:12this highly refined location
by the Tuileries Gardens and the Louvre. -
9:12 - 9:18This is how Vincent Callebaut
envisages the green city of Paris -
9:18 - 9:21in the near future.
-
9:21 - 9:24And in my drawings
and architectural designs, -
9:24 - 9:27I always try to talk,
to analyse this subject, -
9:27 - 9:29to talk about the different
strata of a city. -
9:29 - 9:32In my architectural works, I try to prove
-
9:32 - 9:37that, today, contrast
is the most important feature -
9:37 - 9:39of the modern cityscape.
-
9:39 - 9:43Contrast is the the key element
of the modern cityscape postcard. -
9:43 - 9:45This is my building in Berlin,
-
9:45 - 9:47the Hotel nhow on the banks
of the River Spree, -
9:47 - 9:52before that we saw an aquarium
at the Radisson Blu Hotel also in Berlin: -
9:52 - 9:56a huge construction contrasting
with its surrounding atrium. -
9:56 - 10:01This is a close-up view of the huge,
21-metre cantilever by the Spree. -
10:01 - 10:03Here is another cantilever construction
-
10:03 - 10:06where there is contrast between it
-
10:06 - 10:11and the walls of the historical
brick building it envelops. -
10:11 - 10:14We can see that it is
far from conventional harmony, -
10:14 - 10:19but I think it's interesting,
it's beautiful today, -
10:19 - 10:24and we must have the courage
to allow this in our cities. -
10:24 - 10:26This is the Museum
for Architectural Drawing, -
10:26 - 10:27so named by the speaker.
-
10:27 - 10:29In the historical part of the city,
-
10:29 - 10:31it doesn't rise above
the surrounding buildings, -
10:31 - 10:35but it is strikingly contrasting,
it is strikingly sculptural. -
10:35 - 10:39And here's what the new
apartment block looks like -
10:39 - 10:43that I built quite recently
by the Berlin Wall. -
10:43 - 10:46I am sure you know
where the Berlin Wall ran, -
10:46 - 10:49on which there are the outstanding
paintings of Dmitri Vrubel, -
10:49 - 10:52the Honecker-Brezhnev kiss, it's there.
-
10:52 - 10:54The same harsh contrast
-
10:54 - 10:58of high and low,
different colours, cantilevers. -
10:58 - 11:00And this is when the question arises
-
11:00 - 11:04of just how we can arrive at
not having the whole fabric of the city -
11:04 - 11:07look too jagged,
-
11:07 - 11:08of getting the buildings of contrast,
-
11:08 - 11:11and those of the traditional
harmonious environment, -
11:11 - 11:12to work together
-
11:12 - 11:15so that the whole city is not far off
-
11:15 - 11:18the picture we have
that is close to all of us. -
11:18 - 11:22This is just the perfectly ordinary square
in front of the Bourse du Travail in Nice. -
11:22 - 11:26One thing I'll say is that it is only
with rigid rules and regulations -
11:26 - 11:27imposed on the built environment
-
11:27 - 11:30surrounding these historically
important buildings, -
11:30 - 11:35when not only the height is regulated,
but all parameters are regulated, -
11:35 - 11:37a wall's surface area,
the number of windows, -
11:37 - 11:40the use of the ground floor,
the availability of public space, -
11:40 - 11:44that we can create
an environmental architecture -
11:44 - 11:47that forms the new framework
-
11:47 - 11:51avoiding the discordance
that we saw in the first picture, -
11:51 - 11:56when everyone wants to lead
and chaos results. -
11:56 - 11:58And here an immense role
is played by the detail, -
11:58 - 12:00so if there are any architects here,
-
12:00 - 12:03or if most of you aren't architects
-
12:03 - 12:04you must also bear in mind,
-
12:04 - 12:08that if we have a Palladian palace,
-
12:08 - 12:11the Palazzo Thiene,
or the Palazzo Rucellai, -
12:11 - 12:13it is always about detail.
-
12:13 - 12:16When contemporary architecture
says that you can do without detail, -
12:16 - 12:18it's wrong, and it doesn't work.
-
12:18 - 12:23But, the detail can be very different,
as we can see in these pictures. -
12:23 - 12:28Here there's the Hagia Sophia
in Constantinople, -
12:28 - 12:31Istanbul today;
-
12:31 - 12:34a building by Frank Lloyd Wright
in San Francisco; -
12:34 - 12:39a wonderful mansion
by Palo Portaluppi in Milan; -
12:39 - 12:45all kinds of ways to create ornamentation,
to create a rich pattern structure. -
12:45 - 12:47These are my other objects,
-
12:47 - 12:53environmental, without a specific
complex structure, -
12:53 - 12:54no sculpture,
-
12:54 - 12:56but there are plastic details
-
12:56 - 13:01that allow the creation
of an environment, refined in detail, -
13:01 - 13:02not one that screams out,
-
13:02 - 13:09which later could become a necklace
into which you can later insert a diamond: -
13:09 - 13:13those 15, 20, 30 percent
of unique developments -
13:13 - 13:17around which you can graft an environment
-
13:17 - 13:20rich in detail like this.
-
13:20 - 13:21This is very, very important,
-
13:21 - 13:27as it is also to design buildings
down to such tiny details as door handles, -
13:27 - 13:29because that is exactly
what someone will notice: -
13:29 - 13:31they don't look up 100-200 metres;
-
13:31 - 13:33they look at a height of 1.5 metres,
-
13:33 - 13:35towards what lies directly ahead,
-
13:35 - 13:39where they see all these details
that they admire, -
13:39 - 13:42that enrich their eyes,
-
13:42 - 13:46and it's like that
that they embrace architecture. -
13:46 - 13:48Here, architecture
should not be left bare, -
13:48 - 13:51it needs to be saturated
with a fine texture, -
13:51 - 13:55which is that which we love.
-
13:55 - 13:58It should penetrate the interior,
it must go inside, -
13:58 - 14:01to create a refined surface there.
-
14:01 - 14:05Ideally, with this, a sculptural form,
-
14:05 - 14:07what we see looking at it from a distance,
-
14:07 - 14:12and the subtle texture of the detail
that we only see when closer to it, -
14:12 - 14:14should combine with each other.
-
14:14 - 14:18And, indeed, this is
what gives us the opportunity -
14:18 - 14:20to identify interesting
architecture from a distance, -
14:20 - 14:25and then, getting closer,
observe the smallest details, -
14:25 - 14:27and based on these tiny details,
-
14:27 - 14:29to love architecture from any distance.
-
14:29 - 14:31and to love our modern cities.
-
14:31 - 14:32I wish you,
-
14:32 - 14:34the architects present in here anyway,
-
14:34 - 14:37to be daring in your ideas,
-
14:37 - 14:39but to also always bear in mind
-
14:39 - 14:41that the lifespan of a building is longer
-
14:41 - 14:44than the time you took
to come up with the idea. -
14:44 - 14:49We should create a fabric for the building
that is a fabric that lasts longer, -
14:49 - 14:52and, at the same time,
-
14:52 - 14:55we need to take pains
in implementing those details, -
14:55 - 14:59to be demanding of one's clients
and others involved. -
14:59 - 15:02And I'd like that the majority
of those involved in the process, -
15:02 - 15:06those people who discuss
the work of architects, -
15:06 - 15:08to pay greater attention
-
15:08 - 15:10to different trends
in modern town planning, -
15:10 - 15:11contrasting trends included,
-
15:11 - 15:14and not demand that we be
always pseudo-harmonious, -
15:14 - 15:17because to be modern means
to have the potential to do more. -
15:17 - 15:18Thank you for listening.
-
15:19 - 15:22(Applause)
- Title:
- Architexture| Sergei Tchoban| TEDxPokrovkaSt
- Description:
-
Sergei illustrates this talk, which covers the issue of the coexistence of the historical urban environment and modern architecture, not only with examples of existing buildings, but with his designs. Under the very apt title of the talk, "Architexture", he explains the significance of such concepts as texture and detail for modern architecture, qualities that give buildings harmony and tactility and put them on a human scale.
Sergei Tchoban is a Russian and German architect. He works in different cities in Europe and Russia.
This talk was given at a local TEDx event, produced independently of the TED Conferences.
- Video Language:
- Russian
- Team:
- closed TED
- Project:
- TEDxTalks
- Duration:
- 15:27
Robert Tucker approved English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Robert Tucker accepted English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Robert Tucker edited English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Elena Malykh edited English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Elena Malykh edited English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Robert Tucker declined English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Robert Tucker edited English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt | ||
Robert Tucker edited English subtitles for Архитекстура | Сергей Чобан | TEDxPokrovkaSt |