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To be new at TED -- it's like being the last high-school virgin.

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(Laughter)

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You know that all of the cool people are -- they're doing it.

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And you're on the outside, you're at home.

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You're like the Raspyni Brothers,

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where you've got your balls in cold water. And --

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(Laughter) --

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you just play with your fingers all day. And then you get invited.

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And you're on the inside, and it's everything you hoped it would be.

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It's exciting and there's music playing all of the time

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and then suddenly it's over. And it's only taken five minutes.

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And you want to go back and do it again.

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But I really appreciate being here. And thank you, Chris,

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and also, thank you, Deborah Patton, for making this possible.

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So anyway, today we'll talk about architecture a little bit,

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within the subject of creation and optimism.

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And if you put creation and optimism together,

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you've got two choices that you can talk about.

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You can talk about creationism --

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which I think wouldn't go down well with this audience,

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at least not from a view where you were a proponent of it --

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or you can talk about optimisations, spelled the British way, with an S, instead of a Z.

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And I think that's what I'd like to talk about today.

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But any kind of conversation about architecture --

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which is, in fact, what you were just talking about, what was going on here,

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setting up TED, small-scale architecture --

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at the present time can't really happen without a conversation about this,

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the World Trade Center, and what's been going on there, what it means to us.

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Because if architecture is what I believe it to be,

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which is the built form of our cultural ambitions,

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what do you do when presented with an opportunity to rectify a situation

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that represents somebody else's cultural ambitions relative to us?

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And our own opportunity to make something new there?

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This has been a really galvanizing issue for a long time.

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I think that the World Trade Center in, rather an unfortunate way,

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brought architecture into focus

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in a way that I don't think people had thought of in a long time,

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and made it a subject for common conversation.

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I don't remember, in my 20-year career of practicing and writing about architecture,

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a time when five people sat me down at a table

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and asked me very serious questions about zoning, fire exiting,

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safety concerns and whether carpet burns.

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These are just not things we talked about very often.

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And yet, now, it's talked about all the time.

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At the point where you can weaponize your buildings,

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you have to suddenly think about architecture in a very different way.

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And so now we're going to think about architecture in a very different way,

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we're going to think about it like this.

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How many of you saw USA Today, today? There it is. Looks like that.

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There's the World Trade Center site, on the front cover.

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They've made a selection.

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They've chosen a project by Daniel Libeskind,

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the enfant terrible of the moment of architecture.

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Child-prodigy piano player, he started on the squeezebox,

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and moved to a little more serious issue, a bigger instrument,

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and now to an even larger instrument,

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upon which to work his particular brand of deconstructivist magic,

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as you see here.

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He was one of six people who were invited to participate in this competition,

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after six previous firms struck out

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with things that were so stupid and banal

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that even the city of New York was forced to go,

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"Oh, I'm really sorry, we screwed up."

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Right. Can we do this again from the top,

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except use some people with a vague hint of talent,

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instead of just six utter boobs like we brought in last time,

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real estate hacks of the kind who usually plan our cities.

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Let's bring in some real architects for a change.

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And so we got this, or we had a choice of that. Oh, stop clapping.

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(Laughter)

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It's too late. That is gone.

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This was a scheme by a team called THINK, a New York-based team,

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and then there was that one, which was the Libeskind scheme.

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This one, this is going to be the new World Trade Center:

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a giant hole in the ground with big buildings falling into it.

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Now, I don't know what you think, but I think this is a pretty stupid decision,

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because what you've done is just made a permanent memorial to destruction

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by making it look like the destruction is going to continue forever.

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But that's what we're going to do.

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But I want you to think about these things

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in terms of a kind of ongoing struggle that American architecture represents,

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and that these two things talk about very specifically.

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And that is the wild divergence in how we choose our architects,

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in trying to decide whether we want architecture

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from the kind of technocratic solution to everything --

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that there is a large, technical answer that can solve all problems,

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be they social, be they physical, be they chemical --

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or something that's more of a romantic solution.

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Now, I don't mean romantic as in, this is a nice place to take someone on a date.

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I mean romantic in the sense of, there are things larger and grander than us.

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So, in the American tradition,

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the difference between the technocratic and the romantic,

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would be the difference between Thomas Jefferson's

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Cartesian grids spreading across the United States,

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that gives us basically the whole shape

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of every western state in the United States,

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as a really, truly, technocratic solution, a bowing to the --

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in Jefferson's time -- current, popular philosophy of rationalism.

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Or the way we went to describe that later: manifest destiny.

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Now, which would you rather be? A grid, or manifest destiny?

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Manifest destiny.

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(Laughter)

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It's a big deal. It sounds big, it sounds important,

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it sounds solid. It sounds American. Ballsy, serious, male.

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And that kind of fight has gone on back and forth in architecture all the time.

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I mean, it goes on in our private lives, too, every single day.

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We all want to go out and buy an Audi TT, don't we?

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Everyone here must own one, or at least they craved one

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the moment they saw one.

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And then they hopped in it, turned the little electronic key,

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rather than the real key, zipped home on their new superhighway,

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and drove straight into a garage that looks like a Tudor castle.

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(Laughter)

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Why? Why? Why do you want to do that?

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Why do we all want to do that? I even owned a Tudor thing once myself.

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(Laughter)

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It's in our nature to go ricocheting

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back and forth between this technocratic solution

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and a larger, sort of more romantic image of where we are.

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So we're going to go straight into this.

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Can I have the lights off for a moment?

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I'm going to talk about two architects very, very briefly

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that represent the current split, architecturally,

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between these two traditions of a technocratic

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or technological solution and a romantic solution.

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And these are two of the top architectural practices in the United States today.

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One very young, one a little more mature.

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This is the work of a firm called SHoP,

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and what you're seeing here, is their isometric drawings

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of what will be a large-scale camera obscura in a public park.

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Does everybody know what a camera obscura is?

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Yeah, it's one of those giant camera lenses

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that takes a picture of the outside world --

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it's sort of a little movie, without any moving parts --

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and projects it on a page, and you can see the world outside you as you walk around it.

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This is just the outline of it, and you can see,

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does it look like a regular building? No.

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It's actually non-orthogonal: it's not up and down,

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square, rectangular, anything like that,

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that you'd see in a normal shape of a building.

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The computer revolution, the technocratic, technological revolution,

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has allowed us to jettison normal-shaped buildings,

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traditionally shaped buildings, in favor of non-orthogonal buildings such as this.

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What's interesting about it is not the shape.

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What's interesting about it is how it's made. How it's made.

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A brand-new way to put buildings together,

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something called mass customization. No, it is not an oxymoron.

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What makes the building expensive, in the traditional sense,

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is making individual parts custom, that you can't do over and over again.

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That's why we all live in developer houses.

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They all want to save money by building the same thing 500 times.

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That's because it's cheaper.

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Mass customization works by an architect feeding into a computer,

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a program that says, manufacture these parts.

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The computer then talks to a machine --

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a computer-operated machine, a cad-cam machine --

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that can make a zillion different changes, at a moment's notice,

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because the computer is just a machine.

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It doesn't care. It's manufacturing the parts.

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It doesn't see any excess cost. It doesn't spend any extra time.

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It's not a laborer -- it's simply an electronic lathe,

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so the parts can all be cut at the same time.

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Meanwhile, instead of sending someone working drawings,

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which are those huge sets of blueprints that you've seen your whole life,

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what the architect can do is send a set of assembly instructions,

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like you used to get when you were a child,

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when you bought little models that said, "Bolt A to B, and C to D."

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And so what the builder will get is every single individual part

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that has been custom manufactured off-site and delivered on a truck

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to the site, to that builder, and a set of these instruction manuals.

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Just simple "Bolt A to B" and they will be able to put them together.

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Here's the little drawing that tells them how that works --

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and that's what will happen in the end.

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You're underneath it, looking up into the lens of the camera obscura.

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Lest you think this is all fiction, lest you think this is all fantasy, or romance,

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these same architects were asked to produce something

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for the central courtyard of PS1, which is a museum in Brooklyn, New York,

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as part of their young architects summer series.

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And they said, well, it's summer, what do you do?

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In the summer, you go to the beach.

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And when you go to the beach, what do you get? You get sand dunes.

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So let's make architectural sand dunes and a beach cabana.

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So they went out and they modeled a computer model of a sand dune.

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They took photographs, they fed the photographs into their computer program,

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and that computer program shaped a sand dune

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and then took that sand dune shape and turned it into --

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at their instructions, using standard software with slight modifications --

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a set of instructions for pieces of wood.

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And those are the pieces of wood. Those are the instructions.

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These are the pieces, and here's a little of that blown up.

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What you can see is there's about six different colors,

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and each color represents a type of wood to be cut, a piece of wood to be cut.

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All of which were delivered by flat bed, on a truck,

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and hand assembled in 48 hours by a team of eight people,

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only one of whom had ever seen the plans before.

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Only one of whom had ever seen the plans before.

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And here comes dune-scape, coming up out of the courtyard,

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and there it is fully built.

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There are only 16 different pieces of wood,

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only 16 different assembly parts here.

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Looks like a beautiful piano sounding board on the inside.

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It has its own built-in swimming pool, very, very cool.

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It's a great place for parties -- it was, it was only up for six weeks.

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It's got little dressing rooms and cabanas,

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where lots of interesting things went on, all summer long.

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Now, lest you think that this is only for the light at heart, or just temporary installations,

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this is the same firm working at the World Trade Center,

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replacing the bridge that used to go across West Street,

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that very important pedestrian connection

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between the city of New York and the redevelopment of the West Side.

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They were asked to design, replace that bridge in six weeks,

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building it, including all of the parts, manufactured.

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And they were able to do it. That was their design,

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using that same computer modeling system

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and only five or six really different kinds of parts,

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a couple of struts, like this, some exterior cladding material

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and a very simple framing system

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that was all manufactured off-site and delivered by truck.

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They were able to create that.

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They were able to create something wonderful.

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They're now building a 16-story building on the side of New York,

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using the same technology.

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Here we're going to walk across the bridge at night.

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It's self-lit, you don't need any overhead lighting,

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so the neighbors don't complain about metal-halide lighting in their face.

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Here it is going across. And there, down the other side,

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and you get the same kind of grandeur.

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Now, let me show you, quickly, the opposite, if I may.

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Woo, pretty, huh. This is the other side of the coin.

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This is the work of David Rockwell from New York City,

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whose work you can see out here today.

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The current king of the romantics, who approaches his work

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in a very different fashion.

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It's not to create a technological solution, it's to seduce you

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into something that you can do, into something that will please you,

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something that will lift your spirits,

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something that will make you feel as if are in another world --

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such as his Nobu restaurant in New York,

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which is supposed to take you from the clutter of New York City

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to the simplicity of Japan and the elegance of Japanese tradition.

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"When it's all said and done, it's got to look like seaweed," said the owner.

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Or his restaurant, Pod, in Philadelphia, Pennsylvania.

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I want you to know the room you're looking at is stark white.

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Every single surface of this restaurant is white.

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The reason it has so much color is that it changes using lighting.

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It's all about sensuality. It's all about transforming.

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Watch this -- I'm not touching any buttons, ladies and gentlemen.

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This is happening by itself.

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It transforms through the magic of lighting.

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It's all about sensuality. It's all about touch.

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Rosa Mexicano restaurant, where he transports us to the shores of Acapulco,

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up on the Upper West Side,

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with this wall of cliff divers who -- there you go, like that.

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Let's see it one more time.

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Okay, just to make sure that you've enjoyed it.

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And finally, it's about comfort, it's about making you feel good

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in places that you wouldn't have felt good before.

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It's about bringing nature to the inside.

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In the Guardian Tower of New York, converted to a W Union Square --

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I'm sorry I'm rushing -- where we had to bring in the best horticulturists in the world

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to make sure that the interior of this dragged the garden space

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of the court garden of the Union Square into the building itself.

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It's about stimulation.

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This is a wine-buying experience simplified by color and taste.

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Fizzy, fresh, soft, luscious, juicy, smooth, big and sweet wines,

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all explained to you by color and texture on the wall.

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And finally, it's about entertainment, as in his headquarters

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for the Cirque du Soleil, Orlando, Florida,

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where you're asked to enter the Greek theater,

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look under the tent and join the magic world of Cirque du Soleil.

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And I think I'll probably leave it at that. Thank you very much.