9:59:59.000,9:59:59.000
Today I'm going to speak to you

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about the last 30 years

9:59:59.000,9:59:59.000
of architectural history.

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That's a lot to pack into 18 minutes.

9:59:59.000,9:59:59.000
It's a complex topic,

9:59:59.000,9:59:59.000
so we're just going to dive right in[br]at a complex place: New Jersey.

9:59:59.000,9:59:59.000
Because 30 years ago, I'm from Jersey,

9:59:59.000,9:59:59.000
and I was six, and I lived there[br]in my parents house

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in a town called Livingston,

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and this was my childhood bedroom.

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Around the corner from my bedroom

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was the bathroom that I used to share

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with my sister.

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And in between my bedroom and the bathroom

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was a balcony that overlooked[br]the family room.

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And that's where everyone[br]would hang out and watch TV,

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so that every time I walked[br]from my bedroom to the bathroom,

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everyone would see me,

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and every time I took a shower[br]and would come back in a towel,

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everyone would see me.

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And I looked like this.

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I was awkward,

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insecure, and I hated it.

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I hated that walk, I hated that balcony,[br]I hated that room, and I hated that house.

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And that's architecture.

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(Laughter)

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Done.

9:59:59.000,9:59:59.000
That feeling, those emotions that I felt,

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that's the power of architecture,

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because architecture is not about math[br]and it's not about zoning,

9:59:59.000,9:59:59.000
it's about those visceral,[br]emotional connections

9:59:59.000,9:59:59.000
that we feel to the places that we occupy.

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And it's no surprise that we feel that way,

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because according to the EPA,

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Americans spend 90 percent[br]of their time indoors.

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That's 90 percent of our time[br]surrounded by architecture.

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That's huge.

9:59:59.000,9:59:59.000
That means that architecture is shaping us

9:59:59.000,9:59:59.000
in ways that we didn't even realize.

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That makes us a little bit gullible

9:59:59.000,9:59:59.000
and very, very predictable.

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It means that when I show you[br]a building like this,

9:59:59.000,9:59:59.000
I know what you think:

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you think power

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and stability and democracy.

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And I know you think that[br]because it's based on a building

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that was build 2,500 years ago[br]by the Greeks.

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This is a trick.

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This is a trigger that architects use

9:59:59.000,9:59:59.000
to get you to create[br]an emotional connection

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to the forms that we build[br]our buildings out of.

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It's a predictable emotional connection,

9:59:59.000,9:59:59.000
and we've been using this trick[br]for a long, long time.

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We used it 300 years ago to build banks.

9:59:59.000,9:59:59.000
We used it in the 19th century[br]to build art museums.

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And in the 20th century in America,

9:59:59.000,9:59:59.000
we used it to build houses,

9:59:59.000,9:59:59.000
and look at these solid,[br]stable little soldiers

9:59:59.000,9:59:59.000
facing the ocean[br]and keeping away the elements.

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This is really, really useful,

9:59:59.000,9:59:59.000
because building things is terrifying.

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It's expensive, it takes a long time,[br]and it's very complicated,

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and the people that build things

9:59:59.000,9:59:59.000
-- developers and governments --

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they're naturally afraid of innovation,

9:59:59.000,9:59:59.000
and they'd rather just use those forms[br]that they know you'll respond to.

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That's how we end up[br]with buildings like this.

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This is a nice building.

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This is the Livingston Public Library

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that was completed in 2004 in my hometown,

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and, you know, it's got a dome

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and it's got this round thing and columns,

9:59:59.000,9:59:59.000
red brick, and you can kind of guess

9:59:59.000,9:59:59.000
what Livingston's trying to say[br]with this building:

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children, property values, and history.

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But it doesn't have much to do[br]with what a library actually does today.

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That same year, in 2004,[br]on the other side of the country,

9:59:59.000,9:59:59.000
another library was completed

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and it looks like this.

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It's in Seattle.

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This library is about how[br]we consume media in a digital age.

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It's about a new kind of public amenity[br]for the city, a place to gather

9:59:59.000,9:59:59.000
and read and share.

9:59:59.000,9:59:59.000
So how is it possible

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that in the same year,[br]in the same country,

9:59:59.000,9:59:59.000
two buildings, both called libraries,

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look so completely different?

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And the answer is[br]that architecture works

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on the principle of a pendulum.

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On the one side is innovation,

9:59:59.000,9:59:59.000
and architects are constantly pushing,[br]pushing for new technologies,

9:59:59.000,9:59:59.000
new typologies, new solutions[br]for the way that we live today,

9:59:59.000,9:59:59.000
and we push and we push and we push

9:59:59.000,9:59:59.000
until we completely alienate all of you.

9:59:59.000,9:59:59.000
We wear all black, we get very depressed,

9:59:59.000,9:59:59.000
you think we're adorable,

9:59:59.000,9:59:59.000
we're dead inside because[br]we've got no choice.

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We have to go to the other side[br]and reengage those symbols

9:59:59.000,9:59:59.000
that we know you love.

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So we do that, and you're happy,

9:59:59.000,9:59:59.000
we feel like sellouts,

9:59:59.000,9:59:59.000
so we start experimenting again[br]and we push the pendulum

9:59:59.000,9:59:59.000
back and back and forth[br]and back and forth we've gone

9:59:59.000,9:59:59.000
for the last 300 years,

9:59:59.000,9:59:59.000
and certainly for the last 30 years.

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Okay, 30 years ago

9:59:59.000,9:59:59.000
we were coming out of the '70s.

9:59:59.000,9:59:59.000
Architects had been busy experimenting[br]with something call "brutalism."

9:59:59.000,9:59:59.000
It's about concrete.

9:59:59.000,9:59:59.000
You can guess this.

9:59:59.000,9:59:59.000
Small windows, dehumanizing scale.

9:59:59.000,9:59:59.000
This is really tough stuff.

9:59:59.000,9:59:59.000
So as we get closer to the '80s,

9:59:59.000,9:59:59.000
we start to reengage those symbols.

9:59:59.000,9:59:59.000
We push the pendulum[br]back into the other direction.

9:59:59.000,9:59:59.000
We take these forms that we know you love

9:59:59.000,9:59:59.000
and we update them.

9:59:59.000,9:59:59.000
We add neon

9:59:59.000,9:59:59.000
and we add pastels

9:59:59.000,9:59:59.000
and we use new materials.

9:59:59.000,9:59:59.000
And you love it.

9:59:59.000,9:59:59.000
And we can't give you enough of it.

9:59:59.000,9:59:59.000
We take Chippendale armoires

9:59:59.000,9:59:59.000
and we turned those into skyscrapers,

9:59:59.000,9:59:59.000
and skyscrapers can be[br]medieval castles made out of glass.

9:59:59.000,9:59:59.000
Forms got big,

9:59:59.000,9:59:59.000
forms got bold and colorful.

9:59:59.000,9:59:59.000
Dwarves became columns.

9:59:59.000,9:59:59.000
Swans grew to the size of buildings.

9:59:59.000,9:59:59.000
It was crazy.

9:59:59.000,9:59:59.000
But it's the '80s, it's cool.

9:59:59.000,9:59:59.000
We're all hanging out in malls

9:59:59.000,9:59:59.000
and we're all moving to the suburbs,

9:59:59.000,9:59:59.000
and out there, out in the suburbs,

9:59:59.000,9:59:59.000
we can create our own[br]architectural fantasies,

9:59:59.000,9:59:59.000
and those fantasies,

9:59:59.000,9:59:59.000
they can be Mediterranean

9:59:59.000,9:59:59.000
or French

9:59:59.000,9:59:59.000
or Italian.

9:59:59.000,9:59:59.000
Possibly with endless breadsticks.

9:59:59.000,9:59:59.000
This is the thing about postmodernism.

9:59:59.000,9:59:59.000
This is the thing about symbols.

9:59:59.000,9:59:59.000
They're easy, they're cheap,

9:59:59.000,9:59:59.000
because instead of making places,

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we're making memories of places.

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Because I know, and all of you know

9:59:59.000,9:59:59.000
this isn't Tuscany, this is Ohio.

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So architects get frustrated,

9:59:59.000,9:59:59.000
and we start pushing the pendulum[br]back into the other direction.

9:59:59.000,9:59:59.000
In the late '80s and early '90s,

9:59:59.000,9:59:59.000
we start experimenting with something[br]called deconstructivism.

9:59:59.000,9:59:59.000
We throw out historical symbols,

9:59:59.000,9:59:59.000
we rely on new, computer-aided[br]design techniques,

9:59:59.000,9:59:59.000
and we come up with new compositions,

9:59:59.000,9:59:59.000
forms crashing into forms.

9:59:59.000,9:59:59.000
This is academic and heady stuff,

9:59:59.000,9:59:59.000
it's super-unpopular,

9:59:59.000,9:59:59.000
we totally alienate you.

9:59:59.000,9:59:59.000
Ordinarily, the pendulum would just[br]swing back into the other direction,

9:59:59.000,9:59:59.000
and then something amazing happened.

9:59:59.000,9:59:59.000
In 1997, this building opened.

9:59:59.000,9:59:59.000
This is the Guggenheim Bilbao,[br]by Frank Gehry.

9:59:59.000,9:59:59.000
And this buildling

9:59:59.000,9:59:59.000
fundamentally changes[br]the world's relationship to architecture.

9:59:59.000,9:59:59.000
Paul Goldberger said Bilbao[br]was one of those rare moments

9:59:59.000,9:59:59.000
when critics, academics,[br]and the general public

9:59:59.000,9:59:59.000
were completely united around a building.

9:59:59.000,9:59:59.000
The New York Times[br]called this building a miracle.

9:59:59.000,9:59:59.000
Tourism in Bilbao increased 2500 percent

9:59:59.000,9:59:59.000
after this building was completed.

9:59:59.000,9:59:59.000
So all of a sudden, everybody[br]wants one of these buildings:

9:59:59.000,9:59:59.000
L.A.,

9:59:59.000,9:59:59.000
Seattle, Chicago,

9:59:59.000,9:59:59.000
New York, Cleveland,

9:59:59.000,9:59:59.000
Springfield.

9:59:59.000,9:59:59.000
Everybody wants one,[br]and Gehry is everywhere.

9:59:59.000,9:59:59.000
He is our very first starchitecct.

9:59:59.000,9:59:59.000
Now, how is it possible

9:59:59.000,9:59:59.000
that these forms

9:59:59.000,9:59:59.000
-- they're wild and radical --

9:59:59.000,9:59:59.000
how is it possible that they become[br]so ubiquitous throughout the world?

9:59:59.000,9:59:59.000
And it happened because media

9:59:59.000,9:59:59.000
so successfully galvanized around them

9:59:59.000,9:59:59.000
that they quickly taught us[br]that these forms

9:59:59.000,9:59:59.000
mean culture and tourism.

9:59:59.000,9:59:59.000
We created an emotional[br]reaction to these forms.

9:59:59.000,9:59:59.000
So did every mayor in the world.

9:59:59.000,9:59:59.000
So every mayor knew[br]that if they had these forms,

9:59:59.000,9:59:59.000
they had culture and tourism.

9:59:59.000,9:59:59.000
This phenomenon[br]at the turn of the new millennium

9:59:59.000,9:59:59.000
happened to a few other starchitects.

9:59:59.000,9:59:59.000
It happened to Zaha[br]and it happened to Libeskind

9:59:59.000,9:59:59.000
and what happened[br]to these elite few architects

9:59:59.000,9:59:59.000
at the turn of the new millennium

9:59:59.000,9:59:59.000
could actually start to happen[br]to the entire field of architecture,

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as digital media starts[br]to increase the speed

9:59:59.000,9:59:59.000
with which we consume information.

9:59:59.000,9:59:59.000
Because think about[br]how you consume architecture.

9:59:59.000,9:59:59.000
A thousand years ago, you would have had[br]to have walked to the village next door

9:59:59.000,9:59:59.000
to see a building.

9:59:59.000,9:59:59.000
Transportation speeds up:

9:59:59.000,9:59:59.000
you can take a boat, you can take a plane,[br]you can be a tourist.

9:59:59.000,9:59:59.000
Technology speeds up:[br]you can see it in a newspaper, on TV,

9:59:59.000,9:59:59.000
until finally, we are all[br]architectural photographers,

9:59:59.000,9:59:59.000
and the building has become[br]disembodied from the site.

9:59:59.000,9:59:59.000
Architecture is everywhere now,

9:59:59.000,9:59:59.000
and that means that[br]the speed of communication

9:59:59.000,9:59:59.000
has finally caught up[br]to the speed of architecture.

9:59:59.000,9:59:59.000
Because architecture[br]actually moves quite quickly.

9:59:59.000,9:59:59.000
It doesn't take long[br]to think about a building,

9:59:59.000,9:59:59.000
It takes a long time to build a building

9:59:59.000,9:59:59.000
-- three or four years --

9:59:59.000,9:59:59.000
and in the interim, an architect[br]will design two or eight

9:59:59.000,9:59:59.000
or a hundred other buildings

9:59:59.000,9:59:59.000
before they know if that building[br]that they designed four years ago

9:59:59.000,9:59:59.000
was a success or not.

9:59:59.000,9:59:59.000
That's because there's never been[br]a good feedback loop in architecture.

9:59:59.000,9:59:59.000
That's how we end up[br]with buildings like this.

9:59:59.000,9:59:59.000
Brutalism wasn't a two year movement,

9:59:59.000,9:59:59.000
it was a 20 year movement.

9:59:59.000,9:59:59.000
For 20 years, we were producing[br]buildings like this

9:59:59.000,9:59:59.000
because we had no idea[br]how much you hated it.

9:59:59.000,9:59:59.000
It's never going to happen again,

9:59:59.000,9:59:59.000
I think,

9:59:59.000,9:59:59.000
because we are living on the verge[br]of the greatest revolution in architecture

9:59:59.000,9:59:59.000
since the invention of concrete,

9:59:59.000,9:59:59.000
of steel, or of the elevator,

9:59:59.000,9:59:59.000
and it's a media revolution.

9:59:59.000,9:59:59.000
So my theory is that when[br]you apply media to this pendulum,

9:59:59.000,9:59:59.000
it starts swinging faster and faster,

9:59:59.000,9:59:59.000
until it's at both extremes[br]nearly simultaneously,

9:59:59.000,9:59:59.000
and that effectively blurs the distance[br]between innovation and symbol,

9:59:59.000,9:59:59.000
between us the architects[br]and you the public.

9:59:59.000,9:59:59.000
Now we can make nearly instantaneous,[br]emotionally charged symbols

9:59:59.000,9:59:59.000
out of something that's brand new.

9:59:59.000,9:59:59.000
Let me show you how this plays out

9:59:59.000,9:59:59.000
in a project that my firm[br]recently completed.

9:59:59.000,9:59:59.000
We were hired to replace this building,

9:59:59.000,9:59:59.000
which burned down.

9:59:59.000,9:59:59.000
This is the center of a town[br]called the Pines

9:59:59.000,9:59:59.000
in Fire Island in New York State.

9:59:59.000,9:59:59.000
It's a vacation community.

9:59:59.000,9:59:59.000
We proposed a building that was audacious,

9:59:59.000,9:59:59.000
that was different than any of the forms[br]that the community was used to,

9:59:59.000,9:59:59.000
and we were scared[br]and our client was scared

9:59:59.000,9:59:59.000
and the community was scared,

9:59:59.000,9:59:59.000
so we created a series[br]of photorealistic renderings

9:59:59.000,9:59:59.000
that we put onto Facebook

9:59:59.000,9:59:59.000
and we put onto Instagram,

9:59:59.000,9:59:59.000
and we let people start[br]to do what they do:

9:59:59.000,9:59:59.000
share it, comment, like it, hate it.

9:59:59.000,9:59:59.000
But that meant that two years[br]before the building was complete,

9:59:59.000,9:59:59.000
it was already a part of the community,

9:59:59.000,9:59:59.000
so that when the renderings[br]looked exactly like the finished product,

9:59:59.000,9:59:59.000
there were no surprises.

9:59:59.000,9:59:59.000
This building was already a part[br]of this community,

9:59:59.000,9:59:59.000
and then that first summer,

9:59:59.000,9:59:59.000
when people started arriving[br]and sharing the building on social media,

9:59:59.000,9:59:59.000
the building ceased to be just an edifice[br]and it became media,

9:59:59.000,9:59:59.000
because these, these are not[br]just pictures of a building,

9:59:59.000,9:59:59.000
they're your pictures of a building,

9:59:59.000,9:59:59.000
and as you use them to tell your story,

9:59:59.000,9:59:59.000
they become part[br]of your personal narrative,

9:59:59.000,9:59:59.000
and what you're doing[br]is you're short-circuiting

9:59:59.000,9:59:59.000
all of our collective memory,

9:59:59.000,9:59:59.000
and you're making these charged symbols[br]for us to understand.

9:59:59.000,9:59:59.000
That means we don't need[br]the Greeks anymore

9:59:59.000,9:59:59.000
to tell us what to think[br]about architecture:

9:59:59.000,9:59:59.000
we can tell each other[br]what we think about architecture,

9:59:59.000,9:59:59.000
because digital media hasn't just changed[br]the relationship between all of us,

9:59:59.000,9:59:59.000
it's change the relationship[br]between us and buildings.

9:59:59.000,9:59:59.000
Think for a second about[br]those librarians back in Livingston.

9:59:59.000,9:59:59.000
If that building was going[br]to be built today,

9:59:59.000,9:59:59.000
the first thing they would do is go online

9:59:59.000,9:59:59.000
and search "new libraries."

9:59:59.000,9:59:59.000
They would be bombarded by examples[br]of experimentation, of innovation,

9:59:59.000,9:59:59.000
of pushing at the envelope[br]of what a library can be.

9:59:59.000,9:59:59.000
That's ammunition.

9:59:59.000,9:59:59.000
That's ammunition[br]that they can take with them

9:59:59.000,9:59:59.000
to the mayor of Livingston,[br]to the people of Livingston,

9:59:59.000,9:59:59.000
and say there's no one answer[br]to what a library is today.

9:59:59.000,9:59:59.000
Let's be a part of this.

9:59:59.000,9:59:59.000
This abundance of experimentation

9:59:59.000,9:59:59.000
gives them the freedom[br]to run their own experiment.

9:59:59.000,9:59:59.000
Everything is different now.

9:59:59.000,9:59:59.000
Architects are no longer[br]these mysterious creatures

9:59:59.000,9:59:59.000
that use big words[br]and complicated drawings,

9:59:59.000,9:59:59.000
and you aren't the hapless public,

9:59:59.000,9:59:59.000
the consumer that won't accept[br]anything that they haven't seen anymore.

9:59:59.000,9:59:59.000
Architects can hear you,

9:59:59.000,9:59:59.000
and you're not intimidated[br]by architecture.

9:59:59.000,9:59:59.000
That means that that pendulum[br]swinging back and forth

9:59:59.000,9:59:59.000
from style to style,[br]from movement to movement,

9:59:59.000,9:59:59.000
is irrelevant.

9:59:59.000,9:59:59.000
We can actually move forward

9:59:59.000,9:59:59.000
and find relevant solutions[br]to the problems that our society faces.

9:59:59.000,9:59:59.000
This is the end of architectural history,

9:59:59.000,9:59:59.000
and it means that[br]the buildings of tomorrow

9:59:59.000,9:59:59.000
are going to look a lot different[br]than the buildings of today.

9:59:59.000,9:59:59.000
It means that a public space

9:59:59.000,9:59:59.000
in the ancient city of Seville

9:59:59.000,9:59:59.000
can be unique and tailored[br]to the way that a modern city works.

9:59:59.000,9:59:59.000
It means that a stadium in Brooklyn[br]can be a stadium in Brooklyn,

9:59:59.000,9:59:59.000
not some red brick historical pastiche

9:59:59.000,9:59:59.000
of what we think a stadium ought to be.

9:59:59.000,9:59:59.000
It means that robots are going[br]to build our buildings,

9:59:59.000,9:59:59.000
because we're finally ready for the forms[br]that they're going to produce.

9:59:59.000,9:59:59.000
And it means that buildings[br]will twist to the whims of nature

9:59:59.000,9:59:59.000
instead of the other way around.

9:59:59.000,9:59:59.000
It means that a parking garage[br]in Miami Beach, Florida,

9:59:59.000,9:59:59.000
can also be a place for sports

9:59:59.000,9:59:59.000
and for yoga

9:59:59.000,9:59:59.000
and you can even[br]get married there late at night.

9:59:59.000,9:59:59.000
It means that three architects[br]can dream about swimming

9:59:59.000,9:59:59.000
in the East River of New York,

9:59:59.000,9:59:59.000
and then raise nearly[br]half a million dollars

9:59:59.000,9:59:59.000
from a community[br]that gathered around their cause,

9:59:59.000,9:59:59.000
no one client anymore.

9:59:59.000,9:59:59.000
It means that no building[br]is too small for innovation,

9:59:59.000,9:59:59.000
like this little reindeer pavilion

9:59:59.000,9:59:59.000
that's as muscly and sinewy

9:59:59.000,9:59:59.000
as the animals it's designed to observe.

9:59:59.000,9:59:59.000
And it means that a building[br]doesn't have to be beautiful

9:59:59.000,9:59:59.000
to be lovable,

9:59:59.000,9:59:59.000
like this ugly little building in Spain,

9:59:59.000,9:59:59.000
where the architects dug a hole,

9:59:59.000,9:59:59.000
packed it with hay,

9:59:59.000,9:59:59.000
and then poured concrete around it,

9:59:59.000,9:59:59.000
and when the concrete dried,

9:59:59.000,9:59:59.000
they invited someone to come[br]and clean that hay out

9:59:59.000,9:59:59.000
so that all that's left when it's done

9:59:59.000,9:59:59.000
is this hideous little room

9:59:59.000,9:59:59.000
that's filled with the imprints[br]and scratches of how that place was made,

9:59:59.000,9:59:59.000
and that becomes the most sublime place

9:59:59.000,9:59:59.000
to watch a Spanish sunset.

9:59:59.000,9:59:59.000
Because it doesn't matter[br]if a cow builds our buildings

9:59:59.000,9:59:59.000
or a robot builds our buildings.

9:59:59.000,9:59:59.000
It doesn't matter how we build,[br]it matters what we build.

9:59:59.000,9:59:59.000
Architects already know how[br]to make buildings that are greener

9:59:59.000,9:59:59.000
and smarter and friendlier.

9:59:59.000,9:59:59.000
We've just been waiting[br]for all of you to want that.

9:59:59.000,9:59:59.000
And finally, we're not[br]on opposite sides anymore.

9:59:59.000,9:59:59.000
Find an architect, hire an architect,

9:59:59.000,9:59:59.000
work with us to design better buildings,[br]better cities, and a better world,

9:59:59.000,9:59:59.000
because the stakes are high.

9:59:59.000,9:59:59.000
Buildings don't just reflect our society,[br]they shape our society

9:59:59.000,9:59:59.000
down to the smallest spaces:

9:59:59.000,9:59:59.000
the local libraries,

9:59:59.000,9:59:59.000
the homes where we raise our children,

9:59:59.000,9:59:59.000
and the walk that they take[br]from the bedroom to the bathroom.

9:59:59.000,9:59:59.000
Thank you.

9:59:59.000,9:59:59.000
(Applause)