0:00:01.828,0:00:03.448
Today I'm going to speak to you

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about the last 30 years[br]of architectural history.

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That's a lot to pack into 18 minutes.

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It's a complex topic,

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so we're just going to dive right in[br]at a complex place:

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New Jersey.

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Because 30 years ago, I'm from Jersey,

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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[br]that I used to share 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 that 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,

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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.

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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,

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it's about those visceral,[br]emotional connections

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that we feel to the places that we occupy.

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And it's no surprise[br]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.

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That means that architecture is shaping us[br]in ways that we didn't even realize.

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That makes us a little bit gullible[br]and very, very predictable.

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

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I know what you think:

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You think "power"[br]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

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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,

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

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We used it [200] years ago to build banks.

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We used it in the 19th century[br]to build art museums.

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And in the 20th century in America,

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we used it to build houses.

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And look at these solid,[br]stable little soldiers

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facing the ocean[br]and keeping away the elements.

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This is really, really useful,

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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 --

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developers and governments --

0:03:03.407,0:03:06.260
they're naturally afraid of innovation,

0:03:06.284,0:03:10.264
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 [br]and columns, red brick,

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and you can kind of guess what Livingston[br]is trying to say 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,

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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[br]of public amenity for the city,

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a place to gather and read and share.

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So how is it possible

0:04:04.891,0:04:08.304
that in the same year,[br]in the same country,

0:04:08.328,0:04:10.951
two buildings, both called libraries,

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look so completely different?

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And the answer is that architecture works[br]on the principle of a pendulum.

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On the one side is innovation,

0:04:22.393,0:04:26.010
and architects are constantly pushing,[br]pushing for new technologies,

0:04:26.034,0:04:29.716
new typologies, new solutions[br]for the way that we live today.

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And we push and we push and we push

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until we completely alienate all of you.

0:04:34.927,0:04:37.153
We wear all black, we get very depressed,

0:04:37.177,0:04:39.338
you think we're adorable,

0:04:39.362,0:04:42.821
we're dead inside because[br]we've got no choice.

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We have to go to the other side

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and reengage those symbols[br]that we know you love.

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So we do that, and you're happy,

0:04:50.577,0:04:52.387
we feel like sellouts,

0:04:52.411,0:04:54.061
so we start experimenting again

0:04:54.085,0:04:57.279
and we push the pendulum back[br]and back and forth and back and forth

0:04:57.303,0:04:59.678
we've gone for the last 300 years,

0:04:59.702,0:05:01.815
and certainly for the last 30 years.

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Okay, 30 years ago[br]we were coming out of the '70s.

0:05:06.542,0:05:10.201
Architects had been busy experimenting[br]with something called brutalism.

0:05:10.519,0:05:11.765
It's about concrete.

0:05:11.789,0:05:13.261
(Laughter)

0:05:13.285,0:05:14.429
You can guess this.

0:05:14.453,0:05:17.783
Small windows, dehumanizing scale.

0:05:17.807,0:05:20.570
This is really tough stuff.

0:05:20.594,0:05:23.357
So as we get closer to the '80s,

0:05:23.381,0:05:25.724
we start to reengage those symbols.

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We push the pendulum[br]back into the other direction.

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We take these forms that we know you love

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and we update them.

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We add neon

0:05:35.175,0:05:37.439
and we add pastels

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and we use new materials.

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And you love it.

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And we can't give you enough of it.

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We take Chippendale armoires

0:05:44.764,0:05:47.136
and we turned those into skyscrapers,

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and skyscrapers can be[br]medieval castles made out of glass.

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Forms got big,

0:05:53.985,0:05:56.512
forms got bold and colorful.

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Dwarves became columns.

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(Laughter)

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Swans grew to the size of buildings.

0:06:02.597,0:06:03.934
It was crazy.

0:06:04.640,0:06:08.513
But it's the '80s, it's cool.

0:06:08.537,0:06:09.715
(Laughter)

0:06:09.739,0:06:11.733
We're all hanging out in malls

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and we're all moving to the suburbs,

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and out there, out in the suburbs,

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we can create our own[br]architectural fantasies.

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And those fantasies,

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they can be Mediterranean

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or French

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or Italian.

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(Laughter)

0:06:28.821,0:06:30.714
Possibly with endless breadsticks.

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This is the thing about postmodernism.

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This is the thing about symbols.

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They're easy, they're cheap,

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because instead of making places,

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we're making memories of places.

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Because I know, [br]and I know all of you know,

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this isn't Tuscany.

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This is Ohio.

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(Laughter)

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So architects get frustrated,

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and we start pushing the pendulum[br]back into the other direction.

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In the late '80s and early '90s,

0:06:58.810,0:07:02.058
we start experimenting with something[br]called deconstructivism.

0:07:02.727,0:07:05.473
We throw out historical symbols,

0:07:05.497,0:07:09.343
we rely on new, computer-aided[br]design techniques,

0:07:09.367,0:07:11.324
and we come up with new compositions,

0:07:11.348,0:07:14.204
forms crashing into forms.

0:07:14.228,0:07:17.251
This is academic and heady stuff,

0:07:17.275,0:07:19.126
it's super unpopular,

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we totally alienate you.

0:07:20.837,0:07:25.024
Ordinarily, the pendulum would just[br]swing back into the other direction.

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And then, something amazing happened.

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In 1997, this building opened.

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This is the Guggenheim Bilbao,[br]by Frank Gehry.

0:07:36.228,0:07:37.632
And this building

0:07:37.656,0:07:41.920
fundamentally changes[br]the world's relationship to architecture.

0:07:42.694,0:07:46.594
Paul Goldberger said that Bilbao[br]was one of those rare moments

0:07:46.618,0:07:49.921
when critics, academics,[br]and the general public

0:07:49.945,0:07:52.711
were completely united around a building.

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The New York Times[br]called this building a miracle.

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Tourism in Bilbao increased 2,500 percent

0:08:02.866,0:08:04.535
after this building was completed.

0:08:04.885,0:08:08.334
So all of a sudden, everybody[br]wants one of these buildings:

0:08:09.044,0:08:10.383
L.A.,

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Seattle,

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Chicago,

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New York,

0:08:16.552,0:08:18.446
Cleveland,

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Springfield.

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(Laughter)

0:08:20.795,0:08:24.018
Everybody wants one,[br]and Gehry is everywhere.

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He is our very first starchitect.

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Now, how is it possible[br]that these forms --

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they're wild and radical --

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how is it possible that they become[br]so ubiquitous throughout the world?

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And it happened because media[br]so successfully galvanized around them

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that they quickly taught us[br]that these forms mean culture and tourism.

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We created an emotional[br]reaction to these forms.

0:08:54.490,0:08:56.862
So did every mayor in the world.

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So every mayor knew[br]that if they had these forms,

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they had culture and tourism.

0:09:03.778,0:09:06.110
This phenomenon[br]at the turn of the new millennium

0:09:06.134,0:09:08.264
happened to a few other starchitects.

0:09:08.288,0:09:10.671
It happened to Zaha

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and it happened to Libeskind,

0:09:13.118,0:09:17.732
and what happened[br]to these elite few architects

0:09:17.756,0:09:19.512
at the turn of the new millennium

0:09:19.536,0:09:23.213
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

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with which we consume information.

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Because think about[br]how you consume architecture.

0:09:32.429,0:09:33.644
A thousand years ago,

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you would have had to have walked to[br]the village next door to see a building.

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Transportation speeds up:

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You can take a boat, you can take a plane,[br]you can be a tourist.

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Technology speeds up:[br]You can see it in a newspaper, on TV,

0:09:45.087,0:09:49.950
until finally, we are all[br]architectural photographers,

0:09:49.974,0:09:53.874
and the building has become[br]disembodied from the site.

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Architecture is everywhere now,

0:09:58.339,0:10:01.453
and that means that[br]the speed of communication

0:10:01.477,0:10:04.570
has finally caught up[br]to the speed of architecture.

0:10:05.409,0:10:07.879
Because architecture[br]actually moves quite quickly.

0:10:07.903,0:10:10.611
It doesn't take long[br]to think about a building.

0:10:10.635,0:10:12.788
It takes a long time to build a building,

0:10:12.812,0:10:15.106
three or four years,

0:10:15.130,0:10:18.798
and in the interim, an architect[br]will design two or eight

0:10:18.822,0:10:21.468
or a hundred other buildings

0:10:21.492,0:10:25.183
before they know if that building[br]that they designed four years ago

0:10:25.207,0:10:27.085
was a success or not.

0:10:27.690,0:10:31.239
That's because there's never been[br]a good feedback loop in architecture.

0:10:32.416,0:10:35.308
That's how we end up[br]with buildings like this.

0:10:35.332,0:10:38.272
Brutalism wasn't a two-year movement,

0:10:38.296,0:10:40.167
it was a 20-year movement.

0:10:40.383,0:10:44.201
For 20 years, we were producing[br]buildings like this

0:10:44.225,0:10:47.093
because we had no idea[br]how much you hated it.

0:10:48.284,0:10:51.084
It's never going to happen again,

0:10:51.108,0:10:53.238
I think,

0:10:53.262,0:10:59.362
because we are living on the verge[br]of the greatest revolution in architecture

0:10:59.386,0:11:01.755
since the invention of concrete,

0:11:01.779,0:11:04.233
of steel, or of the elevator,

0:11:04.257,0:11:05.939
and it's a media revolution.

0:11:07.072,0:11:11.732
So my theory is that when[br]you apply media to this pendulum,

0:11:11.756,0:11:14.617
it starts swinging faster and faster,

0:11:14.641,0:11:18.379
until it's at both extremes[br]nearly simultaneously,

0:11:18.403,0:11:23.371
and that effectively blurs the difference[br]between innovation and symbol,

0:11:23.395,0:11:26.770
between us, the architects,[br]and you, the public.

0:11:27.342,0:11:33.402
Now we can make nearly instantaneous,[br]emotionally charged symbols

0:11:33.426,0:11:35.115
out of something that's brand new.

0:11:36.453,0:11:38.186
Let me show you how this plays out

0:11:38.210,0:11:40.376
in a project that my firm[br]recently completed.

0:11:40.829,0:11:44.304
We were hired to replace this building,[br]which burned down.

0:11:44.304,0:11:46.773
This is the center of a town[br]called the Pines

0:11:46.797,0:11:48.543
in Fire Island in New York State.

0:11:48.567,0:11:49.980
It's a vacation community.

0:11:50.729,0:11:54.482
We proposed a building that was audacious,

0:11:54.506,0:11:58.157
that was different than any of the forms[br]that the community was used to,

0:11:58.181,0:12:02.702
and we were scared[br]and our client was scared

0:12:02.726,0:12:04.489
and the community was scared,

0:12:04.513,0:12:08.669
so we created a series[br]of photorealistic renderings

0:12:08.693,0:12:10.071
that we put onto Facebook

0:12:10.095,0:12:12.221
and we put onto Instagram,

0:12:12.245,0:12:14.566
and we let people start[br]to do what they do:

0:12:14.590,0:12:17.291
share it, comment, like it, hate it.

0:12:18.232,0:12:22.562
But that meant that two years[br]before the building was complete,

0:12:22.586,0:12:25.914
it was already a part of the community,

0:12:25.938,0:12:32.204
so that when the renderings[br]looked exactly like the finished product,

0:12:32.228,0:12:34.188
there were no surprises.

0:12:34.212,0:12:38.100
This building was already a part[br]of this community,

0:12:38.124,0:12:40.409
and then that first summer,

0:12:40.433,0:12:44.351
when people started arriving[br]and sharing the building on social media,

0:12:44.375,0:12:49.862
the building ceased to be just an edifice[br]and it became media,

0:12:49.886,0:12:53.669
because these, these are not[br]just pictures of a building,

0:12:53.693,0:12:56.080
they're your pictures of a building.

0:12:56.527,0:12:59.814
And as you use them to tell your story,

0:12:59.838,0:13:02.546
they become part[br]of your personal narrative,

0:13:02.570,0:13:06.118
and what you're doing[br]is you're short-circuiting

0:13:06.142,0:13:08.392
all of our collective memory,

0:13:08.416,0:13:12.271
and you're making these charged symbols[br]for us to understand.

0:13:13.187,0:13:15.476
That means we don't need[br]the Greeks anymore

0:13:15.500,0:13:18.118
to tell us what to think[br]about architecture.

0:13:18.142,0:13:22.167
We can tell each other[br]what we think about architecture,

0:13:22.191,0:13:27.962
because digital media hasn't just changed[br]the relationship between all of us,

0:13:27.986,0:13:31.515
it's changed the relationship[br]between us and buildings.

0:13:32.614,0:13:35.732
Think for a second about[br]those librarians back in Livingston.

0:13:36.390,0:13:38.805
If that building was going[br]to be built today,

0:13:38.829,0:13:43.473
the first thing they would do is go online[br]and search "new libraries."

0:13:43.705,0:13:48.975
They would be bombarded by examples[br]of experimentation, of innovation,

0:13:48.999,0:13:52.187
of pushing at the envelope[br]of what a library can be.

0:13:52.998,0:13:54.341
That's ammunition.

0:13:54.846,0:13:57.181
That's ammunition[br]that they can take with them

0:13:57.205,0:14:00.330
to the mayor of Livingston,[br]to the people of Livingston,

0:14:00.354,0:14:04.313
and say, there's no one answer[br]to what a library is today.

0:14:04.337,0:14:05.822
Let's be a part of this.

0:14:06.287,0:14:09.153
This abundance of experimentation

0:14:09.177,0:14:12.236
gives them the freedom[br]to run their own experiment.

0:14:14.452,0:14:16.664
Everything is different now.

0:14:16.664,0:14:20.019
Architects are no longer[br]these mysterious creatures

0:14:20.043,0:14:22.538
that use big words[br]and complicated drawings,

0:14:22.562,0:14:25.522
and you aren't the hapless public,

0:14:25.546,0:14:29.081
the consumer that won't accept[br]anything that they haven't seen anymore.

0:14:30.980,0:14:32.713
Architects can hear you,

0:14:32.737,0:14:34.841
and you're not intimidated[br]by architecture.

0:14:35.770,0:14:39.152
That means that that pendulum[br]swinging back and forth

0:14:39.176,0:14:42.154
from style to style,[br]from movement to movement,

0:14:42.178,0:14:43.459
is irrelevant.

0:14:43.680,0:14:46.280
We can actually move forward

0:14:46.304,0:14:50.670
and find relevant solutions[br]to the problems that our society faces.

0:14:51.757,0:14:55.199
This is the end of architectural history,

0:14:55.223,0:14:58.091
and it means that[br]the buildings of tomorrow

0:14:58.115,0:15:01.278
are going to look a lot different[br]than the buildings of today.

0:15:02.389,0:15:06.797
It means that a public space[br]in the ancient city of Seville

0:15:06.821,0:15:11.005
can be unique and tailored[br]to the way that a modern city works.

0:15:11.992,0:15:16.411
It means that a stadium in Brooklyn[br]can be a stadium in Brooklyn,

0:15:16.435,0:15:19.197
not some red-brick historical pastiche

0:15:19.221,0:15:21.701
of what we think a stadium ought to be.

0:15:22.540,0:15:25.373
It means that robots are going[br]to build our buildings,

0:15:25.397,0:15:29.014
because we're finally ready for the forms[br]that they're going to produce.

0:15:29.842,0:15:33.693
And it means that buildings[br]will twist to the whims of nature

0:15:33.717,0:15:35.520
instead of the other way around.

0:15:36.676,0:15:40.280
It means that a parking garage[br]in Miami Beach, Florida,

0:15:40.304,0:15:42.788
can also be a place for sports

0:15:42.812,0:15:44.191
and for yoga

0:15:44.215,0:15:46.794
and you can even[br]get married there late at night.

0:15:46.818,0:15:47.842
(Laughter)

0:15:47.866,0:15:52.029
It means that three architects[br]can dream about swimming

0:15:52.053,0:15:53.973
in the East River of New York,

0:15:53.997,0:15:56.487
and then raise nearly[br]half a million dollars

0:15:56.511,0:15:59.839
from a community[br]that gathered around their cause,

0:15:59.863,0:16:01.593
no one client anymore.

0:16:02.765,0:16:05.666
It means that no building[br]is too small for innovation,

0:16:05.690,0:16:07.888
like this little reindeer pavilion

0:16:07.912,0:16:13.003
that's as muscly and sinewy[br]as the animals it's designed to observe.

0:16:13.808,0:16:16.546
And it means that a building[br]doesn't have to be beautiful

0:16:16.570,0:16:17.863
to be lovable,

0:16:17.887,0:16:20.902
like this ugly little building in Spain,

0:16:20.926,0:16:23.407
where the architects dug a hole,

0:16:23.431,0:16:24.813
packed it with hay,

0:16:24.837,0:16:27.170
and then poured concrete around it,

0:16:27.194,0:16:28.834
and when the concrete dried,

0:16:28.858,0:16:32.418
they invited someone to come[br]and clean that hay out

0:16:32.442,0:16:35.373
so that all that's left when it's done

0:16:35.397,0:16:38.072
is this hideous little room

0:16:38.096,0:16:44.050
that's filled with the imprints[br]and scratches of how that place was made,

0:16:44.074,0:16:48.558
and that becomes the most sublime place[br]to watch a Spanish sunset.

0:16:49.658,0:16:53.013
Because it doesn't matter[br]if a cow builds our buildings

0:16:53.037,0:16:54.847
or a robot builds our buildings.

0:16:54.871,0:16:58.219
It doesn't matter how we build,[br]it matters what we build.

0:16:58.899,0:17:02.324
Architects already know how[br]to make buildings that are greener

0:17:02.348,0:17:04.506
and smarter and friendlier.

0:17:04.530,0:17:07.104
We've just been waiting[br]for all of you to want them.

0:17:08.022,0:17:11.350
And finally, we're not[br]on opposite sides anymore.

0:17:11.957,0:17:14.929
Find an architect, hire an architect,

0:17:14.953,0:17:20.770
work with us to design better buildings,[br]better cities, and a better world,

0:17:20.794,0:17:23.034
because the stakes are high.

0:17:23.635,0:17:28.825
Buildings don't just reflect our society,[br]they shape our society

0:17:28.849,0:17:30.901
down to the smallest spaces:

0:17:30.925,0:17:32.929
the local libraries,

0:17:32.953,0:17:35.382
the homes where we raise our children,

0:17:35.406,0:17:38.599
and the walk that they take[br]from the bedroom to the bathroom.

0:17:39.288,0:17:40.388
Thank you.

0:17:40.412,0:17:43.412
(Applause)