Livestream | AnA | China Edition - Dong Gong & Lyndon Neri

hi and welcome or welcome back to architects not architecture it's been two weeks since our last event of this virtual world tour and we have been looking forward to meeting you again today we are having the great honor to welcome our speakers lindon neri and don kong to our virtual stage we are doing this event live from germany my name is fermin trivaldos and i will be your host for the next one and a half hours ready first things first what is architecture architecture for those of you who are joining us for the first time let me briefly introduce our format at architects not architecture we do not focus on architectural projects but on the individuals who designed and built them we often know the projects and awards of renowned architects but what we often miss out on are the people behind them it is them and their unique personal history which influence how they work and what they create so we try to bring to the stage what too often remains unseen today our speakers will talk about their career paths their influences and the experiences that shaped them and made them become who they are today and the main rule is they are not allowed to talk about their own projects before the pandemic we were doing in-person events in various european cities although we really miss meeting our community in a real auditorium we are extremely happy to now reach people all over the world so thank you for joining us with this virtual world tour we are taking you on a tour around the globe to meet some of the most influential architects of our time and get to know them on a personal level make sure you follow our social media or sign up for our newsletter on our website so that you don't miss any upcoming events the next stops will be mexico uk and denmark but today it's time for china this event is kindly supported by jung and mossa both of them are very active in china we thank them for the trust in us and our work we have video messages from them and let me start by passing the mic to our partner jana from jung [Music] what do people talk about when jung and architecture are mentioned in the same sentence it's about color shape and style about materiality directions taste and encounter since 2006 jung has been providing a platform for an in-depth discussion of architectural themes and related social issues nationally and internationally a contemporary form of professional exchange has established itself beyond the usual communication structures the young architecture talks are not an expert only format this regular event program is synonymous with lively discussions about vibrant topics in architecture and with networking taking place in a pleasant atmosphere [Music] [Applause] so my experience with young architecture talks has gone over almost a 10-year period and i've seen it grow from something that is just very local uh here in germany to something that actually draws in a lot of interest also from outside it's now an international architecture talk [Music] for three years now jung has been supporting all international architects and architecture events in addition to the young architecture talks since we all can't travel as we used to we are joining the virtual anatou around the globe as well where we all can visit selected cities and virtually meet some of their most relevant architects after all architecture generally lives from the power of images so please enjoy we would also like to mention our media partners position good architecture and design boom position is at the same time our broadcasting partner for china today we are welcoming our speakers don gong and linda neri who will join us live from beijing and shanghai each of them will have 30 minutes on our virtual stage 20 minutes to give a talk followed by an up to 10 minute interview after the two talks we'll have a round of discussion where we will ask some of your questions so make sure you get ready and use the box on our website to send in your questions you will find it on the right side when scrolling down and that's the plan for today before we start let me pass the mic to our partner nico from moza hello everyone my name is nico milkop and i'm business development manager at moser tiles for asia and the middle east in case you have never heard of moza we're not new to the market we have been producing tiles for floors walls and facades for more than 135 years from right near this location however as one video says more than one thousand words i would like to show you a video as an introduction to moza moza has designed developed and produced ceramic tiles in maastricht since 1883 we enable architects and designers around the world to create signature surfaces sustainability is our foremost priority to achieve this we adhere to the cradle to cradle philosophy which helps us make a positive contribution to our society our economy and our planet all of our products are made using the purest raw materials and have outstanding recycling potential we save energy and water and create excellent social conditions our cradle to cradle products contribute to a healthy indoor climate and are voc free in addition to having positive national and international material scores our products contribute to building labels such as lead breem dgnb and hqe this underscores our commitment to looking beyond tiles we look at the whole at the surface the space and the user in this way moser is making a positive contribution to society the economy and the planet for current and future generations [Music] our first speaker was born into a chinese family in the philippines he received a bachelor of arts in architecture from the university of california at berkeley and a master of architecture from harvard university together with rosanna who he founded nerian hood design and research office in shanghai in 2004 one of the most dynamic and acclaimed design companies in china today their work has been recognized by an endless list of prestigious international awards spanning the fields of architecture interior product and graphic design alongside his practice he has been deeply committed to architectural education and has lecture across the globe at various university and professional forums together with his partner he started teaching at harvard graduate school of design the fall semester of 2019 and taught at yale school of architecture as the fall 2018 norman foster visiting professor they also founded design republic in 2004 a retail concept store based in shanghai that offers a unique collection of products created by the world's best design talents many of which have never before been made available to consumers in china it's a great honor to have him with us today welcome lyndon neri hello i am linda neary uh from near and who and i'm extremely grateful today to be part of architects not architecture so it's interesting this is the first image of me and my grandfather when i was four a special image here because a year later he passed away so he was very special to me and to to give you a little uh recap my grandparents were from tiento uh in fujian it is literally about an hour south of futo and about two hours north of xiamen in many ways in futile it has the highest gdp because there's a lot of diasporic chinese that goes to the philippines that goes to indonesia that goes to singapore uh and so my grandparents my grandfather first moved to the philippines as a lot of chinese did in that particular period of time uh didn't go to the major city in manila or cebu but went down south if you look at that map it is that red dot actually it is the south of the philippines so most chinese do that they go to one city and they feel like if there's a lot of competition they go to the next city and then when there's more chinese they go to other city and so chanzo today are extremely rich in culture um and and there's a reason behind that this was the first store uh that my parents are my grandparents um they didn't really speak the language they only speak a chinese dialect called futien and so that's my gran my grandparents and my dad actually interestingly enough if you look at the sign some of them are in english some of them are in malay some of them are in chinese not in this one in spanish it's called pharmacia you can see that it's actually an edwards fine furniture is my uncle the youngest boy so they call it edward's fine furniture and you'll see later why i have a furniture store here in shanghai uh it's it's kind of probably in the dna interestingly enough this is my older brother and me i like to make things ever since i was a kid i also like to draw you can see this is me in the picture right there to the third to the right and my sister was not born then but i put my sister uh to uh to to the right the image there during my graduation at berkeley uh my sister is a an amazing graphic designer who also worked for us for many years or worked with us i went to a chinese school in the philippines uh this is 1972. if you can read chinese and this was when i was a kindergarten um and so you can kind of see there's a mixture of a number of we had to learn spanish a little bit of the filipino language and of course chinese interestingly enough during that period of time president marcus and imelda ruled the philippines very strongly marcus became the president in 1965 and imelda in the 70s um commissioned many amazing projects and there's uh one of my favorite was actually with which means the cultural center of the philippines uh it's by a luxem leandro luxin who also went to the gsd um probably one of the most famous filipino architect coincidentally this was photographed by simone bossie who also photographed our latest project in paris so it's kind of interesting if you were to look at the faith uh of sort of the transitional period of our time but at that time aside from japan the philippines was really quite powerful and very rich then i went to prep school in the u.s um [Music] i played basketball uh you can you can see um the sports illustrated there with the yellow thing i was initially a portland trailblazer fan then i became um golden state warriors fan not when they were winning when they were losing there was this guy called lloyd b free and i used to call myself lyndon world be free mary and you can kind of see here i am small obviously curry changed the whole game unfortunately 20 years too late it's great for short people but at that time you know with my height there was no way it was possible these are my drawings in high school i always love to draw but then again you know being raised in an asian family specifically chinese school in the philippines it was all very realistic uh so i was not encouraged it was not until i went to berkeley i lied to my father i told him that i was studying engineering when in fact i was painting in the art department my first instructor was john brown part of the bay area figurative movement she unfortunately died from her own sculpture in india that was really sad and very sudden uh during that period of time the bay area figurative movement uh had people like richard diebenkorn and manuel neri not related to me uh he taught at uc davis but also at the same time would come to berkeley periodically and i took classes with him i was however very curious with what's happening in new york and that was with robert rushenberg and jasper jones robert rauschenberg purely from it's sort of the idea of collage and this was my first year at berkeley when i started to sort of venture away from realism and start to say what if i start playing with this notion of collage of course my dad decided to come to the us and i kind of panicked and i because i lied to him that i was in engineering school and i had to transfer and there's no other place but architecture school was the only way that would accept me and so i transferred literally across the street uh which is worcester hall designed by estrich but during that time there was this strong influence by mltw which is more and more had just left uh stepped down donlin linden uh richard whitaker and william turnbull and of course joseph ushrik was there that was really strong the bay area influence i was however more interested with what jim jim jennings uh mark mack or stanley stato which i mean they were looking at houses by schindler uh by eames the konig houses uh so it was sort of that la sort of bay area kind of conflict so i'm constantly in this place of conflict and it was interesting because my junior year there was this man called michael graves who came to berkeley and i remember they had to move that lecture hall from the architecture uh auditorium which only sits about 200 people to wheeler auditorium which sits about 750 people and i remember he walked in and he was doing the competition uh for the claus de gas and at that time he was competing against mark mack and andrew beatty daniel solomon robert mongorian was teamed up with james terrell and i remember him going in with a cloak and a whole group of people and someone screamed goes uh mr graves how does it feel like to be the jesus christ of architecture and that was shocking to me because i've never really seen this kind of work this kind of drawing the the proficiency during that particular period of time when i was in undergraduate there was a man called yong ho chang who became the dean at mit probably the first he was in graduate school at berkeley at that time it was interesting because uh right after uh during the the uh graduate program uh i was really fascinated because some of his projects were really quite intriguing in dealing with a lot of issues that i was not used to and when he came out he did this project uh which was the bookstore that had wheels as apparatus and and i thought that was really fascinating uh to have a chinese architect coming home coming to going back to beijing and doing something rather conceptual before i graduated this was the first time i saw a sock institute and that was when i was really in awe and i realized well the power of architecture it's not just about fanciful drawing but really the power of space and then obviously i went to the graduate school of design this was when i was on my younger days and you kind of see the map when i went from the east coast uh to uh the west coast of the east coast that was a time when rafael moneo uh i was i came in towards the tell end of rafael mineo's chairmanship uh at harvard he was revered and he was feared he was also my thesis advisor but at that same time there was also another duality i i was dealing again with another kind of tension because he brought in rem kulhas and you can kind of see your either the oma camp or uh the rafael maneo camp and you you have to choose side there were also even between the reading and the publication at the gsd you have wilfred wang who who talked about tectonics 9h and talks about sort of details spaces and then you have michael hayes who deals with narrative conceptual ideas and so assemblage and nine age were dealing with two different issues and yet that tension was good for the school these were the seminal work uh that was influencing up at that time people like alvarez alvaro caesar heinz benfield uh you know the uh herself di moron's earlier work and i remember the exhibition by mirais that really shocked me to my core how could a drawing be so full of energy at the same time had so much life all of a sudden i realized well architecture could be really extremely spatial enough of course peter zumter came to play he came to school later two three years later and start teaching at the gsd i remember that he decided to have his studio at the carpenter center because he thought that the gsd uh the building was not good enough therefore he was going to teach at the liquor boozy and this is when i graduated i got married after my graduation to the left again there's that tension um i'm showing you sort of the duality in my life constant attention there is i was married in a julia morgan um building um um you know which is really sensitive and to the right was my uh reception which was in the deacon roach dickens oakland museum uh so you can kind of see sort of the brutalist modernist and the sensitive bay area kind of architecture it was also that time i was in a shock full of snow you see to my ways that's when we moved to princeton that's when rosanna went to graduate program i worked in new york for two years here me and rosenna very young we were naive a little stupid and two years later rosanna's like i'm so tired of constantly picking you up in the train please try somewhere in princeton so there was only one office and that was michael graves so you can see that was my office a little bit messy with drawings all over my table um and also at that time you can kind of see the influence he was friends with michael was friends with aldo rossi it was and he was really much influences drawing by you know the carico and morande uh and obviously this was also a way for me to start thinking and i traveled with him to asia different parts competition in singapore exhibition in japan um and obviously michael has a lot of a strong influence uh on us sort of the renaissance movement uh was really preeminent in a lot of the way he thinks sort of tim pieto and cloister by brahmante uh resonated well with me uh how a small building could be so significant and yet at the same time the the opposite which is a cloister rather big can be really small this is our first house in princeton uh new jersey um this was when michael came and we were commissioned to do three on the bundes across from three and above the building before it got renovated and you have to remember the first time i came here uh even though three on the bun was an amazing project because i love to eat and i love to cook i realized that the soul of three on the bun was the art gallery and and i have to give credit to a man called handel lee he was the visionary behind the project uh and he partnered with uh someone called someone named wong ling which a lot of you know um and this was the first in which you have people like zhang xiao kang's work and you have people like wanging those photographs and you have people like zotsunia's work the green dog and i i still regret today because i wish i bought that green dog because it was so cheap then it was offered to me and i'm thinking how could how could a green dog be 20 20 000 u.s dollars but now of course it's a lot more but you see the bloodline uh you see a lot of these work so i was working on that project and we were asked to move here to actually run the project to complete it and so this was my a month before i moved to shanghai with my three kids my youngest uh was three months old now he is about to go to college so that's how time flies and then during my time when we moved here sars hit so it was supposed to be six weeks it became four months and then i stayed in shanghai for 10 months to run a project called three in the button and obviously after that i resigned and i started my practice now you see the practice when we had six people at that time and um it was also very disturbing because the city was a major construction site um you know the word tai was everywhere you can kind of see everywhere in the city um and yet despite sort of this whole kind of negative energy there was also a positive energy shanghai became to me a sense of community a place where people actually gather together which find interesting but having said that then i realized sort of the issue of how the urbanization is changing uh jatankar's movie uh called film steel 24 city and the idea of conduct nadir's uh notion of photograph in chongqing and the idea of altering the texture of daily life uh giving rise to new notions of urban leisure all of a sudden what is commonly seen as leisure in parks all of a sudden you're under uh freeways very interestingly so issues like memory and loss and pain become important to us work by louis bourzois work by mona hatam about displacement about not having her own home and obviously rachel whiteread the place in us east london uh cast of an existing building that was demolished and obviously the idea our obsession with uh repetition and typology the deutz school of photography um the idea of sort of repetition and layering typology the dogmatic insistence and studies of type became something important obviously we were fortunate enough to invite candida over for one of the talks at the festival of design we didn't have projects when we started um so we were rather foolish when we came here um so when we left after being here after three in the blend completed i resigned from michael graves after ten and a half years so i did products i did small objects small things i did publication rosanna and i did publication we did a book called persistence of vision which was published in 2007 interviewing 50 different architects famous not famous local international as long as you are practicing in china we will interview you and we will film you um and it was at that same time we came across a book uh called the future of nostalgia uh written by a harvard professor called civit lanaboe and the notion of reflective nostalgia and we find this quite interesting as an apparatus she argues that perhaps nostalgia is not so bad if it's not seen in a restorative vein but rather from a reflective vein and if you see it from a reflective vein that perhaps it can inform you of a possible future that it longs itself and delays the homecoming and with that this was actually good reading before we impart on our first project this was obviously before waterhouse got transformed this was the existing and so we actually became very conscious of all the existing uh condition in there and you can kind of see how we worked um i like to draw uh ever since i and and so what i do is i do a lot of drawings uh this was part of sort of sketches from waterhouse and from product and you can kind of see the influence by aldo rossi a little bit of alvaro caesar uh many of sort of the influences are seen in sort of a lot of my sketches but during the same time when we were building our practice granting we didn't really have that much architecture initially there were a lot of prolific architects practicing one of them will be the speaker tonight after this which is hong kong the library in uh we call the lonely library but at the same time there was also um lee who and and huang jing from rice and and princeton uh you have people like mayan song and huali uh from yale and you have sanka from harvard and all of them coming back to this is what i call the practice coming from the north mostly from qinghua and obviously architects from the south uh people from wangshu uh archie union bioitsun there are more obviously i'm just giving you an example of sort of the breadth and the wealth of architects practicing at that time interior product design not so much graphics not even but when it comes to architecture there was a real experimentation of vibrancy uh to that place but it was not just china if you look at southeast asia and you look at south asia you see people like bangkok studio um you see voltron voltron from vietnam you see marina cosbom you see studio mumbai you see waha from singapore and of course uh my dear friend andra martin who is really in in many ways needs needs more attention globally um and so with that you know with the idea of sort of this old and new that we had to deal with we started looking into carlos carpa more we didn't look at them seriously in terms of dealing with old and new um you know querino sombiglio and castelbecchio and obviously leverage in terms of enigmatic in form and in terms of materiality having said all that obviously jeffrey bauer in terms of dealing with new tropical modernism and how architecture and landscape comes together and uh i remember seeing maison de vere for the first time in e1027 by um eileen gray and i realized whoa this is interesting sort of the idea of total design and when we talk about total design again our work we're limited to a lot of interiors so we decide why don't we create a platform why don't we bring the best of what the world can offer in terms of furniture uh to china and hopefully one day to be able to bring uh back the best of china back to the world um so we created a store uh for furniture but at the same time we also created this sort of forum this lecture called festival of design it's on its seventh year right now uh covet last year we didn't do it uh so we invited many speakers uh including the speaker that's coming after me uh tongkong obviously we had some um people like uh some young her people like danko and obviously we also have people that are asian counterparts and sort of internationally product designers architects um industrial designers and um the last few years we've concentrated and we've gone back to the us to teach this was uh in 2018 uh at yale um it was interesting because this was actually a year before henry cobb passed away so it was good to be in that same review with him uh you see peter eisenman in there and and obviously at harvard uh being in reviews having our own studio dealing with issues that we're interested in and reconnecting with peers like mauricio and sophia kirsten gears you know i hardly see tanko and stanform in china but then when we were at harvard i actually see a lot of them so it was a great reunion obviously to close this 27 years after graduation uh i was able to see rafael moneo last march before kovitt went really crazy um hand him our first monograph and he was kind enough to say he will be he's willing to write the forward for our second monograph which is coming out this summer so we're extremely excited this is our office this was my drawing a photograph and pastel drawing with ink on top as my christmas gift to a number of good friends around the world and i close this with a quote by carl gustav junk in relationship to sort of the situation we are in as far as we can discern the sole purpose of human existence is to kindle a light of meaning in the darkness of mere being thank you wow thank you for the presentation thank you lindon thank you it was beautiful wow so many insights in only 21 minutes i had to rush that really quickly so i was on a marathon that was uh beautiful thank you a lot um for your time for participating we really we really appreciate it and it's nice to see of course uh as a spanish architect rafael moneo [Music] he's six foot two uh that is one eight four i believe yeah uh so uh he's he's very good uh he plays for his uh team in the us um and i'm hoping that he would continue so i would go to the park in here and played against some guys with him along and often they look at me and they said this old man can't play my that young kid is very young and i would bet them with money and oftentimes we would win um and tell me we everything okay kim are you can we go ahead to check do we need to change the position of the cameras [Music] hey [Music] so [Music] hmm [Music] all right thank you thank you for your passion um lyndon now that the issue is solved um we wanted that the question about basketball was not that serious we wanted to ask you the first question of course about rosanna uh we have read in many interviews that uh you are quite different how is the collaboration between the two of the two of you um rosanna is an extremely organized individual extremely intellectual and extremely logical she thinks before she opens her mouth she doesn't have a temper she's very calm she manages the offices very strongly i'm out of control i'm emotional um i get excited uh i lose temper um so i like sometimes when i don't get my way i get really upset i walk out of meetings and she stays in meetings she thinks don't uh so often times when you come to the office because uh i always smile most of the staff think i'm the nice one and she's very serious that she's the serious one but if you work here long enough you will know that i'm the crazy one um we we are very different but we are very similar um we're both we we sort of space is very important and sort of sort of the tectonic of architecture is very important um he likes to think she likes to write i like to draw so she's i'm into basketball she's into music we both love to eat we both love art um and so it complements and and i tend to be a bit more on the conceptual schematic side she's very good at dd and i come in during construction again so we kind of play different roles you play different roles but is there something you would like to learn from her oh yeah uh um patience patience she's very resilient and extremely patient she gets things done uh i have a lot of ideas but sometimes i get so frustrated um and i would just walk away uh because i feel like it's compromised um i'm too much we're both idealistic uh but rosanna is idealistic in a practical way i mean idealistic in an unreasonable way that sounds great and that's a good quality to learn um you had you mentioned the expectations from your parents um at that time you even changed the the university so your parents had big expectations on you what expectation do you have in your kids you know i have actually quite the opposite precisely because my parents uh they're typical chinese parents so they want us to either be i mean economists engineers doctors or lawyers i mean people say that a lot but it's real uh for me it was engineering i was good with math and i was good with science um when i was young um thank goodness i'm not in in that field uh i actually have the opposite i told my kid um in fact um i would tell my kid my daughter is an extremely amazing painter um she's in her second year at harvard right now and she's thinking of economics she's thinking of i said why are you going to economics why are you studying why don't you do painting and i will support you so i have the opposite i feel like um my kids needs to really pursue their passion um but maybe there needs to be an in between that sounds sounds very nice um you also mentioned during the during your presentation that at your beginnings you struggled getting new projects right and you uh to the the book products um in our in one previous conversation you mentioned that uh last year you received 300 requests and you only selected a couple of them that which is which is great but it was not always like that what advice do you have for young practices that the struggle to get new projects i think to be true to yourself i think to really understand that architecture is for people who really are passionate about what they do it's not a place to make money it's not a profession to make money and uh if if you want to make money you might as well buy stocks or go to real estate or do all these other things i think you need to have a commitment and a passion uh to be able to um to go through the difficult period um and and be true to yourself don't try to be something else uh be really passionate about what you do um and don't look at the trend and see well this is you know uh the trend that architects today are doing one thing and therefore i should do this particular style you should be true to what you really think is true your own conviction and actually we have actually we have one question from the audience which is uh if you think creativity is innate interesting uh that's a very very good question um i would not know that answer i think there's two components to it there there's creativity comes in different fashion what is really creativity uh some people say you're good in drawing some people you think creatively some people who are good might not be able to create spaces and some people who are created spaces might not be able to draw and some people might be creative with their words they're good writers i i do believe that what's important what's innate in human being what is needed is every society needs musicians artists architects writers because they represent sort of the thinking of a city if it's just full of business people and lawyer uh then the city does not have uh a character it doesn't have a strength so um i but i i do think there is also one aspect that could be trained the discipline of it that's really interesting um [Music] also your last quarter in your presentation was was beautiful and one of the advice we have read about about you is one from your dad in an interview you say that humility is the most important thing why is that and how humility helps you as an architect you know i always believe and i've said this many times uh i i'm a man who believes that there is a god above um i'll often say that because maybe you were brought brought up in the philippines uh we're in uh it's an extremely catholic country uh but i do believe that there is a higher being that gives us this opportunity and gives us this set skills and give us this talent and a lot of us are given different um skills to be able to contribute to the world and oftentimes the noises and the praises of this world confuses us and sometimes we start to think that we are greater than who we are and as architects i think this is very important when we're given a platform when we're given opportunity you know oftentimes i turn to rosanna and i i i often have a very simple prayer you know i said god who am i that you are mindful of who am i that you are mindful of that you give us so many opportunities so many projects these are platform for us not just for us but for a group of us to be able to explore issues and be able to help and give back to humanity and i think humility is key i think if you think yourselves more highly than who you are then i think um the the the practice um um is is in jeopardy that sounds uh very honest and very um very nice of you to hear that also um you have a team of about 200 people some of your former members um are being also successful with their own practices now so you can see how it it grows right yes we don't we don't have 200 i wish we have 200 no we only have about 100 yes design republic we have a maybe about 170 with that's a completely different company uh different group of people uh running the business there's still a lot of former um yes we have seen a lot of architects uh product designers interior designers that have started their own practices and i'm very happy to see them uh doing well i get worried about them just like a father would and oftentimes i would ask them how they're doing whether they have enough work because i think there's a sense of responsibility both rosanna and it was wonderful to listen to your to your talk and see your presentation uh thank you a lot for your time or your kind participation we look forward to you to the conversation with with gong in about half an hour uh but first thank you a lot and uh we'll see we'll see you later thank you lyndon thank you thank you a lot before we start with our second speaker i want you to do something i want you to pick up your phone open instagram and search for architects not architecture so long or simply scan this code okay that's not architecture and now press follow if you are based in china you can visit our website or simply scan this code to sign up for our newsletter now you won't miss any of our upcoming events thank you for supporting us [Music] our second speaker was born into a family of intellectuals in beijing he received a bachelor and master of architecture from xinhua university followed by a diploma master at the university of illinois during his studies he received several awards that recognized his excellence he founded his own practice vector architects in beijing in 2008 and has become one of the most active young architects in china during its first 13 years the practice has focused intensely on the issues of sight light and making vector architects has realized projects of great elegance and refinement that have received global acclaim apart from that it has been invited to various major exhibitions including the 2018 venice pianale and has won international awards such as 100-plus best architecture firms selected by tomus he has been teaching design studios at xinhua university since 2014 was elected foreign member of the french academy of architecture in 2019 and in the same year appointed as visiting professor at the university of illinois we are very excited to welcome him to our virtual estates welcome don kong okay so it's my turn uh first of all thank you very much for the invitation by architect not architecture and today i would like to show you two very important experiments through my architectural path they're actually very tightly relating the two places i listed uh in my title of the presentation one is the north gate it's actually referred to my first university in beijing qinghua university another one is the corn field which refers to my university in the united states which is the university of illinois in urbana-champaign there's one thing i'd like to address is that instead of showing photographs today i'm going to use drawings and paintings to share my experience i used to draw a lot and i keep on doing so till today through my architectural practice it's it's almost become a parallel continuous line alongside architecture all right so the first story is the qinghua north gate this picture was taken about 30 years ago and this is the area right out of the north gate of the campus back to that time it's still a very rural primitive farmland with some very tiny villages scattering around but now it's already very different occupied by a lot of dormitory buildings because the entire area right now is belonging to qinghua campus now it's a kind of urbanization process very typical in china through the past 30 years and i have to introduce you this guy um professor honjo zhou he was my teacher of the art course when i was in qinghua uh university architectural school back to that time uh as architecture student we have to take art course for example pencil drawings or watercolor drawings but because we're not fine art student so the training is more uh towards a kind of skill of painting or rendering rather than the pure artistic expression but professor ho joe hunger he wanted to do something different he actually selected a very small number of architectural students among the whole school no more than 10 people to form we call this an art group a very tiny group and then he took us out of the campus to the north gate area of the school every weekend mostly uh on sunday and he asked us to draw on the real sight surrounded by the natural setting so back to that time it's it's the farm field uh very primitive and very powerful for me i think it's the very first threshold to really contemplate what the real art is about and what is the relationship between art and artists the art and architecture because normally when we're on the site professor joe will ask us to really observe the site to see the space and to feel the space and to express the true emotion and the mood it's very different than the training we received inside architecture school so for me this is almost like a turning point through my learning process and this is a series of drawings you can tell it's the same piece of field but we have to draw it over and over again of course in the different climate different time and different mood but with this kind of training it's really helpful uh as i reflected now to start establish a kind of emotional connection between myself and the space surrounding me or the site and it might be very crucial even for my later architecture practice because every time when i go to a site i think it's the sensitivity of architect how you observe the site and how you discover and how you learn from the site so this is a series of drawings i did back to that time i still remember this one it's right after a pouring rain and we just quickly pick up all the gear and then went to the field to to capture that the last minute of the sunset while the cloud is still flying around the sky and we i use watercolors i use ink sometimes and use pastels as well so it's this is also showing you the same village but you draw it from different angles and over and over again it's it's really a very meaningful learning process for me that's a funny picture uh lyndon might know that the guy on the left wally who is uh also very uh important architect now in china at that day i just finished one of the paintings and came back to the dormitory and met these two guys they just finished their commercial renderings they got quite a lot of money from that so we took a picture together this by charcoals so you might feel that there is some impres some uh impact by the impressionist because it's almost the same way of drawing to really go to the real sight and to feel the air the light the atmosphere of the site and you draw it a life that's been slow uh within that period of time uh i remember it was 1996 also encouraged by professor joe hongi i traveled to tibet tibet was a kind of wonderland for the architectural students back back to that time it's not only for architecture students it's for the entire culture uh you know this anybody related to the to the culture and art we dreamed to go there and back to that time it's still a little bit dangerous because of the cruel condition of the traffic or the living commission so whenever you after you go to tibet you get almost like a warrior certificate you know you're you're somebody it's very different from now because the the road and the airplane is very convenient at this moment so there is a series of sketches and paintings i did in tibet they're all very quick because the weather there is very unpredictable sometimes a lot of process you're doing your your painting or drawing it will be raining or there will be storm so they're all very fast but it kind of i don't know it's very different than you just take a photo uh in front of something it's really get a much deeper impression into your mind and heart comparing you just to take a photograph so these are all the joints and a year later after come back from tibet i did some in-house painting and drawing based on some photographs i took throughout the journey so this is a couple of the images is the in-house painting but it's based on the the memory of that journey all right so i moved to my second very important and influential experience which is the cornfield it was during 1999 to 2001 which i had my second master degree in university of illinois the urbana champagne is in the in the middle part of the united states and if you know that school you might know why i call this cornfield because the entire campus is surrounded by a large area of cornfield so i use this as a nickname of that place and this is the second person i like to introduce he is professor henry plummer and he eventually became my thesis advisor during that two-year program well i cannot express my grateful feeling to him because before i went to that school the education i received in beijing about architecture is more about the practical part of architecture for example the program the circulation the form the composition but he is the guy who took me to another realm of architectural thinking it's more about this intangible part of architecture the natural light the atmosphere the ambiance the mood and the time which is very tightly relating to my today's architectural practice and architectural thinking is still the very important and intriguing keywords for me today and the first part of his program is an excursion study around europe because i was a exchange student in munich tun which is a very good school in germany i stayed there in the summer semester and i got a list from henry plummer he pointed out all the important buildings i have to visit so every weekend i have to travel around and then go to the building particular building and also use the hand drawing to record to depict the very moment of the light condition of that building so this is a series of sketches i did through through that journey uh this is obviously the the braggins museum by peter zumter in vienna and this is just a contour line lit by the natural light and i stand against the light it's in the english garden in munich so it's a very touching moment which had a very uh deep i had a very deep impression with throughout this travel and this is a series of conditions of lack and shadow some of them are in the cathedral some of their museum this darkness in a very historical building in vienna and very important famous plaza in munich and this is actually one day when i came out from school i look at the wall there's a shadow casted by the natural light it's the tree it's the same tray but because the leaves are in different distance to the wall so you start sensing the darker tone and the lighter tone of the leaves so at that moment i just catch that with my hand drawing again and this is the tunnel a very intriguing light moment in the munich subway system in the section of the subway which based on my imagination and some specific moment of light condition on the right side this earth is wrong like corbusier the church in vienna and on the right side again is peter zumter's uh the temper installation in the hanover world expo in the year of 2000 and this is a very important museum in munich pinacotic and i study uh different ways that light is filtered from this from the sky to the exhibition space by the section type of the architecture and create a different kind of quality in the atmosphere of the space underneath and the second part of his program is when i go back to united states i have to finish a design project which is uh a museum i still remember it's a museum along the chicago river and the name of the project it's a place of salads just establishing a kind of certain ambiance in architecture space with studying the light so that's the major topic of that course and again all these drawings all the renderings presentations is by by hand this is a particular detail it's one small light opening and i study use the hand drawings to study the different time and the light condition will change so the texture the the ambience and the shadow will change as well that's one of the corridors in in the museum is a meditation space the darkness and the penetrating light and shadow layers of walls yeah that's all the space in some particular area of the museum so for me that's the two most important turning point it really changed my path through my architectural learning process so this is something i'd like to share and with to share with you guys and i started my own practice since 2008 vector architects and ever since i keep on carrying on this habit of hand drawing because for me it's almost the most effective tool of architecture design i have to correct myself it's not only two i think i think my hand somehow is parallel with my brain i it's really not only uh execution or a tool of my brain or of my brain thinking sometimes i cannot even figure who is leading who my hand is for a head or my brain is ahead so it's very uh intriguing for me but i think it's very inter interlocking and interrelating relationship between my hand and the brain this is a series of uh sketches i did recently summed up some of them are based on the study of a site uh use sketches to build up this kind of connection between architect and the physical surroundings and some of them it's the imagination of space even before we have a scheme so it really it's a very initial atmosphere of the space and some of them is very conceptual it's not even showing you a clear configuration of the space yeah and some of them are the the research of some this is a historical building in in china a very famous temple so han join can make me to get some into a very detailed research of this historical information and some of them are purely problem solving all right so that's all for today thank you a lot for your presentation so now we can start the interview thank you a lot we really appreciate your time and we are very honored that you both are participating that's a very nice presentation with so many drawings i wish i could throw like that that would be nice but even at the university i couldn't do that that well um that's very nice um you mentioned how that how drawing being outside and haven't been the passion outside of drawing help you to have that connection with emotional connection with the side and i remember uh in a previous interview you mentioned that um that you say that during the design process there is a lot of struggle and i quote you every project is a kind of a painful process to me what is it that brings you pain and struggle well i think it's for me it's a very normal process because in the beginning there's a lot of problems and issues you have to face and it's all in your brain and little by little you try to interpret them and try to understand them and for me it's a chemical it's a chemical reaction i think the design is not like there's one problem i solve this and there's another problem i solve that and add them together it's becoming an architecture design it's not like that design process it's a melting process first all the problems have to be diffused or melt in your brain and all of a sudden there is a good idea you can make an inter integrated solution so so it's very hard to predict when you can come up with that idea but every time when you accumulate the enough energy and time sooner or later the idea will come up but throughout the process for me sometimes it's really struggle yeah it's it's a very it sounds like a very personal um process for you how do you how do you share it with your team we have a certain way of uh you know how we try to push the design forward for example in the beginning we do some site study we do type of typology study and then step by step uh different architect within the team they will try to think about their own solution and we talk about it we discuss about it and in some cases some of the idea for my team can really inspire me but sometimes i have to purely rely on myself but anyway it's a procedure but again it's hard to predict what moment you have that feeling you know there's a click you know that i got it i think this is uh well this is the the difficulty of architecture i also remember in that interview that you mentioned that uh the only way to achieve high level architecture is by taking it very personally and emotionally my question is how do you deal with setbacks personally and emotionally a competition that you don't win or a very interesting project that isn't being realized in the end well of course emotionally that's a loss and that sometimes is hurting last year we were participating competition in shenzhen which is a very uh major city in china but eventually we didn't get the project it's normal it's part of the life of architects but we just have to face it yeah but you know sometimes i think it's interesting whenever you come up with a specific idea even though the project for some reason is dead but that idea it somehow will be rooting your heart and yeah that might affect some other project even though it's not literally using the idea but this kind of accumulation process for architect is also a self-learning process i think which is which is important yeah we had also a similar similar um answer to this this question and it's very nice interesting that you take it with you this this learning what is um what do you find the most joy um about being an architect but i can i can tell you that uh i think architecture has two different stage the first stage is the architect design architecture so there's a certain standard and the target you have to approach it and you have to try to be as close as possible in order to achieve a certain quality for a specific architect but the second stage of architecture is after the architect architecture started to be used by the regular people and the space will be engaging with you know people with the weather with the vegetation so it's a lot of factors very hard to predict by the designer but because in the recent years we have this experience to really you know watch this process it's for me it's amazing process how when you finish a space and you see the regular people how they interact with the space and you see how the the ring will wash the wall and this just get this patina in the material and you see how the vegetation will grow for me i think that's probably one of the most joys it's an architect to see your architecture really grow you know so that's very nice i one last question that i wanted to ask is regarding your your upbringing in beijing and how um how your relationship with the xinhua's bad pronunciation influence you as a thinker not only as an architect well we of course there is a very fundamental influence by that school you know the teamwork university is is ranking number one architectural school in china and the influence i get from that school partially is from the faculty from the professor and of course the professor joe hunger i just mentioned but there's another very important influential power from that school is by my classmates by my friends and didn't know that actually during the couple years older than me or younger than me one was in school many of the graduates right now they're becoming great architects in china and we we talk to each other sometimes we discuss architecture or art or even you know some other issues i think that's that's a really energy uh we stimulate from each other you know keep on growing and making progress which i really appreciate actually sang sanke is one of them right um you study together almost he's one year older than me and we're really brothers we're very close to each other when we're in school we actually live literally in the same courtyard we all rent the you know a particular room within that yard i still remember it it's quite a joyful memory throughout mine very nice i would like to to ask lyndon to join the conversation so that we can start the roundtable discussion together so thank you lindon for being with us if you can come a bit closer to the camera because you're a bit yeah thank you um it's it's an honor to have you both together and thank you a lot for your time is there any question not related to projects that you always wanted to ask each other that might be today the best day to do to ask that question i go first you go first okay well linda you know uh there's something really amazed me about marin who because as you just talked about your experience you're really international based in terms of your culture your knowledge your everything and but now you stay in shanghai for for your practice how you handle this balance i don't know if i express myself clear how do you see yourself as a chinese architect or you see yourself as an international architect i'm very curious no question first of all i'm a big fan of your work so that's why i'm curious it's a it's a very good question it's interesting because when i um you know when i i was growing up um i was born in the philippines educated in chinese and chinese schools and so that was never my home i always feel like i was a foreigner when i went to the u.s i try very hard to acclimate you could see i play basketball and i try to be try to speak english as proficiently as i can but i was always considered not american and so it's interesting because when i came to china uh for the longest time people always call me well they're not american he's not filipino maybe there's a term called watch out maybe he's diasporic chinese um and i know for rosanna who was born in taiwan um she was really frustrated because in many ways we were told by our parents in fact my grandmother when i came back to china and decided to come back to china my grandmother said i now can leave you have gone home you are now back home i'm very happy for you um and so that was really emotional for me um and it was the first time coming to a country where people accept me for who i am this was the first time i've experienced this and maybe for someone who is born in china you take it for granted that being chineseness that if you are not born in china like me and you're chinese outside of china there is always a dream to go home and you will always be in a foreign land you will never you know people in in the philippines people are darker than me eyes are bigger in america the hair is blonde and not black so that has always been a struggle for me and then when we came to china at one point naturally because um we were not born here and educated here a lot of people didn't really think of us as chinese architects but i always tell rosanna that i think what's important is to do good work and naturally people will come to do be sensitive to the land that you are given to the place that you have been bestowed and so it's interesting people often say are you reluctant ambassador of asian chinese architects you know it's interesting because when i go to the philippines people ask me are you really filipino i speak the language and people say are you filipino and then when i went to the u.s people say are you really american and so it it's what zaha did called the identity complex you know so i did is not iraqi is not uh considered english and so she says what the heck let me just be myself and do the best and and that's that's always an interesting issue um i know one thing i have i have come home and this is the best feeling uh after many years i have come home after 30 years sort of roaming around i finally came home and i'm very happy and that's the reason why it was important for me to have my children grow up here and they all speak fluent chinese bilingual completely and they left after they go to college because to me that was very important when i finally saw them argue in chinese then i realized okay i'm now finally at home so uh yes so that's to answer your question hong kong that would be it but in terms of from an international point of view uh it's also an interesting question because um it is actually uh an interesting phenomena because um people now is asking us to go back and actually sometimes you know we don't really know the issue abroad so we we have to really relearn uh the new projects that comes to our play comes to our plate for me i think it's uh something is very intriguing about your practice and also your you know as a friends i know you and uh rosanna i think you you're capable of being inside of this particular culture at the same time you can keep a certain distance to really be very sober you know what i mean i think that's that's the interesting balance and sometimes for a very local chinese architect it's even harder because i know what you're saying and i to large degree i agree with you uh but for some very local architect sometimes it has another difficulty to yes you know to have that kind of uh clear vision yeah yes actually you you both experienced during the last decades so huge changes in china and at the same time you both started studied abroad that gave you probably this kind of reflection linden you talk about nostalgia at the end of your presentation but in terms of reflection what cool people like me i have never been to china yet hopefully soon after the pandemic but i will what can we learn as an architect from china would you like to go first well i think chinese architectural condition in a very it's in a very particular moment because if you look back to the history the contemporary architecture design started not more than 20 years so i'm talking about this very uh you know after this opening up the entire country you know the relationship between the the chinese and the global situation so i think for us the positive thing is they're full of energy partly to do with we have many projects going on so we have many opportunities to to test to make effort but at the same time well i think it's an unclear situation because there's no there's not such a common standard you know what is the good architecture and what is the bad architecture and people do do things uh upon their own belief but it could be it's an interesting situation comparing with for example japan or for example uh switzerland when you look at those architects in a particular area almost they have they almost have a very common goal everybody is trying to achieve that of course somebody is doing better somebody somebody is doing a little bit worse but in china we don't have that yet we are kind of struggling but it also means energy and opportunity that's my vision to this the current chinese situation it's very different than any other place i think around the world yeah today china reminds me of the time of the renaissance um this is the first time in a long period in human history that architecture are allowed to play with interiors uh to play with product design uh to play with graphic design and truly be interdisciplinary and and you see a lot of architects playing in in sort of within this not because they're trying uh because they just kind of want to want to play but there is truly a need and um you see in a lot of work in you know vector architects don gonz and zanka's work were in there is a humanity to the interiors in architecture it's not just a free-standing piece and so you know i it was interesting um because you know even though i only know don't go for four years physically i know don gong and jungkook and hawley's work from a distance and in many ways maybe for 10 years i feel there's a connection there's that connection and sensibility uh to work and and i always feel amazing that you know we i know these group of architects uh before even talking to them and after i talked to them it almost just very natural it was almost like as if you know brothers that we have not met for many years and all of a sudden came together we could talk about a chinese issue we could talk about international issues we could talk about architecture we could talk about interiors we could talk about furniture uh oftentimes i would tell dong kong that you know you have an amazing restaurant why did you have someone else do the interiors you know and uh and and i would tell the client because we know the client i'm like why did you destroy hong kong's building you know and i'm very honest about the whole process because just like you know he's like my little brother i have to kind of protect him as well so um i think there's that energy as dong kong is saying in china i think that whole renaissance movement is happening and i just hope people don't take people take advantage of it for positive uh purposes and not for greedy purposes if you can't do it then don't do it but i think there's a lot of people who are capable even younger people uh younger architects today that are quite amazing facile and not just architecture but their ability to do interior spaces and also product design sounds great looking forward to to visit china too sorry technically can i add something yeah of course please i think there's some there's another very interesting thing as an architect to practice in china because china is a very large country even though we call china but if you if you do some design work in the south side or the north side or east or west they sometimes they could be totally different culture lifestyle climate geographic features so this is challenging but i think this is something really uh interesting for an architect because you have to really carefully examine the specific condition sometimes you're not familiar with and it could be stupid it could be very stimulating for in terms of producing a good architecture design because it's all fresh actually if we visit china we need a list like you received from from your teacher at that time so basically we have to we have to visit um we have a question from the audience which is also related to one we have prepared and the question is going back to your beginnings what are the takeaways from the first years of running your own practices and we have a question also related to that what lessons have you learned through the experience of your practice that you would have loved to learn at your beginnings so take aways from the beginnings and lessons that you have learned through the practice and you will love to learn you will will have love to learn how to know about uh in your beginnings gunk would you like to go first your quest is your lessons you learned in your app in the big yes the lessons the lessons you uh learned during your first years okay all right well i think not necessarily first year but the first couple year for me i still recall it's not the easy period of time but i think the persistence is very important the persistence of a kind of value and quality of architecture because it's easy for young practitioners architects because of lacking of the opportunity maybe they have they just designed some projects for keep on operating the office rather than pursuing the real cure pure architecture quality but the interesting part is if you somehow we call this like a surrender later on it's very hard for you to get back because the market the clients and all the whatever the circle around you will envision you as an architect in that kind of area but not as a a truly good architect so it will take you some time maybe 10 times of energy to come back to the right track that's my uh feeling that when you talk about first couple years of practice yeah that's a nice topic nice nice advice uh lyndon i i for young architects who are starting today i think we should not have prejudice on typology i think oftentimes as architects if we are trained with a big a we want to do museums we want to do schools we want to do cultural center immediately um and you know the china condition sometimes doesn't allow you to do that i probably ask you to do a clubhouse probably tell you to do a karaoke bar you know it's interesting because miss van der rohe when he went to the us immigrated from germany you have to remember he was sort of from that kind of mentality with walter gropius and um he was commissioned the seagram building the office building was considered a no-no it was considered only for the rich and nuts this is not social housing and he was given farnsworth house are you kidding me a private house you got to be joking i mean it's so against his ethos his belief but he did the best he changed the notion of what foreign house is seen he pushed the boundary of what office building could be in the sea grant building and all of a sudden everyone sees it differently um so i challenge a younger generation to really look at the typology that's given to them it might not be seen as cultural because there's only limited cultural projects out there to take it and say maybe i can have breakdown i can break boundaries uh with a typology that's given to me and maybe you know you will be the miss bandera of karaoke bars maybe okay so i i think we need to have that kind of mindset and and and i think um otherwise you will always be waiting for that perfect project and you'll turn around and you're in your 40s and then you're like what am i doing you know no project no and and so i think it's important to be able to use your set skills um to be able to start to to break boundaries with the typology given to you let's do a good example of that um being flexible at your beginnings as an interdisciplinary practice we have also another question from the audience it's also kind of similar it's the question is what is your biggest regret in your career who wants to go first kung would you like to go first there seems like there's no nothing coming jumping up into my mind when you talk about the regret i think well uh sometimes the entire process will be smooth but sometimes you will need some difficulty it's just very normal i seems like i don't i can't recall something i can't really get over as a regret lyndon um i'm usually a very positive person so i'm very happy with what uh what is given to me the competitions we lost to which we lost don kong said he lost one we've lost many so uh we've won a few but we've lost also a lot um and i'm usually positive i i think i take it with me and sort of the ideas is with me um i think maybe one of the regrets sometimes comes from time to time it comes um i love to paint um i always wanted to be a painter and oftentimes i look and i said could i be could i be an interesting painter and often times it comes back it comes back it creeps in and of course my sons uh you know would tell me you would be a bad painter you know don't worry you'll be a better architect so uh it's always the kid that tells you the truth but uh sometimes i do i i i i truly purely find joy when i paint and i draw um i do need to ask questions to tonkong you know i do need to go ahead go ahead yes i did because that that's not fair he just throws a thing into me it was a it was a very deep one his question this question is going to be interesting because it should be outside the work so uh actually tonkong you said once i believe in questions that are eternal i believe in questions that are eternal and i love that phrase i love it i love it because i do believe in sort of the eternal as well in terms of life in terms of sort of humanity do you believe this eternal is a journey by yourself or a journey with a partner well i was gonna go there so far at this moment i believe it's about myself it's about myself it's really a journey of experience um i just trust it i believe in that it's really about the self-accumulation and you understand more and more you know more and more and seems like you can get closer to somewhere but seems like you can never get there i i like that kind of feeling along the process but it's like it's better than a big idea on reflective nostalgia yearning but never quite getting there never never get there so maybe the other question which deals a little bit to project is the sense of permanence which i appreciate a lot of your work have a sense of permanence not just sensitivity but a sense that you know you do want to build things that will last which is the antithesis of a lot of things that's happening here in china um so often times as your project gets bigger the time is still as fast um how do you keep your team to still instill this notion of permanence um amidst the speed amidst this sort of society that's against everything we believed in which is about permanence about sensitivity about materiality about a true expression of architecture well first of all i can't agree more i think that there is permanent value in architecture i think that's the probably the most important meaning uh why architecture is so so important to to human being it can give us a sense of where you're from and a sense of security but at the same time of course i have to say that architecture has another side which is an adventure site the safety and adventure so it's a it's kind of a balance between these two and uh according to your question first of all ask more time and more design fee from the client as long as you have recur fame in architecture field of course you already did that and we are trying to uh if we get bigger project we need more time some even smaller projects we get almost like three times or four times in terms of the the design schedule the the time comparing with the condition five years ago so we try to put more manpower more energy of design and more time but at the same time ask more money to sustain it that's the simple rule but i think this is this is just the fundamental value the architect cannot compromise otherwise you lose the the essential quality of being an architect that is a nice answer and also what was a very nice question um maybe one of the last question uh if you can answer with a short answer um might be what is your definition you are you have both a great practice very well established internationally known what is for you the definition of success of what success success lyndon would you like to go first sure uh i always use this this uh uh phrase by a french philosopher and i think i'm gonna use it again uh because i truly believe it uh anton de saint xuberry uh he once said we do not aspire to be eternal beings we only hope that things do not lose its meaning and purpose i think um success is if you find uh your true calling in life to have meaning and purpose that you give back to the society and live a life not of angst and anxiousness but have a sense of peace and true joy not money not fame but to actually be content and be at peace um with the things you are giving because it's genuine it has meaning and it has purpose that to me what is your definition for me uh success probably means the self satisfaction could you be satisfied with your own status that's very important as a person or as an architect as well but as an architect for me i think it's quite challenging that you know naturally you accumulate a lot of things but can you still challenge yourself can you still don't do things in your comfortable way again back to your question a previous question can you be still have the sense of struggling criticize yourself i think that's probably for me it's it's the best status of an archetype keep on challenging the way you used to and keep on opening your eye to the new things and fresh things yeah that's my answer it's very hard to do it's very hard to do thank you um this is a very nice um conversation i will i wish we could do it for an hour um it's a wonderful opportunity to have you both participating since we're probably going to repeat this virtual world tour next year i'm probably one of the next stop one of the stops will be again china would you like what which architect would you like to be but would you like to see participate in lindon i i i think tonko would be interesting i think you should uh you know talk to tomko i think i think he would be he would shed some interesting light my recommendation could be uh dash house in shanghai i don't know if you know that for uh yeah but he he might need a translator but i don't know and quality we mentioned we're very close friends and they're they're all the best architects in china so yeah we are very thankful for your time for your kindness participating in this format hopefully we can do it in the future in a real auditorium so that you enjoy you see the faces and you enjoy it because you deserve it um but again we are thankful that people from many countries of the world are joining us and are able to watch it um thank you a lot for your time thank you also to our partners of course young and mosa but also to your teams serene and hank did an amazing work coordinating it and making it possible thank you also to our broadcast uh guy who is kim and who are kim and fran from chile right now thank you a lot really enjoyed hope the audience also enjoyed it and uh have a nice evening in china thank you

Channel: Architects not Architecture

Views: 1,782

Rating: 5 out of 5

Keywords: talk, architecture, architects, urbanisim, event

Id: R1eUojf3D0A

Length: 101min 44sec (6104 seconds)

Published: Wed Mar 24 2021