Zaha Hadid (March 16, 1993)

welcome it's a great pleasure to introduce Zaha he's one of a few people that even though haven't spent any time here before are here in spirit they're kindred I think to the place she's an architect as always had the open-mindedness and the sense of exploration that it takes to invent new worlds she's had the courage to say with those new worlds until others began to see them too and wanted to build them with her she went to London with a degree in mathematics from the American University in Beirut studied at the AAA and upon graduating worked with OMA in 1980 she began her own firm towards the end of the 80s she began to build first project in Tokyo since then she's had steady stream of projects most recently a fire station for Vitra furniture in Basel one of the most valuable lessons that we learn as architects is the importance of a coherence of vision during the many years that it took for her projects to come to fruition and build form she became prominent as a paper architect whose drawings and representations defied every sort of gravity there is physical emotional and intellectual this work was so arresting and seemingly so complete in itself it was difficult for many to imagine it existing in any other form historically there have been few architects who can push their ideas to the limit on paper and retain all the power of those ideas once they're built her work has exemplified how important it is to keep one's vision uncompromised and to realize the great value that there is to be found in the exploration of ideas for their own sake zaha hadid is an architect who is compelled to pursue ideas as a way of leading to work and you can see this in the purity in the form and ferd and the ideas that they take her method of working is to keep pushing forward her ideas and concepts until the ideas collide with Commission's which they're doing now in the first phase of her work we've been able to inhabit in hat and have it her ideas and it's great to have her at SCI art for this next where we can inhabit her buildings please welcome zaha hadid [Music] um thank you can have the first slide please there's a is it possible to turn that light over there I felt impelled to show one one a few slides of the peak it is almost 10 years today it since I won this competition and in a way and great many things have happened since then the pika I mean I had finished school in in the late 70s and I decided at a time to either decide to go to pursue a career in an office or to to go off on my own and and then OMA remand Elia asked me to join him as a partner they asked me to join them first as something and and I said no being capricious as I was and I finally offered me a partnership which was in hindsight of course mistake because I was too young and Ezra man putted too impatient to be a partner but it was very important experience when we teaching with them for three years I only say that because of what I observe and schools like in London now and they a that it was a very important period to apprentice in the traditional sense with two very good teachers and also two to work with them and so the peak and when when I wanted people as humor just kind of landed from nowhere and it was really a collimation of of many years efforts condensed into this project and the method of which this was kind of done in a way it was a kind of it there were periods in your life where you test other things and this was very important for me because I'm not because of winning it but because it was kind of collimated a series of ideas which came together and I these ideas remain in a way with me but things have changed in the last ten years and and about five or six years ago I would not be able to show all the work which has been done in last 10 years because I'm I used to have a habit I still do have a habit of showing too many slides after many different things and tonight I would only show three projects and in detail and and I will just mention the others and and also say only send me three carousel which was very lucky for all of you because I could have gone for a long time as the product with with the peak which was what was to kind of impose a new condition on an honor on Hong Kong and to buy in a sense by eroding the side by removing the side there's a whole layer of kind of conversation which began to occur which is a method of working but it's to do with layering and also because the product was called a supremacy geology which was like a new geology imposed on the land as create and in a way for me a way of thinking which in a way translated into other projects the next slide please I have a problem tonight also because I have a machine in my hand I'm you know two years to flicking things quickly and this this is a sketch which was first started which was to do with this idea of an x-ray drawing and I already touch on this because simultaneously which was developed as a mode of devising and working on you architecture but we felt at the time that the only way you can actually develop this is by a new way of looking at at work and therefore the notion of presentation became very important the use of color because all of these things I felt at the time that the only way you can actually invent a new language was to actually invent the way the language is presented so this was a kind of compressed air which is like a kind of all the conditions inside the peak compress unto one level next week and as this was kind of seen by the jurors and this is again I say 10 years ago which is seems like a long time now this this this way of presentation has become very much more common and more acceptable and ten years ago nobody could understand the drawings and I think that in time began people began to read them a great deal more and the whole issue of doing drawings not only a presentation but basically tell the story of the pig this is the story one story which is the beam as a clock with across the landscape interfere with the land the land begins to change and the land is then replaced by building by an architecture next and the kind of the the dialogue between the building in the city and the story the pic is a very long one because the product was really in a way neglected or I decided not to go here to the to the regulation of the competition but to to impose a condition which is quite new and therefore instead of saying there are three sides I decide to amalgamate all the sides and that the the product really connected to the condition of the city with at Hong Kong is a very dense urban condition and this was a release moment that it's a building which is to deal with the release of all this energy from the city and therefore it kind of that's why it has a series of beams laid over each other with a central space which is a void which is the idea was to make a new kind of urban space which connects to the city but because of its kind of condition which is unusual that it can allow herself to be any situation next and as I said I was pick about I and the last minute change my slides I had before before I was show the Guggenheim installation before I was going to show a series of project which was which were done which really led on to the project which I was show at the end which is we turned to Sodor this product where I will just which were very interesting was one which is a completion what I did for an office building in Berlin and what began to occur was this is a very small site and I'm sorry I don't have it on the thing but I can explain it it was a very small site it was honored he made his white and it was a left over of the kind of the the new context of the city after the war so it was very very strange conditions one of them were just two meters wide by 50 meters long and was an office building which counted even over the street and from that it was a very unusual urban and it basically was made of series of walls and as they kind of between them they made us different kind of spaces and because of this project because it was so tiny I was approached by a Japanese client to do even smaller building narrower and Tokyo which was 3 meters wide or 4 meters wide and it becomes impossible to dig the site that this project is now shelved and then as soon as a product which was also to do with the inventing copying away not only making a building but beginning to cut away space and to began to deal with space as a kind of an entity of this pilot at this moment I'm so by in a way rubbing away architecture you're making kind of creating any kind of space Tommy guy was another building in Tokyo which had to do with the three three conditions below ground middle ground above ground yet I was given another project for another small site zero dimension and in Hamburg and I already tells us because they had to do always very very narrow confined spaces and that in a way I think also because because you had to kind of really exercise an incredible degree of control it was for me a very useful and exciting experience and the last year we've done a lot of product for cities in Cologne and in Madrid which are more to do with urban studies which I also which I cannot show all this the Guggenheim installation maybe some of you have seen it some of you have renovated I was a very strange experience to me because it kind of was like revisiting my my school my student days and remind me of all the issues which had preoccupied preoccupied me for the past ten years next piece so as we were I mean i'ma show very briefly this as we were commissioned this project you know the whole notion of this was a great utopia show which was a project which was I've seen it in Frankfurt which was which was made of 1,200 pieces and so the kind of the coincidence of showing the objective art and in an objective kind of building made for the objective work the kind of the the work of the Suprematist which had to do with the whole notion of making a new world suddenly the skyline of the Suprematist and the Malevich's tectonics superimpose again the new gas New York skyline and then the whole issue of scale the the unusual building of the Guggenheim the fact that it actually made of a avoid the fact that it is not made of I take non corner building as made as a series of kind of endless ramps and the first question when I asked when I was commissioned this job was what would they have the TAT lean model and they said they couldn't have it from the they couldn't borrow it from Pompidou so this became a really a central issue central topic of this exhibition so this whole condition which is the connection between them the Russian kind of in a way dream versus the American dream which in part has become a reality at the time of sergey's next please next and how these took all these conditions to do with kind of the idea of scale the making of new world the making of new art cannot be combined in this one building next things and what could occupy the spiral which was the void of the spiral next and because the the model of the clean and so there was this constant there was a dialogue constantly between the Suprematist and the constructivist activists which way occurs on the show and various layers so we decided that the void of the Guggenheim would be occupied by a and an abstraction of a totally as if it's kind of trying to break through the skylight and a tectonic which is built because the idea of this exhibition was it is based on for exhibitions which were to be shown not literally but all the work was collected some of the work was never shown before next and for me in terms of my own pass I'm an Iraqi born and the connection between the turkey and spiral and also the samurai spiral and next so having all these kind of cultural conditions really coincide together to be housed at the Guggenheim and we began to abstract the tatin so it's not really a physical a literal Adam it because this was intent to be a skyscraper a tower so it was a really an abstraction of this free-form next and had begins to kind of really occupy the center the non center of the rotunda next week the tectonic which was how I was really came in a way this is what triggered off my work which was a product which was given to us in my fourth year and we worship and through that I began to kind of really explore the idea of at the time of fragmentation the idea of making ever a new space the idea of new languages and also what about led to kind of the making of a new fluid space and was familiar with was that from the Russian is hard to invent a new plan which can occupy the ground and a can occupy kind of territories which are at varying scales in the city next things the tectonic which was supposed to and as you well know there's an extension to the Guggenheim which is made of a box the Gwathmey box so there's a kind of also another irony between the right building and the box the Guggenheim the wrong building the spiral was supposed to be and on corner building and the the the tower is but all but cornets and the idea was that the urgent idea was a tectonic will invade two of the floors of the tower next and then slowly the tectonic began to actually move away from the tower and began to kind of really take over the rotunda so the camera it bends by the sheer force of the spiral so I become the cabin tectonic and the intention was that as you you plays these four exhibitions which was 0/10 5x5 of my hoe and the first discussion I'll into the tower conveniently they've worked there very well and these were fairly contained exhibitions which were placed in various piers in the in the 20s and 30s and that this journey and the spiral operates the ram cell is a common armature connecting these exhibitions and will occupy it we occupy by a series of work which connected it and the idea that he start was suprematism which is after 0:10 and that slowly as you move through a spiral the intentional suprematism which was to become an architecture becomes a space and it seals the main space and you as you pass through the architecture section of the show you pass by the tectonic which has become an architecture so these pieces were supposed to kind of cantilever over the the ramps next and how this took kind of these two was a mile a vision tackling occur at these different moments next week a drawing show is showing all their intended and frustration into the guggenheim the idea that some of these drawings which are abstract paintings could be finally made and to like spaces so they have become extruded so become kind of a space and they generate a movement within the space the porcelain which had to be house had to be gonna put on a like a dining table so that was it was more some the rim of the art to the rumble kind of utilitarian condition as it was intended to be used and this is the organization of the show that end there and the spiral of the starts with the what we do this hi gary and the guggenheim they wanted to put all the posters there which i thought would look like a Russian laundry so decided to put only two objects in the room there was a strange logic it was the highest known so they had to put many posters and I was we were in a way we had a great luck with the show and bad luck the great luck was that they commissioned me to do this installation and July and the opening was in September if I had more time that would have changed more things but to be fair to them they were quite supportive at moments but the main elements were not done in her heart was a common loss a lost opportunity because it was a really historic moment that all these work our house and this one Museum so and the tower which is on the far left are always different exhibition in the spiral it starts off which agitprop which is agitator II art which then becomes a zigzag wall which shows all these Street like art then it starts with their kind of their would like people that Kandinsky in it was up to five by five and then ends up in a kind of lithograph in books and architecture and an it ends with the kind of the tough spiral occupied by the figurative work of my leverage and and the last one which is a the first discussion was what some people's view is like a real relapse in the Russian movement and avant-garde movement but this has some excessively incredibly important pieces very beautiful of one can call them beautiful and really repulsively ugly pieces so it was a very strange world next days so 0:10 the storm next this became eventually occupied one of the smalls monitor room which is the kind of became a dining table next and the idea that you display the porcelain not like kind of work of art but as you cherish arian pieces the five by five intensity of this room was then you see these pieces of these popovers mostly Alma and our Cheng cows which are really was stunning they're almost suspended in the room in the room I suppose dark and only the art the art is it and as you towards the back of the room we had to put on too much anchors which required a gradient of controversy because I wanted to put them which were black I'm black and I wanted to put them on a black wall and I was accused of killing or chenko and thank God James wines came to my rescue and this person attacked me in the opening and said the Rodchenko died of an orgasm the created many many anger conditions next please so these were the credits which was suspended on these glass plexi walls which seemed Olivia are suspended so you see all of them some almost at the same time next all this again I have a habit of giving everybody a nickname in the world some are very attractive some are pretty unattractive and I gave this show also nicknames which deliberately to make the curators hysterical and so I called the room which housed these pieces which is on my home this put Nick Roman made him very angry because to them a Sputnik is as a has a different kind of meaning and they chemists saying please tell us a high as long as putting it guys at walkers I know it's not a Sputnik but as far as I'm concerned everything which is floating in the space is a Sputnik and so that they thought I was just being too kind of casual with this very serious work next piece and the idea that these put necks will kind of well in the room will be kind of taken over by a like a distorted globe so it squished like a come an egg I wanted to panel yellow or gold it's a fried egg but joking apart we had many very strange and it was a very a very the story of the show was being more interesting than exhibit and the idea that these things these pieces would be kind of suspended over the globe and seen as if they are floating over like a galaxy of these pieces this three-dimensional pieces which were very very refined pieces next days and the last room it had the the ugly work and most people some people some historians thing is the most important part of the show and others think it's a real disaster because it is the last room and we decided to make a maze to start with where you don't see anything no idea you walk any see nothing and as you turn around you see through the maze glimpses of these very strange pieces of course because of security this could not be done and I have a guy in my office his colorblind and he was shown this drawing and he looked at it for 10 minutes he said um I was very nice what is it and he saw it as black on black so this is this is our next exploration invisible drawings which I can never share in a lecture because they don't register on the side next thing is someone to once told me a story which I'm sure was very vicious that in Mayas office everything is wide they even use white ink on mylar and I thought I thought there was a great idea and I told my office to see you can do it and do that they the high the high gallery which is the space which as you enter so because there were two pieces which was the technology the relief of tatooine which was found in somebody's basement what is very interesting about this work was that it was dumped in basements for last 60 70 years 50 years rotting and they finally discovered it and these and I repeated but this was a really a unique exhibition because it would be the first and last time it could be shown all together they were borrowed from like 40 republics of 30 republics and he can never collect them again and so the Red Square had to go on a corner on a corner and they relieved but that clean also on a corner and I decided to because is the they have to go on the non-core narrow spaces and there were 12 curators the Russian ones were totally beyond themselves so and so I decided to but it was really a very beautiful moment because I'm not religious but listen this room was very kind of religious cosmic whatever it was it was a very important also it was very important to have one room which is the biggest room in the Guggenheim empty and there were 1,200 pieces squeeze everywhere else next days so the Red Square and that was what we would have gone and the in the high gallery was the posters which I moved to another ramp next so the Red Square which is becomes very prominent and because nobody else had actually put a thing on that corner one on corner what was interesting for me was that wherever you went on the ground floor you saw the Red Square and that was really very very exciting next kids so he had the Red Square high up and the relief of takign lower so as you enter 13 is at eye level and the Red Square is high up next and as you moved to up the ramp the walls become agitated to house the truck Thanks and I I understand that Wright had devised a system which is very similar to this intentionally for the for the ramps so and the ramps as you move up because these rather these exactly occupy part of the ramp it becomes squeezed and their ramps next and as you go up you look down to the highest gallery you see at eye level Red Square again next is and this for me was also a reminder of the kind of tectonic which I did now sixteen seven years ago which is given to us as a kind of a project and how that kunia released a whole series of investigation and to the significance of these movements in the early by the century and what the implication of them is and Jessica a new lifestyle and you how do we how do it we live in the next 10 15 years by the time next dates and also released the whole idea of you kind of drawing the making of a new plan and so on next things so the idea that as you moved towards the top of the hierarchy tonic becomes a space and she owes the ramps next and that inside are shown other lithograph on the books and photography and at the top trees into architecture where you have the linear models so the idea that he start with a kind of a series of of implied work which could be employment to a pitcher and as you move up it becomes a reality and that these two things constantly kind of overlapped next this dialogue between Kathleen and my leverage and their groups obviously they kind of overlapped constantly if you are at the bottom of the return he would look up you'll see these kind of cantilever hang over the edge some of the pieces were were made and they were brought to the Guggenheim refused to put up her as scaffolding to erect these pieces and I wanted to hoist them and these piers were bigger than this platform so it was virtually impossible Thanks and this was it the Ted lien which was to occupy there the entire under and obviously abstracts of these pieces become really as another thing and there were to predict for this moment is that all of it was hung from the an it from the ceiling and then we change its structure and supposed to kind of spin and as it's kind of spins it can actually get balled up to some of these ramps so it's like a ribbon structure and made of steel next next my which admire drawing and this is kind of a stronger is that the geometry of these two ribbons which overlap next month and right at the top there was to be the last connection between my lavish and that lien which is the kind of the flying machine so while they that the tower is trying to kind of break through a skylight the the kind of flying machine like Icarus will try to escape or Lance over skylight and that dialog between that and the return of my lavish to figurative work next which again many people see is rather positive in terms of suprematism but I think it's also a very interesting moment and they're kind of of the work of my leverage because had another kind of implication although he certainly became kind of dressed as if as a monk but the clothing was done as a primitive style so that it almost implied that the implication of swimmers and finally kind of what touched the people and could kind of change them spiritually wonder she is always speculative next days and back to the spaces themselves the room 0:10 which has all the major Suprematist work which includes manager and missus keys and under clue ins and eventually become changed and we want to to paint we there was a point when there was the most important piece was a blue the black square which was really again a religious painting and they had to wake up the curator at 3:00 in the morning to open the box and she almost fainted and anyway i was having some fit there and the guy told me to shut up and I said to her what do you mean so be quiet I said big I said why he said because she might faint I said well I don't really care what she finds I'm as ridiculous and we are at 3:00 in the morning trying to hang a show which opens the next day and this woman is gonna faint because the black square was so amazing which it is amazing and I have to tell you this was of course a totally surreal experience because I decided to to occupy the ground with the kind of composition the walls and the ceiling and we wanted we had them made a lot of effort to get someone to donate a lot of carpet to have these primitives kind of figures depending on the room put on the floor and they one of the one of the people of Guggenheim kind of sabotage this so they said no why do you use vinyl and I was very reluctant to use vile because I know that vinyl you know it's very difficult to stick lying on the floor so they had the board of vinyl aboard the vinyl stickers the guys are gonna you know apply it and these guys came and these viral pieces were just colossal and these guys applied half an inch and ran away and the woman who was corner exhibitions who became my pet head insisted we can do it so the only way to do this and this is you have to understand is this room was mostly hung this has the most important work in the show and we had to be hang it put in the boxes and the only way you can actually fix the vinyl on the floor on on the warm the ceiling is to wet the floor with soap and water wet the vinyl with soap and water and glided like an artistic over the floor so there was a flood on this kind of second gallery with the Malevich box sitting there precariously and the cleaners in boxes and then a friend of mine she was going to faint so of course nobody dared tell me don't paint a black cross because they didn't have the black cross so I said I must bring a plant across and they were you know there were kind of emissaries coming every few minutes telling you different things next please and you can't really see it I changed my mind in the last hour and decided to paint the cross not black but white so it's almost invisible you can see it on the ceiling and it's because I do not have them for me what was the most beautiful paintings the white on white and I spent a whole night trying to hang these ones which had to go be hung in a progression from very small to very large gaps next week the paintings which are on the world was supposed to be hung on arms very fire can you go back to the slide please can you go back one slide these many was supposed to be hung on arms very far away from the wall and the conservators have another epileptic fit this is a black square which caused many things and they think they were having you know problems that respiratory saying there tell there is too much humidity on the top as I went you know and the Russia has refused to put everything on the corner as I wasn't used to me says the square the black square had to be on a corner and had to be you know it was impossible so we decided to to put the work which was borrowed from the Russian museums away on the wall and other work away from the wall seems really care crazy next this is the that the the older vial which was selected by soap and so on as you go up to this fellows room next bits and the kind of the the boxes which become distorted which have all the porcelain on the edge of the mat the monitor room next next piece the 5x5 the glass walls next and this was supposed to a black floor and doc doc say you don't see anything well the upside down next suspended floating modules makes because next time I should actually hang it upside down say the theater tailor section next this put the girl next since it was like we painted this to air this egg and iridescent color pearl eyes so glowed like a extra-terrestrial object and I person had a great time in this film with this poor girl I was on a forklift for what to kind of position all the pieces next things these knees are like flirt over the egg next and the last room which is the this cut press discussion ah which was about really like visiting and artists Atelier so it was a series of tables horizontal and vertical to see these works thanks please next and they're kind of the lost dream of this kind of coincidence of managing technique to occupy the rotunda next and I move on to which I was just talking Elliot Park came in to Mike rotunda but the condition of this this commission I designed the furniture a few years ago were just published and Rolf album was the client asked me if I would design a chair for me trouble and after much I didn't really try very hard to design a chair he thought maybe because a chair had to always land on best four legs I had difficulty so he asked me if I were designed a fire station there's a pretty good trick something I don't desire a table I say no I can't do it and they gave me something else and this was before the Gary project was finished and so it was worried this was a product it took a long time to design because on the plan the site is so enormous on these sheds acts of colossal and to place a fire station would seem like a pimple on this kind of pretty banal landscape and also it was a very important to kind of really place it probably next things so we started with the project one well this may be the fifth one there must have been about 20 regional projects schemes and by sheer accident was those whose plays leanness and I'm a dry for photography I guess the drawing which was done for London and at the time I realized that um well I had to look at this product in a very different way before I can read his on the fire station so in a way a long time was spent designing everything else but the fire station next please very early sketches to do with also what can you know when a scape furniture whatever Thanks and so we decided that to look at the entire territory of the factory and to connected that would be connection between the vitro landscape internal Nazca retro and there the Nazca of the area the connection between industry and landscape and that this kind of confined territory would have its own kind of whereas on life and in a way trying to kind of really inject have a degree of urbanism and to the site because it was to be become a public side because of the museum many people visited and I decided that it also required another layer of public activities superimpose on before it becomes and one of these pieces would have been would be the fire station so I started off as devising a system where also you can fence this the whole site but they're actually fencing it so it started always making a series of walls which are broken and eventually these led on to making the walls which can actually capture space within them and and this to this exercise of trying to really see the connections within the factory itself took a long time next piece so there are a series of boys on the site which was supposed to also begin to be activated and to develop as cannon for this site and so another syndrome started in the office because I had all the work on my jaws were outside of London so I had to always make a box so I meant his glass perspex briefcases and at the time I still carried an Iraqi passport and so I always had wonderful problems at airports so I thought if I carried a plexi bag they would not stop me next week and these were serious studies on the configuration of the of the factory so you start from the left with what is what was there at the time which is like a kind of a canyon her buildings leaving on its edge and empty space and if I were then to look at the interior of these sheds they become a series of very large rooms and the idea that the other side of the factory which would be developed later on my son is being developed now by Caesar and they so they are and I did to make a room which is outdoors but part of the series of the rooms are on the side but you comes in an corridor like an outdoor room which is a corridor which connects the two side of the factory and within it you have the fire station so this space which becomes like the rooms within the factory like big spaces becomes a deliberate can avoid which is always there and within it you can have this corridor which is public which connects it to us out of the factory next next and so this this very kind of long corridor which become this void becomes our immediate focus and becomes where you place the series of pieces which are public and one of them towards the top this was always supposed to be the place or the fire center but we did not know where to pleasant at the time and was supposed and then we decided at the time to place it in such a way that actually as you enter this side you see the building bending next and then we began to kind of really understand the requirements of this this brief which is totalitarian and we began to what we began to happen was to add more programs to into it so it was not just there was a fire station a club facility for the firemen sort of the workers meeting space shower rooms and changing rooms walls firkin of storage and the idea was always it to make not just a shed for the trucks but to make a room for their for the whole complex of buildings which could be used for public events next days so this is gonna be the space between the existing fire and existing buildings on one side and what would be coming up in the future and the idea that at the beginning next next and this became too big to connect between all because the problem with the other side was and I thought that these women were two disparate and they are they have no there was no connection between them they sit on a tray but there was no kind of tissue that connects them and an idea that you kind of you deal with the ground condition which is door and a series of pieces took it up actually they actually rest together and I begin to work together and the idea was to infiltrate the gaps between the factories and you know maybe add more sheds or tea rooms or more spaces which eventually become part of a series of public buildings which are has certain onto the side next piece we later did a study for a vial which is the city where he tries were just to do with a kind of an in planning investigation into adjacent sites and overall infrastructure so this room began to kind of was a remainder kind of rubber just a space next more study was to do how you occupy this very large space which was also in between a room in a corridor next and how they began to be connected you know and in both directions next and it was always a story to find a location for the fire station next days and so as and the idea of then the the Syria these walls would begin to emerge who to make a an internal skyline and that this the the building would seen be seen as double as a kind of solid and as you build the rest of the factory next this would become as permanent voyage so there was begin to dissolve and avoid next days and there was there are there is now a new entrance which is by the Gehry building which then connects this hall space together and the scale of the site is very varied we have the sheds and you have these domestic buildings at the back which are very very small next and then we have either a journey through this corridor next so as you pass through it you can even have a like a series of building one of them at the fire station which it becomes almost invisible because the truck Mississippi would hook behind these doors next I saw these ideas might remained there are bridges which is part of the come exercise for the firemen because they have to have a choreographic way of training next as you move towards the fire station and and right next right at the back was supposed to be was supposed to desire which is to be done in the future the bicycle shed so the program really be enlarged to a series of other projects which were supposed to be put on the side next leads and what began to emerge slowly through this work was that and because the mother was extremely restrained was this series of walls which was to capture space next means by now it might be the scheme number 10 next next next and then it's far more less final version they kind of the elements of this pieces like a mechana like a toy next as we began to sew that it's made the thing on the right is where the ribs are our the trucks would go in so they're kind of lanes they aren't four six trucks five trucks and the dimension was building till about two months furred went outside we always refer to it as our little building - it went outside which was it is a 90 meters long I said it's little bit very long and then what took a long time to place is all these different walls which which hauled the roof so there are four walls and the three beams which one which is a wet beam which has a showers and changing rooms one is a gymnasium and exercise room and also training facility and the room upstairs which becomes a club room with the terrace next although all their firemen for the station for this factory are part of the workers of the factory their periods on this first two walls next the long wall which stretches from one side of the shed which which is where the roof is which hauls the room above says that won't continue as well like a beam and the physical mean thanks next piece and the roof which took on also change drastically over the period - kind of as broke and the entry the front began became more like a canopy moved away nice so the ground floor the two beams collide - with each other or end to each other and they make another space which becomes the changing areas next there's like kind of worms on like flies on a canvas the hundred of scans Felicia as a kind of progressed and what we can eliminate wasn't any I heard what was kept next but many different changes of the roof the plan and the problem was also every time we had to kind of adjust the budget we could not just chop it like a sausage we had to kind of really change it constantly so it was this constant chain which is was a very reductivist activity I think would to me made his building brakes interesting next things and then eventually the walls where the beams went away and what was left was the volumes which was like the residual space of which is between the two walls next is next the slide before was the front as they come beams closer together and this is the back where you see one end is whether equipment rumors and they have the the training facility is this kind of big last wall next next as the two beams kind of collide together next and the date at the beginning there was a gap between them and then we decide you're going to merge them together and the roof changed and and became also a broken bit also became smaller next next piece we did it with us it was a very beautiful photographs of the all the reinforcements which was really like a kind of a knitted carpet of Steel yes as they were pointing to concrete next and this is a sketch which was done very earlier on about the the idea of the fencing that could be made of many poles and it tree areas later this marriage in that and the reinforcement for the beam wall next beets and in a way the idea remains the same that it's about spaces which cluster together next to a big shed next and that is what his device is the wall which comes from the ground and moves towards the top to make the third room next the scaffolding which which holds the roof when they were pouring the concrete next next and that was the bend and the ceiling and that is very well placed was at the edges of this space so the space is uninterrupted about 30 40 meters long next you can see it's through here from one end next next and a series of studies of the elevation and how the canopy began to peel away to let light onto that wall next I was losing her this kind of series a very narrow thin gaps the forest of : which calls a canopy next so it's the same roof which breaks at the point it meets the wall next next and at night they witness a slit on the side which lies the wall and Achaia in the day there is a kind of blood which comes naturally and if not is it up next and the light on this building is really very beautiful Thanks this side next to us now is completely occupied by a new factory and so this wall coincides with almost the edge of a new factory to form the corridor next next and I'll try to take you inside the building and around it next thing there's not referred with I mean it's almost finished now but this was done eight nine months ago next lease at this point time of course all the doors have been installed and and all the glass then we made this a series of really enormous enemy indoors which slide back all the way and open our so there's a point when the when the space is completely transparent and when they close it becomes an enclosure on and we had we were always dealing with this very to make a space which is rather unusual and because of where you stand your perception of it is very different next please there were always different piece of the Berlin kind of meet the beam above the canopy would just pile the roof and the beams which have the rooms next base this is the entrance next and this is how this is before the glass was pitar but the doors are now in the gap and you see all these different beams kind of kalanick to each other to make it's very strange spaces between them next next it's possible to tell myself up there can we turn the lights off there next days and it was very difficult to photograph it even up to now because of all that they were doing at the time all the waterworks and the sewers and now they're doing all the landscape next next so this as you turn around the building so yeah it's top of the shed you move around the the these beams there's the clubroom which is which opens onto the terrace next there's also upside down next please and you see this the all the size of the of the station so this this this is all occupied by glass now next next next next and then we come to the side of the where the equipment drummers is these were the wall of their equipment because that's where they store all their very sophisticated clothes is behind this wall this is the side of the shed next there is all glass on the side now next as you are in the equipment room on the its there's another wall which separates it from the station next piece and back into the main space next next let me go around again next please so that the wall stops here to connect the view was really stunning before because you have this what which was unexpected this view of the of them of the hill which was very very nice but of course that's gone now because there's a red brick building sitting next to us nice if you are in the space between the two beams this room on the on the left on the right is where they store some of their computer pieces and this kind of very very slight shoe between the two spaces next and they've just installed the changing and their dressing area whatever changing cupboards lockers these are the stainless steel doors are was our lockers next and we after after the first initial failure disturbs interiors next and we had many studies of how which pay in this building entirely I mean till this day I could ask how I'm gonna paint the outside which is weird but we did many studies because the intention originally was at the outside as concrete and the interior is very bright and then as this product began to Gauss right uh I changed my mind and not want any color inside and people should expect it to be as other radar Orange next stage of the lockers and what was really the lockers have this kind of space between us so what was happening on the outside that was kind of vignettes between the two beams occurs on the ads on the inside as well next a study of many handrails one of which is this next the wall stops here to kind of the view was really stunning before because you have this what which was unexpected this view of the of them of the hill which was very very nice but of course that's gone now because there's a red brick building sitting next to us next if you are in the space between the two beams this room on the on the left on the right is where they store some of their computer pieces and this kind of very very slight shift between these two spaces next and they've just installed the changing the dressing area whatever changing cupboards lockers these are the stainless steel doors are was our lockers next and we after after the first initial phase of the story of the interiors next and we did many studies of how we to pay in this building entirely I mean till this day I get asked how I'm gonna paint outside which is weird but we did many studies because the intention originally was at the outside as concrete and the interior is very bright and then as this party began to go outside I changed my mind and not want any color inside and people should expect it to be as other Raider orange next stays of the lockers and what was really the lockers have these kind of spares between us so what was happening on the other side that was kind of vignettes between the two beams on the odds on the inside as well next a study of many handrails one of which is this next and this play is very very long and this is the kind of where the training facilities are and the gym and between all these covers which are men and women and a third one which shows the the glass wall to the edge and you can see it them to the bathrooms and the shower rooms next dates so the what areas shielded from the from the kind of a gymnasium by this series of stainless steel and steel cabinets which are the lockers next is their early by the concrete work where they kind of the presence of the room above becomes a light on the ceiling next and the gap of the stair next next please the club room which is the meeting room for the firemen so and all the the whole notion of this was that they had to have great with great speed move through the gems with the right form to their to the main station and that's where they kind of all kilala collided into the station so they kind of rapid movement on there is fire and the upstairs really their leisure room there where they meet and discuss and they train next piece [Music] next [Music] I think enlight is not green the photographer decided to decorate the wrong that was now still planned next thing is there's only one wall but it's very dark almost blood-red dried blood sorry I don't mean to be vulgar but um working in Switzerland for three years every time I wonder had to do something outrageous next and also the quality of the light in August phase is really very nice next year and also the building changes a lot and the depending on the weather next if you go through the slices slowly because there are another rotation and their more recent next just the beginning to lay the landscape which is made of kind of like a kind of a camera strips of grass and gravel and tarmac next the slits are part of the bathrooms the windows - they're kind of the but first aid room like where they don't wear with maybe a doctor or something the men's room and women's room and their other room which is the mechanical steward drum for mechanical things Thanks Thanks and he's these drawings are models really where elapse of two years almost a year between them next next next is next this is before they did a Skype next can you lost was next please next please and after this is a roof and this is the buildings on the other side of the country it's gonna really been now kind of condition of this kind of rubber flooring and PVC and the share the roof of their houses next door and there was a there was a scare was very vast between the different parameters of the sides next things and we go to I go to the last paragraph I was the product in Dusseldorf which was we want a competition three years ago for a harbor development again I had an another harbor development in Hamburg and also when I was teaching in the air with many many studies on the London Docklands and it was very important that you know these parcels of land which are you know left over from this use kind of industry and also they are very adjacent and existing context of a city they had to be addressed in a very different way and and therefore when I did look at the connection between the existing fabric which has a sediment appalling kind of condition the new intervention which had cannot really historically connect to what was there before because normally a bad industry and the also connection between edge and the fabric of the city in general next days and this building is now demolished and was it one done building because that's why the studios were just boys and worked on hallways people said it was a very big particular controversy gemologist one a building and this was calls all half three next there's all right on the water the site is about 300 metres long and and there obviously this is the first time that these conditions become available for occupation and there's a kind of program a new program imposed on the city because the edge these buildings as warehouse always went to the edge of the water and there were made of like a series of walls which occupied the waterfront and when our first initial reaction was to actually begin to connect to the water in a series of different ways next this was there called media center so it has to do with some sort of our kind of our TV or radio stations studios for artists or workshops cinema and then in the whole layer of public facilities like restaurants shops and so on and that offices the central part of his office building is a headquarters for an advertising agency the hall say the study to do with the univer the ground and the s neighboring streets next [Music] mommy stuck [Music] and these studies also showed where these series of breaks could take place next so the pressure was to also to generate an energy within an urban site and how you begin to do that but also how to make a new kind of office space in terms of the way that you are you deal with these buildings which are on the side next days next this is very early model and so again we will talk about how to generate because it was the first building to be developed on the harbor to develop as Caroline for this section of the city and that one began to emerge that it's made of to start with with one continuous wall which is by the by the sheer force of applying certain kind of tactics to it one of which was like a the we just art were there how their land began to change and broke it into various pieces which obviously opened the kind of wall to the water next this kind of this kind of crack and the ground next so on the far corner is the the series of five Marie cauce rabbits which kind of converge together to make one building and there are a series of offices which are quite narrow and and the and works very well and Gemma is gonna narrow office pairs because of the requirement for daylight from though from the window but of course maybe for them it was too narrow and they could have collide together to form central spaces which are off central spaces which are major one which we then carved a way to make a series of meeting rooms and so on so the under and the wall break the second time to enter the side from the street the plaza is then a triangle which hit the side dives down and as it dies down the ground begins to kind of lift up and house all the accommodation which is apart from the offices on the side so there's a another layer of world below the below what we call new grade the new ground level next which our studios and shops I saw next week [Music] and with the guy I say the stay is about the quality of this building in terms of the plan and also in terms of the collision between these two spaces and what that means in terms of kind of light and shadow on a song next days [Music] and and because of this linear quality of these slabs that and because they're also the fire requirements which although it wasn't the fire requirements were an accident in the sense that it demanded a displays are gradually fluid and these partitions are not full height so the burners have to be quite low and they become much more this kind of fluid space like open offices but they are much more fluid and and and in the middle at the beginning we carved are these spaces for a series of meeting rooms which become which become kind of used by the whole agency and the idea was originally also that each of these fingers has one part of the discipline of the the kind of pros of this kind of artistic process of this agency and they can all meet together couldn't discuss ideas and there and part of the and the voice which counted way between these fingers next things next and then as this is the spaces the very narrow spaces between the slabs next of course the dimension which took us a long time to adjust to because we had always thought of it like a very small building but these these slabs are like 16 meters long each one of them decided to her and meters long turn 80 meters long next years and how they can have really the cluster of these learnings together form the skyline and then they begin to connect and rate on height next and the idea that you occupy various layers of the side you hack you pile the ground below which is really not below ground which is almost ground the the quality of the transparency of the building so what also began to emerge was that the fingers become predominantly glass become completely transparent and resins building is creatively solid and that the only way you can really enter the site is through under the fingers and through his gap this very narrow gap between the wall which is broken and that's where the triangle hits it and that's how will you enter and it connects and Jason Street and you can cross a straight and just enters with this gap and to the side and that's when he see the waterfront please next and the cinema at the other and we needed the city has been really extremely understanding with us an extremely Jerez is a very unusual situation in Germany where I usually they bombard you with requirements which we had to meet but on the other end there can I'm really accommodated as much as as possible and at the time we had builders decide to close to the neighboring building and we had to move it up and we required more land so they gave us more than to kind of attend the cinema so the cinema is at the edge of the which is this kind of war which becomes a service wall and wraps around a cinema and you can enter it from above ground and below ground so it becomes part of this kind of media zombie law ground next and this is the the Plaza which dives now so I think this dies down the other piece lifts up as if the ground is always constantly very subtly breaking next so it makes many kind of fields which is more approximate to you and they become more immediate your most immediate landscape next the world below and I did the roof of the pie wood is peeling up which is where the shops are in restaurants becomes also like a kind of canvas and becomes a very large terrace for their offices next and this is where the the plaza kind of cast aside and also the the building which is the the the long building which was a called block egg I never can recite the fingers because people's you know column ABCD whatever they are so I can always have to go with my hand like this like a three-year-old this bridge is over the plaza so you can I mean you you walk underneath it and that also is where you enter you enter through this other ramp which is on the edge of it next things so the tooth these two conditions could kind of converge the break and the the end the plaza where it is the corner next so this is the the cluster of it of these labs from the plaza which drives a module public space and the idea was also that this land which is all industrial then it becomes will have a new kind of urbanism and a new kind of life so it is also operates all day in part of the night where the cinema and the shops and the restaurant on the corner and the idea with the internal nazca is also organized that it could be teared like economic series of tears which becomes also one space like a another large room on the harbor next leads maybe you should put them one at a time I've been blessed for a year as I this hasn't happened to me and thank god they're not my carousels next days so there's the the ups [Music] [Music] next days and so this product also went through various phases the first placement of visibility with a client then we did that in the last year we've done the building permit drawings which was quite a feat for us because this is again there was an incredible jump as care in terms of the building size and but we always simultaneously as we do these very we had to do is very technical so-called drawings we had to always explore this building three dimensional these drawings are not done as a kind of presentation drawings but they're done during the process of development of his project because we had to look at the the quality of the transparency of this building which one of the fingers have to be different Harvey's fingers land on the ground and the quality of the structure within these relatively transparent buildings next and we emerge a long time ago that there is one finger which had to be different which is the one in which you enter under and that became like a barren deal so like a bridge structure and of course the irony is this is this is seems to be it's the heaviest because it's concrete but it is the only one which is floating in this entire project so you enter underneath it next please but that is the only one which is like a bridge which is the concrete one which is the thing that was sliced through and within the plan that became the only finger which is all unoccupied by any kind of core and structure because the structure is on the sides so that really is the ground totally so you and you go up towards the entry you enter a glass box and you filter through the building through a staircase or elevators which are on the side of the building next is there's a section for the building permit I only show this because there are you know 70 drawings which would actually a building permit we arrived at the airport with eight boxes this big to check to disorder and we had two there were 64 files or something crazy and I show this because I like this section the second one shows zero structure this is someone 10 years ago they said this is not buildable and thank God for heavy Arabs who have helped me tremendously over the years next please so the each of this the slabs lands in a very different way one Nan's and like a forest of columns the other one is cantilevered from the below the other one which also common is the different or the cores and they become like objects on the ground so that is you as you move towards the entrance of this building whether everything is almost lifted up you see this kind of forest of different kind of landing of this building you can each case the structure transfers to different conditions on the ground next things as your particular uses he go into the glass room and you you because there are four or five fingers which collide you know one what is separate which is also to release separately and will connect them like a kind of a space which is all glass next and some of the rooms above and the curved and there slabs are also double height and there could be used for meeting spaces and rooms for kind of gatherings and because of the varying kind of proof the skyline and in many cases they have adjacent roof terraces next and then we we began to look at the configuration of the of the cores which became because of regulation becomes a really the very dominant piece of this project next so I started off kind of broken up and then we decided to kind of cluster them together to make them like a solid like a highway crossing through the building next and we began to occur as they were broken this way and in a later phase they began to kind of have slits between them so you can see through the building in a cross and direct way so begin to cluster together around the entry and inform one space which is solids rebuilding what but that what that left is the central part which is the bearing deal totally a very long space which is unoccupied by anything next things the skyline internally of the of these are the cores and how they leave is kind of thing gaps constantly between them so if you're out if you are on the next building these seats where the gaps also all the way through all the fingers next there's a building and the course together next our engineers had a good time one day I really can use these theories it says unexpected and amazing structures so we began to say you know how many time I came for a meeting I said is terribly boring and so I adventurous and you know and then but of course we didn't want to do a catalogue of every final structure next these different study of different condition on the ground as you enter these different series of so this idea of the kind of this difference between they are compressed completely as you enter the building under the variant deal and then the ground begins to peel up and the buildings begin to come over it has a compressed into that this kind of forest of these different pieces and then you enter the building next the forest of columns Thanks that's why they become invisible white-on-white Thanks and so the long building which has a series of kind of plates which rests over each other almost kind of cantilever and of course if you're and along in the long building the this column as they are very approximate to you so you can see right through it and the idea that you can see through all these layers of glass all the way across next and then also because of this kind of peeling and cantilevering it leaves terraces in the air next so that the ground the public space is not only the civic zone is not only on the ground but there are many grounds which is subterranean ground level above ground above that just 2 minutes above the ground as all these kind of ground conditions begin to peel up and down and then also under halls on the building next I study about how the the long building begins to kind of be fenestrated because this is all set your concrete and and we have to kind of have some windows in it next the gap between the two buildings and B the B was supposed to be a really immediate space with a black box which is like a radio station and the gap in between this is where's your antenna go down to the plaza on a very shallow ramp next the black box which is an unusual room which was supposed to be originally a station and akha radio a studio or something very sophisticated studio but nothing else is not going to have them next [Music] the elevation study of the back wall and you can see slowly as the ground begins to peel up towards it next we're now into black and black originally these buildings were black with other would be other black granite or or sensitive concrete so there's two different conditions one which is very solid and dark and one which is very transparent and totally translucent next things and then because of the flood condition on the side because next to the water it became very expensive to dig a very deep basement so we decided the ground will as if by the force of the flood begin to erupt so everything is slightly peeling above ground next so it has kind of had many kind of imposition on it one of wedges now as if the ground which was almost flat was felt on the street began to lift up a great deal next and how all these different plans begin to kind of on Junaid on the ground and they become instead of kind of losing music there's only one the hashed area is the only area which is green you have to listen also politically this was very green and and I remember I'm not sure I said as many years ago I used to say this and now I say it very discreetly I did not at the time like nature I like it bad these days but grass is the limit I can go to I know it's not politically correct but that's how I feel about him and so we went there for this present it is like two years in the making this project and then they finally said oh well where is the shrubs in the front of the building I think we're with it but there's only concrete I said what do you want me to put there two lips and so I told Mike the garden office please put some tulip patches here which was enough to you know freedom but the idea is that the the the ground is really an extension of the street the front is about the condition of the water and that this was just cheered and that's where people sit and can have their lunches and picnics and it is an extension of the promenade because it's this part of the city there people on weekends is very crowded and people walk around by the water from all over this indefinite and there's two sides to the embankment so lease it on the green and the idea is it the triangle which is peeling up not the plaza is also a landscape next so the intention was in the street begins to kind of really through this eruption lifts up as you enter the building and these are all incisions on the ground and there are different different difference in levels as you enter it the plazas made of kind of such a Concord which is slit which has kind of also glass in it to to be lit at night next and a series of studies of the this peeling condition of the ground next days and it's in many layers so that we in many studies about how this could actually take place next which had to become very subtle steps as you move over it next and this is invisible series of drawings which shows how you actually can move through the building which I saw invisible I can tell you what they are next we had a great time this summer and even a few months ago we had a I was very lucky in the last few years I had some people who applied for work in the office who are non architects one who did all my models and he was a really he designed equipment for an engineer and I hired him and everybody asked him why was a hiring this guy when you do an hour times and I liked him and he did his fantastic models for us and the same happened again with this painter who came apply for a job was a Brazilian and he didn't pay it didn't show me portfolio of paintings he showed me a quilt and I hired him again and they thought I was really losing it and it is what I thought was very beautiful and visible paintings next day's next so this shows how you can enter certain buildings how you enter the plaza he got a cinema song next place and appending which is still a drawing still in the making which is part of a whole series of drawing which had done more the years which is shows every to do with this project how it connects to the site that is the nexus of water how the ground condition works how it looks from the on its edge from another kind of view of the city if it's you're looking at it from below water level next please so you see the the building but you see also the elevation of block a next you see the kind of the the the slabs as you enter them next and the cluster of the other offices and for me what was always very exciting artists project for me any personally was that you are you work in this constantly approximate position to your neighbors and the only thing that separates you is air so you can see them very one meter away from you but you cannot reach them because of this air gap and that's it thank you very much [Music] [Laughter] thank you very much I'm losing my voice but I can take some questions if there are any if there aren't any I'll wish you good night thank you very much again [Music] you want one you have a question okay I really have deliberately stayed away from feminists because I'm a feminist but I don't deal with the gender because I think we do ourselves a great injustice by isolating ourselves and like a leprosy colony and and I think what is beginning to emerge the question was whether women did was space differently is that correct well if you heard Peter Eisenman in New York two weeks ago you would think so which was which was was what was interesting for me what we said but I think I personally could not say whether women operate differently I think they do perceive things differently but I don't know how because I'm not only a woman I am another European so I don't know what that is to do with my gender my nationality or because of other things but I think there is a different sensibility but I don't know where it is so I can't answer it really but I think it's very important for women to know that they can't they can deal with things when they better or worse but differently and they should just stick to their guns and do it I mean I am I tease a lot of woman who work with me in the office because whenever it comes to midnight it's out you know crying that their boyfriends want them home and I tell them to tell them to have themselves and excuse me because I've never had one guy in my office over the ten years I've had people there ever mentioned to me that they had to go home because his wife wants him and I taught I tell women who come to my office don't ever use that excuse because it makes me angry because women are always marginalized because of their you know constant they abandon that their faith and I do it deliberately there was a lot of pressure on them but I think that I think it's very important women do not lose their femininity they don't have to become like men to achieve what they want it's very difficult very tough I'm constantly patronized I mean my men I know one example close friend of mine Erik Moss is too always bad me on the shoulders I mean you're okay for women and I still really but get very angry and and you know even a few months ago after years of knowing him and I love him dearly and he's a wonderful guy I was in Vienna and I suppose into a man was there we are amazed you were smart and I thought you know they really think we are kind of you know they always thought I was some kind of brainless you know Arab princess who kind of floating in my kaftan which maybe I am many years ago in London I I discovered a trick for the English particularly is that the only way for me to distract them is to become hysterical and because they could not deal with it I am Peter Cook wouldn't know what to do with me you know I was you know Alvin whereas he was on English it's concurrently nobody could because I was not to be hysterical but it was very calculated on my part I did deliberately have freaked him out so they thought you know she's naughty I mean it's okay she can she can let her do her thing and that is the thing about England is that it is very cool they survived because they allowed people to be crazy but the English never allow you to go to actually when push come to shove they don't let you do it and that's why I think they is a wonderful was a wonderful I say well it was a wonderful school because of this allowance that you can be can afford to be different and I think if many schools do that it'd be great no and for me it was very you know liberating but I did freak them out they couldn't deal with me the same with the Japanese I wasn't a man I wasn't a woman I was as aha so it was fine and it's really true I mean more than one Japanese still made it well you know you're not like a woman and I said what am I so but they couldn't do me with as a kind of another thing and and you found that true of many cases but you know my examine my life time also had other man support me I've always worked with men at my office my students I see because I had the boys because they were all it's funny guys and so I can't you know I can't say that they have not supported me but they have and so no I have nothing to to really complain about I'm a very lucky thank you no one no one else okay [Music] [Music] well I mean short of slicing my brand-new hives and showing it to you I mean I think that drawing for me anyway I mean they're very different ways of you know showing it actually I can never show it I think but as a tool you know it is one tool which is for me is useful it's like telling a scientist you can only work in a particular way this is my tool whether it's appropriate for ours or not it is definitely appropriate for me and that's how I can through the drawing I can explore other territories which I wouldn't otherwise be able to now I don't do it because of for people to other appreciate or too likely to understand it I predominate do it for myself and if it can connect to people that's fine but it's done really as a process of my my thinking but as I mean I don't I don't when I have a project I don't draw immediately I I have to work it on my head so he can't nobody can really see that precisely let me also say one more thing in it drawing was for me excessively important because because the whole idea of projection of projecting a new kind of three-dimensional possibility explored and the whole idea of doing many different vanishing points of perspective was very important for me to develop this work and I think I could not without it but ER button how has it influenced my character how my background being is well I think the notion of displacement is very important I mean in my case because I think being displaced could be very liberating and I think it would be much more difficult for me if I was just if I was an English person living in London bring me a different different situation so I think it's it was very liberating but of course you know it is also very difficult because a lot of people get commissioned from their country and I I'm not likely to get one from Iraq so it's I'm always seen as the outsider which suits me also fine no you know I think if a visitor there's an advantage and disadvantage and the advantage works for you then you can't complain about the other side of it but I think it does it does I mean displacement could be very positive and very negative and in my case I find very liberating experience that's it you

Channel: SCI-Arc Media Archive

Views: 739

Rating: 5 out of 5

Keywords: Apprenticeship, Architectural Association (AA), Docks, Exhibition design, Fire stations, Guggenheim (New York City), Industrial parks, Kazimir Malevich, Office buildings, Riverfronts, Soviet avant garde, Suprematism, Vladimir Tatlin, Vitra

Id: VfhLn0sey4g

Length: 103min 0sec (6180 seconds)

Published: Tue Mar 30 2021