Welcome.

This is the laugh then are like the theory
of life or like the theory one of them.

Very likely played with me tonight.

Dr and that one had a long

standing office and
the rich reasoning that they and

the academic instructor thing
architect with a Ph D. and

I mention this because it's not so
common even that could you say the math

of that and it's somewhat unusual.

I fully think worker thing but
if you looked up in time.

Garcia brillant and what you realize that
are bigger than I You ARE YOU think.

Academic himself until recently
with the head of the part of

the proposition that knew the more.

We out the lorry of
the period in the grid.

And the problem that like we
have in time here tonight that.

On the other hand maybe it's
maybe it's very relevant and

we all have this little relation between.

Music an architect or a leader and

you're thirty attacked you
don't recall it but the.

Little music is located on a lark.

Let me but

I I just heard and I figured with work
things in to do with about you know

the truth with work by rock you don't
worry I'll print money for you.

And the truth that I've heard that.

They are wrong.

I heard that part of
the professor in my neck and

they're both both rock Yellin and
rock the aisle and

there are friends that were there.

Know that they're there for
somewhere and that they are incredible.

They think I'm right and
I will come to work but

I thought that like you have it work.

You're in for a treat and

I just need to do what obvious
that are required and architect.

Generally my own definitely park alone.

You know what they've been the left and

I think a lot of Bennett were lovely and

I'm proud that all the hate
that I don't want you and

I think what are they going to think

the belittling to the main nothing to
do with the car green they threw at

work but
there is a third of the out here and

that will be that when you think that

one of them in fact you know that

Nichiren introducing it once in something
like this and it is the paraphrase.

Describe the work of you know it's
incredibly logical reason method

of working that meet the current madness
kind of written with that group and

it's really a recipe one that
what you'll see in this work and

it'll be up here is that very much
an author of their living and

unique point of view that we
always think of that quality.

And the second point a movement more
important work won't come in again these

attributes will be really quite felt
that it when the this is in the work

very high level.

And if I.

Use the material.

It's very relevant.

And it's who I work with and
that allows this incredible

solidity if it is very light but
it didn't.

Remarkably in front of
working on the second.

And developing a doctoral
thesis titled breath and

math at the School of the Living
here in the public that we are part.

He's established the research lab at MIT.

So broken hardware he
continued to keep thankfully.

I mention that I was introduced
with work in your book but

I think I've been aware of it and
I think when I looked at it see how much.

And how much work and.

Yet.

Are any threat to the left
rather than I do.

So this is just the very
kind of completed list that

what he thought over the last few
years for the last ten years.

With the a professor at
the pool of architecture at

the Polytechnic University and.

We think it's partly that Cornell two
thousand a pretty the electorate.

If you birth an American.

Who got a new book or a lot of them.

You know that walk the talk of.

Yeah they were all that work that.

You never get back the thing that I don't
know about university and why more were.

Than Earth living in it that knowledge.

Right now.

You think the benefit of me research.

Well I think won't.

And I can not answer.

I've already mentioned that or

that they're like it.

Within the order.

Never in their work but
widely recognized yet

they did live architect
your record right right

in the white working
architect like if I thought

of that hated then you know
what year intellect and

international law were with that in

the curator the man who
you know in the water and

now with

the aim already there
you are finally already

made to laugh it in like you married or

what we might all like

that is what we mean well we

thank

you thank you very much.

Happy to

be here in the south.

I shared with you this morning.

My back round US culture because
I did my very being Arkansas.

So I feel at home.

Well last the best year of my
life in Jonesboro High School.

Well I think that was one of the burthen
reasons that I moved here I was

culturally Ling already spinning we

say that you belong to where you did your
high school but where you were born know

where you did your high school and
where I want to share with you our work.

Were I would research our

our dreams also and

working in these two categories that
I very simplistically synthesize for

the legs here to be very pedagogical
would be in some beans and some stones

but no I did a big bang big
bang is that moment where

there are mass these places and
the gravity remains.

And we are challenging
everything that we think we know

and its being very creative as a process.

So these beams are most probably that
we were built mostly with pre-stressed

concrete a T.V. on the we like to
go see if its efficiency in St.

A level thirty three.

This is synthesized structure but
is very efficient and gives its form.

By a let's say engineering rather
than something that is the size.

So we would like this
brain that petitions so

we start always reusing in
different contexts the same way.

In this installation you me and Ali.

We wanted to challenge and through to

to provoke the existing space of the US
and I live with this incision this cross

trying to turn the space upside
down where the vertical of the of

the columns were imposing it's
between we created a living being

where the space is linear we
made this cross incision.

Be and the result is the dialogue
the encounter of these two structures.

Even though you say some
very limited balancing act

again I can't believe are stacked again.

That was done with these three
percent vision of these two beams.

Gave a glance over the palette of our
material world in this case that restores

concrete and also destroyed the food
mockup the program we were organizing but

foremost we wanted to express our interest

in the principle substance of our belief
in architect to the idea that gravity.

So the these let's say be three and
principles are still person in our.

In our interpretation or
for technical space.

We even created these beast will again and
either know so

little bit of structures and all that
these we call ops unless we hung it and

nobody felt peace with the hunger of
there we didn't hide it on the contrary.

Everyone came here and parrots the spring
to feel the gravity that was exciting.

What we wanted these
did was something that.

Gave in the exhibition

a mission of something that we've
built before in the real world.

The mythical being a house a balancing
act based in the geometry of a spiral not

with the form of a spiral each of these
beings have to turn to the previews one.

To acquire the balance and
this space is that result of these

that are real persons who
fabricated almost as have robotic

logic as a script or
they're all the same bleep and

the material hides all these stress.

I love this photograph
because shows the effort.

These inside the core of our being
because the exterior is just a form that

we might like it because it looks like
a cork nice like a classical cornice but

it's based in how to optimize
mechanical efficiency.

So we did all the engineering.

We did it ourselves.

It was an amazing experience of how to
put together all of these there and

some of these parts these pieces these

heavy beams to create
the structure that on the end was

providing a very very light space
are an enormous paradox of these

beams they wave around fifty tons and

create these structurally did it already
there was stopped by the presence

of that strong twenty tons of granite that
was the counterbalance of these last beam

that country leaders fifty percent of
its length stiff enough to read it.

Calibrate everything and

their representation of the good of it at
the core mission of the house after this.

The job was done we just needed to.

In closing with.

We're thinking glass.

You've come forth standards but

we still believe that was the structural
presence what gave this soldier.

And primary condition of their space
over the space and I suppose the.

Light and the hug peace masing

collusion between this
through this of their pens.

I think Tony called
traces of the structure

that somehow was framing
without enclosing enough rain.

Or the outside landscape creating a very
special relationship of the inside on

the outside.

So the house is

a statement of our of a particular space

research of how to make
a nice December for

house in this case and
how all these parts can be put together in

a prefabrication logic that now we
are pushing further in our research.

I want to show these video that
shows how in a summer studio.

We think in the office and we construct

in the outside world using the sane and
logic.

Through the game of gravity the game off

without the presence of off
structure in this case.

We had to transform our
slaughterhouse in for

media taking mother to this slaughter
house is totally protected by code.

What is a challenge.

We could do anything inside but
I thought the restoration.

So I would further the worst to
transform these two parlor like sibling.

Warehouses into a single space.

So we decided that the times were some of
the of these structure the wedding Post

today primary space could
create that dissonance that

the challenges that we were talking a we
live in has been at least the sings.

In this case inserting a new structure
over an existing structure is

not transforming the previous one.

We left it intact.

Is just a violent intermission
of a new structure to

create not dialogue to impose
the dialogue between the two.

So all we're challenge
was how to introduce.

That structure inside without
touching the building so

we invented this machine
that was like a train that

conducted the bridge
beam into the windows and

this way we demonstrated the structure
we were inserting was part of there.

It's a movable interior of

the building only was like a furnishing
I think and heavy furnishings.

But it worked and
we discovered at least two

structures were having a very intense
dialogue the fragility of these vertical

columns are supposed to
the tension of that bridge

was participating in
the same balance they were

really operating as the upsurge structure
of that architectonic of space even though

these two mechanical systems were
not connected this structure.

Gives not only order to space but

a mechanical transmission of the Worlds
but both missions are so important.

So we were able with this action
to to really transform the space

and not connect the both mechanical

systems because they are different
families know the think concrete.

Beings that crossover within different
deal of the over existing warehouses.

So this is part of the memorandum
of our of our practice know how.

Structure thus become essential
part of architectonic of space and

space is the concept one of the result and
of these structures and paying me.

The time on the end and it's moving right

now rests a dream or if a new program
a new function but only end is there.

We sold tons of these these insertion of
these intermission that I said before.

So should these video that shows these.

This is some most of the money.

I want to go to on the other

side of our practice and
we call it the storms

just those are the buildings that are
related to a place where they are settled.

They are part of it and
they use all that person and

some of that place to
tour to to be part of it.

So I want to start with this
house it's called the truffle

you want to settle in these beautiful
color nice North Atlantic coast of Spain.

You have to make it the interpretation of
that beautiful landscape not trying to

make something interest score him and
thinks no just in

understanding what nature he's
offering an interesting song rules.

Sometimes we the artists try to
impose our rules over the nature but

our proposal was to sue due to
what nature was imposing and.

We interpreted that beauty that is

part of it and
we use the covered in a cell reference not

to some other things of its came to but
to use it.

Not us on a sculpture a project we wanted
these to be architects are these what

is the plan.

The governor just to give you.

Our side of the plane of the traffic has

been a bathroom area
place to sleep chimney.

So it's a fully equipped little space.

So what we did was to use everything or
what's available over there.

First of all we removed and
clean this site.

Creating like a hole.

Of vegetable soil branches
everything with air was there

inserted high bales and
giving that stacking

architectonic an order given by the model
how did the of these hybrids and

we catch that spacing between them and
I say we cast it means that this is me.

This is how we are meant.

This is a kind of we
did it with our hands.

I mean that was a real committee
experience with comedy with nature we

enjoy it so much and we think this is
where some kind of prefabricated story is

not architecture from all these turtle
nice of the same curse that meter.

And after we started making actions
over it like chopping things carving.

We have to remove all this soil that
was completely purser personalized

by day weight of that concrete.

So we again

try to make a connection a political
connection of the life cycle

snow there a picture somehow connects
our lives with everything different

natures that surrounds us so
we cut that from our neighbor.

And invite the new mother
to not be done space to

use it to take time and
part of that sort of.

And left and concrete alone.

No help.

Treating it was full of dirty
imagine cold living there for

a year at least here in
concrete was amazing.

Stinky space beautiful suppressive natural

and we created when we clearly were amazed
that we discovered all these beautiful

principles Hey beers all the pretty
fired Lin Wood was out and

extraordinary My theory of metaphor of
this scene I was facing that space.

No very subtle nature of it.

Not really worth exposed
to just something for

a certain gravity well these
different realities were there.

In a single cast exterior bus emulating
their geology colored natural formation.

It was fully integrated in the landscape.

It was part of it and the truffle really

used nature to conduct its form and
we did not.

Organize these three or
there's not a lot of friends and

critics ask me this is our interpretation
of the article or their own class isn't.

The answer is that this is this is
the thing we were casting nonstop.

And we start the woman
some time operate it.

And yeah this is
the uncertainty of constructing

what inspired us so
much this vision of the whole

reason as the only straight line in our
space everything is Rinko discourse.

It's not coming from you.

So he says earth is sort of it's a stone.

You know.

Eleven will

get upset

a little.

Will let us let

us.

Let let

let let let let

let let let.

Thank

you.

I mean we

move.

Move

move move move move move move.

When we did this project we really
didn't know what we were doing

come down but

I think it was I think I
thought something here better.

It was kind of a prototype for
a larger version

of Khamenei kind of church that was
going to be building by the end.

With back to the OR
did you know space radio

combination off hand light here and
not there.

So we had like that.

Yeah a lack of reference I saw no posse
shown to the most developed people A-G.

in history of architecture
any of our church.

We have had two thousand
years off you know variation.

So we wanted these.

Unfinished stone where
the wrinkles of it are all

material and these libration of the lines.

Yeah.

Challenge us again the presence of a plain
us and I think any kind of structure.

I mean the interior of a very
yeah shaped sculpted neutron.

Yeah stone like an unfinished stone.

So the first projects this is actually
the first project that we built

Mr excluding Alethia was our very
compact cube running with ground I

sometimes a lot of students ask me why my.

An appetite for
my last stone I mean I always say that

life drove us to something workable
Spiller Alethia where there are night.

He's the base material for everything.

So it was a discovery.

It's nothing that intellectually was a
person but you live you discover what you

like who you are or where you want to
be so finally we discover that these

may seem interpretations of stone where

gringos of the stone
creates the difference.

It did the former small the the shadows.

There's some of the truffle it's called
there are some of the means dark shadows

of the shadows really are those that
create the contrast of the feet of snow.

It's not just the form.

It's the materiality So
we've wanted to build the stone but

in the counter way we love
the idea of making things wrong.

And we've invited their owner to

to who is this guy who are to

do you know we're building everything
that he had fight that all his life.

They were united these
wrinkles mean pewter textures.

We wanted of that was hard to convince but

after he came he lost a dear or fusing
these very primitive combination of.

A feeling that it the with highly
technological connections of those stones.

As the main structure and
in the interior three D.

line appears on the neutral
light very abstract silence

space aside a position to
the exterior that has to deal with

the atmosphere with air with
a climate with a beautiful.

I don't think.

Landscape and

put it close to this music school we had
a pretty unity to build another project.

These people wanted to experience and
to work with.

The mystery of gravity and

time and
it was part of the boundary of a big plot.

Where the first music
school was located so

we wanted these building not to be
a building to be part of the war.

So we built them with walls a stone wall
that faces the historical center a glass

wall that faces the back
of the modern city.

And this two part of the World War was.

Terms like in an arrow and
a bow with a very

old Morse if women are more synthetic of

material and
matter we build with with light.

So the strong wall of the stones
was built in the quarry.

In a really primitive way we
need these fabrication tools.

We encountered all these
abandoned stones on some tons and

tons of stones are abundant in the quarry
because they do not fit and we love them.

We just need a category.

We spend fourteen months living in the
quarry that's a tough working environment.

Believe me.
And he started playing with these.

Machines trying to make these
balance these beat it's compas

like these big stones give the beat and we
operate with that would be that particular

balancing between With
that we need to match.

Step six and statics it's almost an
improvised Jass where you know the rules.

You know the beat you know where you
want to write but you have to improvise.

You have to take these materials.

You have to draw them very quickly
find the center of gravity.

So these guys who have nothing
to do with architecture

where they can put from the chain and

find the place find a location of these
storms and worse amazing experience.

We started to building a mock up and

we ended building the full structure
the owner of the quarry wanted to keep it.

He loved it and I did also worse
completely surreal to have the most

probably the I've got every story
thing going through my voice.

And after we had to find
a way to transport this and

to put it on site to rebuild it.

So we demolished it and
we found that it was so

we see now to put the stone
the placing that they had already find

their place their position like that

the life stones were having
these gallery I said classical

Portie called St The materiality
of the world.

Express the differences and

field of different lights
this is chunks of of light.

The result of chunks of stone.

And these synthetic oil that
we build stacking five hundred

CD cases memorial to the digits.

Formant this building was for
composers and

cinema producer so all these wall.

I don't see you again before a library.

Yeah Salumi Nair isolating device was
the position in terms of material if you

do this but
they both effect that speech only.

They both condition the rest of
the spacing between these differences and

all these wrinkled concrete wall in
the basement with it like a brass if

other German light.

That's one hundred sawn structure strong.

I think ality the space between
these walls was the result.

And we still are still there.

We just build we call it
the stone I will be in Mexico.

The sun stone.

Because we want these thrown to reproduce
and amazing mixture of light and gravity.

That's what architecture is about it's
an S.P.V. to a mix of the substances.

But these probably worse to be
constructed in the middle of

these urbanist the mass
go corporate master plan.

He used the scene.

So we did not belong to
that we wanted to really

hide the guts of the through line and

then create the video obstructs silent
in this than safe public space.

So we made a hole and
we took twenty five meters on the ground.

But he said on first
the way to resist earth.

Quakes.

If you are part of it.

There's no problem.

And we just wanted to revisit that
presence that Westbury underground

with this very symbolic lake about
the keno I can see the look structure that

needs its form to the movement
of air light gravity

but the end in was a very rigid and

stiff by that action and
structure that had all that movement.

And was covering open air.

These set of platforms as public
glasses the program is your style

theater with officers of the theater and
system of lobbies complain that helix

again in this case digging underground and
surrounding the black box

over the gravity of that negative space
are struck that through the earth

their breasts are made with a likeness
of their recent Philip the of the whale.

Where again the persons of gravity was
negated by the form like cutting at these

in their ancient Rome.

These columns transmit gravity but
do not represent the transmission so

they are somehow hiding the mission and

therefore So
here you can see the profound hole in

the Ground Zero the core of
the excavated war that we were creating.

Amazing techniques to create
a world twenty five meters deep.

And this is the model of the way here we
wanted the structure to have its song

like not isolating device a skylight.

No we wanted like to have
a song proper light and

react with the natural atmospheric
conditions of light and

with somebody mathematical object.

That gives.

An extraordinary You don't need to it's
one hundred one hundred tons of weight but

again but I don't think only
creates a very very light space so

breaking all our produce we like
to test this structure to ours so

we build it first in our safe
laboratory and after when it works.

We don't think so because the model
that we did to study the reassembly of

the structure all the cards at all those
with the blades should have we thought

about these are some amazing
hyper technological fabricated

structure but the ending makes it could be
viewed by hand that it worked perfectly.

So this is the place like our lab.

Where we started cutting.

And building.

First of all were these elements
on some of the structure was

getting stiff and
together and solid there.

We removed all those points and
left over ground

the structure in charge even mechanics and

this was an amazing experience to build
all these huge proof of this scale

and after transported them
reassembly them side and

understand these even
an unstable balance between

the profound gravity of that
that comes from the earth and

we're like yes of these upper structure.

But these bottle of orbit and

conflicts no idea of this
huge form fifty meters

and this is small kind of the battle
between space and probably.

Definitively is one race pace

the connection or
even to our perception Our see quality or

fight the clinical species much intimacy
the connection we have before the Florida.

News became their last
invited guest to these

jurors on party noise like
the tyranny of the cake and.

The thought of the.

OK I want to end the problem
with what we're doing now

we have not yet any of these projects but
we hope in the next decade we might go

through all these you have to plan if you
keep at it and this is our next decade.

We're starting right now we're
interested in these big bang.

When you start anything and
you displace the masses

the center of gravity remains I mean
the other action architectonic in space.

Of course.

So I made this provision for
China trying to negate architecture.

I said This simply means negate
architecture forget about

bipolar Gee forget about the main
energy slight you know air.

No entrance.

No form just reaction of stacking mass.

So we did all these models we
made this interim mission with

a webcam inside to see what
the was going on inside and

what quailed and in the failure
we discover these amazing spaces.

They're trying to negate the existence
of space we discover the new

space we discovered that
the sneaks of light here

by their very irregularities
of all of these big stones.

Ross where result on top of their
structure was there the soul of the space.

So that gave us.

The tips and then the energy to continue
experiencing the sister I think so.

We we actually build all these
blocks like huge want to

live as of synthesized policemen in
blocks catch that we can on a concrete.

To reproduce send wave
without having the mass and

start them in these positions

based just in the logic of our place and
of of of our complimentary.

Probably was not finally build and

therefore there be a knowledge but
we are waiting for a better opportunity.

And this is another problem
that we have in China where

we decide not these products really
science or beautiful have to say.

Well our Rusty must die in the center.

But the fish and dance unique.

Color.

Double country petal
disposition of the plates.

And our client project had
the project saying that it

was too prevalent in this beautiful
interpretation from anything

a building that I never understood but
nevertheless we said OK.

We don't like a highly concentrated and
stiff nucleus.

We're going to explode.

So this is the classical core and
sure when you see an American Tower.

Steen.

International.

Bid develop these stand out so
what we are starting

now is how to break into chunks how to
exploit that nucleus like a big bang.

So we made these two
moments of this expansion.

Personal first hard.

There's no evolution
is just the structure.

So we were hesitating.

If this or this so we did both.

So this is the theme.

Now we're going to study the variations.

I loved the idea of having this like
very intuitive approach took a picture.

Not us.

It is the sign process not just
pure intuition just shaping

modeling cutting the space.

Opening this core liberating
the space to penetrate

within the interstices of this mass but

here we have several projects already
know this by their class one uncertainty

of where do you locate all those so
we just pick one and

we did the mother with a very
standard principles and

parts columns beans and slabs.

Those are the three main elements
that we use Brewster's concrete

that is a very efficient
materials he said before.

And give us the pipe probably to span.

Street light structures.

So this was the process
of doing the model.

Before we did the project and
after we do the mother and

even though these lines are not shown but

I like it this way just for

those parts are floating into space and

the section also shows that
variability that likeness.

This is the structure but
create different platforms

were other building Scooter be

located to the story buildings
four story building.

So we just wanted to create the Beatles.

Space in terms of real estate could be
very successful because the developer

just builds the structure and
relieves the rest.

That's more or less two thirds of
the investment to the final user so

we're somehow multiplying
constructable ground but

on the end our infrastructure
the science hosts intensity of the space

and we discover that these are when the
infrastructure a revision of high rise.

Ross really interesting.

We want to continue that
the presence of those

course in the middle of the power were
part of that but I now make space.

The second tower the B. and B. vision.

This is the chunks are smaller and

the almost invade the limit.

They absolutely need it doesn't
mean that it's our first start but

is there the broader
the boundary that we've created.

Separated themselves so
much that they are not stable so

we needed to establish
them with ten source.

And the beams have to spend only
the read more we were talking about

a standard the mission fifty fourth.

This is the start of printer for
highrise and again we did the mother

do it and
we discovered how really there was

at the far side what a plane was created.

It's incredible how different
these two powers were but do they

are made with the same material the same
elements the same strategy the Semite the.

But the speed was
completely different here.

The plane was the one the before and

the race from the first forcing the
printing and so we're very interested now

in reusing the same material to
persist concrete in these two new toy.

I

wonder when we add that to
an expression of these into urban scape

this is a research for that we did with
the pop up trying to follow the same logic

of the big bang into an absolute
again a power now into our country.

An exercise of the development
of our compass.

I would come person in my house some

spaces still to be developed and
spaces to be discovered.

So I'm good to go quick through
this because you kind of see it but

then I took this passion of how a compass
is not from the ground to the camp but

to be here to believe that the fifty
first century urbanism will have

to do with the Comcast of the year
not the ground the ground.

We needed for other purposes rely.

Good for parks for agriculture for
mental resources but

the air some abstract substance
that we can manipulate so

we did these two projects this
line is an online compass and

we love this metaphor online and

this is an addition for
traditional compass.

But all these revised with
the prediction of what

infrastructure is infrastructure
holds architecture.

This is an old vision of infrastructure
something I see in frights wonder

is he that we don't like it or

are these to reveal these infrastructure
the same way that in the starting

of the twentieth century this torture
works reviewed the level of Duke.

Yeah a fair because we see here these
these guys review this structure

as part of the architecture.

We are in this thing revealing
the infrastructure as a beauty.

That he says that yes he did you
know where their city guards.

I don't think you could be either
what he's supposed to over or

just something that complete thing for

structure in this case he signed
the frame very upset efficient.

We can easily of holding objects
in this case two story buildings

these was really utilizing
recycling an old infrastructure

old rail for
truck a train that cuts the compass into

New York with that big U.S.
policy between what's a wall.

What's a high price and the other project

fabricates parcels like flying
carpets where other belief.

As have OK So I mean these worse the way
you have read everything that in

a clinical program layer not brands and

stack it's in a very flexible
disposition of could be changeable.

But could be really
interesting to go within the.

Different moment something
comes dancers and

drop it changes that they're
going to go through.

The basic unit is the drawing the door but
they're

open to a big infrastructural corridor
where everything happens there's no rooms.

There's no same you know the snow
gradients of intimacy the intimate space.

The sheer digital window.

The working mezzanine but
everything is clustering the same bubble.

So deficiency of these online but
got a compass was enormous and

we did not decide the year we did copy
paste it over the infrastructure.

It's not about.

Our proposal was to create those
mainframes that means beads

of the of the of the building and
insert other architectures inside but

always move the scale of
the infrastructure pieces

the mention of these key building had one
kilometer because the scale of a bridge.

Nobody says the bridges speaker
is a bridge has its own scale.

So these images reveal how
imposing the infrastructure always

is in our cities but when we really their
peers have something like magic or.

Has a completely different scale
even though the compass on the beat

is older than like architecture but
it has its own set of rules.

So much of the rules that we did
in the east part where we said

that infrastructure was going to grew.

But the golly we were going to
respect every single existing building

we could spread all those
nucleus us within the place

like in the towers that
are located these two sites and

connect the principle of
infrastructure it's going to be

traditional city has a highly
connected infrastructure.

He didn't underground
an independent buildings

in this case were understood that.

The city of contemporary city needs
no buildings its infrastructure and

space and
that's what we proposed a full set of

infrastructure connections but
we're creating space.

And the space was hosting
other schemes spaces

like in this poppy drawing worse
are sort of buildings independent but.

The ending was not buildings they
were just enclosures of these

space in several scares
not always stacking and

connecting viscerally
the earth the landscape

the panoramic views of Boston in
this case or Cambridge and sharing

infrastructure sharing the course
sharing the beams sharing the elevators.

Sharing everything really builds
beings do not share anything

they want to be distinct piskies
we understood that the vertical

infrastructure could
provide that shear and

very efficient on economical
system of course and

create that amazing
elevated class as public.

Claims of could be that
everything freed me

is more solid research
workshop that we did in

even now in my view in this case because
I were spacing MIT was not ready yet

but they want to share that last video

concept well approach to an urban problem
could be due but also with the same.

Yeah they do the same
tools the same options.

But a tower or hubs there's no
big difference when you deal

with urban problems or
the mastic besides So

these images show how the combination
of these vertical infrastructure

appears you know in their
conservative converts must use its

great persons but
the transponder you see and the likeness.

I think for structural mood.

If it's extracted from the earth and

persuaded resort because
these pretty big cloud.

I invited my son of the hunger to draw
a crowd and he drew these amazing sketch.

Cloudbase the pension scene lines so

worse like I thought that he's
under under under tension.

I can bring storm.

So it's a clue.

Ily

ily.

I've

I've

I've

I've I've

relied on

me

in

Iraq.

Listen.

Thanks Lynn thank you Lynn.

Thank you live

live

live

live.

Thank you very much.

There are any questions I would be happy.

Well it's part of our culture today.

And the video is the only format
dying all of that put together.

With the film media and
also you can tell a story behind me.

Approaching this whole story.

And we'd like to make videos.

Our Were were.

I do not try to bring
order to the world but.

I think chaos and
its different difficult world were.

In architecture.

I prefer uncertainty.

Because of the certainty is.

The name of the architect.

That means.

Everything you never know what's going
to happen in between the project and

process the core structure inside and
it's impossible to plan

if you create this impossible to visualize
all of their income sponsors that

go with you because you do
a project takes so much time.

So you have to have the vision.

You have to have orders.

And after that you have to surf you
know in some uncertainty about chaos.

It's about being able to understand
all these tensions that happen.

Not just the same tensions the sign
these I would say irrelevant.

You know this process.

The difficulty is to understand
everything that surrounds

there this time product and generally
it's out of the office it's open for

so you have to be just prepared and
very very secure of what you want and

have patience and
if you have money that helps.

Well you know there's
always a hidden story.

I'm not going to tell but
yes of course and

by me gating something your
strength thing another.

I had a need for
conversation with one of my engineers.

Yeah we were having rings and

I told him that I've never been to
a column on my life because I don't like

columns not because I don't like columns.

I don't like maybe for that column.

For presenting the first
Mission of Gravity by itself.

I like that the flow of

the energy of gravity that is there
would be made substance of their space.

Yeah I want to get that millipede
to them and they call them really.

Rocks eating into the earth.

OK When you see a color you see
that something's going on there.

So yes I prefer to live in for
those I prefer beams.

I prefer they be their own data action or

transmission of gravity but I have
to confess that the product in math.

And I love those columns.

It took me fifteen years
to write to them but

what eight columns like me is
in the border because I started

the project I said research pretty when
I was a fellow in Rome was started.

I saw how was it there for a group or
was it been there for abundance so

I I decided that structure in the party or
Philip Markoff of probably no close to be

needed vision of the last storm system
that was missing in the pantheon

then I believe I was the developer of
the path so that there with eight columns.

I still was fascinated by him years and
years was really

missing my life and where we did in Mexico

was three hundred eight columns and
I were suffering so much until this census

added extra stress to
the process the client to

write this eight words we have these
columns why don't we put a facade.

There was the end of the project you
know so suddenly something happened

in the unconscious but
he is was finally Barry.

And I got to read of him for ever.

And I went back to the principal's room to
the carrier to needs to learn these these

sculptured columns the military
precision the gravity.

So I.

I hate that I hide there.

The gravity within the four and

I think the worst part of my education
I was integrated in a school by the.

That was kind of keeping We had no books.

We had no it's a discipline.

We were taught to to
always ask why you know

and I think that's why I have a lot of
problems in my first record because years.

To me ten years to graduate.

I was always asking why we do
the professor don't like the meeting

first time.

Sometimes you know and but
on the end when I got into practice.

I was really attracted like uncontrollable

the seller to do things
they're wrong there.

He's quite remember that I showed
you the picture is one of the most

inspiring man that I found
I worked with him for

years he was just the true

genius no no no it's no with
the creation no nothing worse.

I think Stone all his life.

I remember once we were building the wall
and people who are going to say and

you know building a wall

correctly built can be done by anyone but
the wrong one.

No.
I really love you say

the off turning upside
down there started there.

It's and discover what's going on by
observation sometimes on failure.

So what the fate of their
products they are not showing.

But yeah.

If something is super
That's as you see as that.

And as complicated get this all.

Press or if something.

Usually is formed by Steve Bould I very

freedom from the mold and
leave the concrete to express itself

and the yeah you could I mean
with the fate of the lot.

We've I will enjoy it for you.

I mean really it's kind of risky.

When you're living in there in there and
I have been world but

it's very clear that if you can
control it on the end of the control.

It's only precious as you said if you.

If you are disciplined priest.

Yes Then you can control these uncertain

things that happen that you

heard you

don't know

what the mother leaves you still about
all that is suppressed first concrete

the mother is not my state not.

You know it's possible it's possible
here but now we are interested in

you because of the size of the buildings
because we're interested in

in their building that is just
the pure structures just stocking

I order some of those thief plains
where other buildings would be settled.

And we're interested in these

new waiver of read the British and
refining for structural parts

and we hope to be able to
control the delinquency

of the detail of the tonics
of the bulk of the tonics.

It's not Steve still here

we have we we we have not
done of our project in steel

with their breathing method go.

I would say it was not steel.

It's the most another thing
even though it was made with

steel plates but for
us it was always a story

we should not forget that
these I mean are we not me.

Of course hopefully did not
have the picture tonics of but

same thing construction.

Do you know I mean a C N N point of view.

Yeah this is a very
let's say emerging idea.

So we we might change.

We are now.

And I have not shown the least yet
because it's not mature enough but

we are very very excited
with a potential client in.

Time now and we are going to
revise everything that we've

constructed with with choice like it
like in the truffle we are doing.

I started you know it's amazing.

Exciting.

It's about dealing with the uncertainty.

We cast huge resound the Lindows over

Earth to ferment and
after we provoke an erosion.

We like speed up time we remove

the substance that holds that Star Trek.

So somehow we are stressing
the mass the mass

was born to compression no stress but

after we started by removing
the he said about so

we'd like these semen tiniest to life
over the mechanics of the structure and

the space that we would find we
have not seen him out there.

We are so we could do we have
all of the end the Arctic is

basically no sessions that you work all
the time so we have these two bipolar or

sessions in the earth and

this is his this is the truffle in

the middle scorpion other Tunisian
part of because of this work there but

towards another these groups change or
in this case or

three times but obviously these of
the two main if you see these big

bang and
it's congregate of these two worlds.

We're still working on.

The stuff in this is slightly so

you see it's like we're serious
you're not you're popular.

No you should watch it I will
sit in Netflix because you could

probably get it here today

because there are you so
very nice people here.

One of which is something Asperger's

and really the horses and
almost like them and

good horses that are pushing you
are a really what's going on here.

And so
where are these companies that I'm so

used to you're really seeing
sort of this is a way to

sort of I was in the first
chapter tonight.

Now to carry on with the shooting

on the on the architectural record

you were a young man you
know we were coming.

And yeah we love the person and

they should because we have we.

It's part of our job to talk to share

with our story and it's calling
the country of war because from the end I

think there's a cultural world and
we like it or not like a picture.

It's not presented any Maureen.

So our books are in.

Form of the law because we
were trained with them but

now we have another based think culture.

And idea I think there

was an amazing tool tool to prove present.

I think twenty three idea.

I like this conversation that
we have here really works.