I have received an e-mail but
I thank you so much for me.

Today I have a letter of fire in my yes or
from the University of Chicago

will leave it wonderful show and words
are on the sign and the future of museums.

She has asked me not to introduce her so
much so I will go ahead and

simplest if you are my rock
response about just this basis and

surfaces and rock groups are nice there.

I can not where you can can
amass a leg who unfortunately

con up the big with us today due to
some health issues son myself the town

our group is not after the wreck turns
bad a really bad run of all the wrong.

No United States on the love we

are very well on and in.

The knowledge we focus mainly
in poor areas for me and farm.

I mean to work like war for

the movie all the time
where future museums will.

So welcome.

Barbara.

Thank you.
And my heartfelt thanks to Claudio also

for last night for it was we had
a wonderful conversation at dinner and

then I would like to thank her as well.

I just came from a beautiful lunch.

With members of a recent school
park which was very exciting.

So she and
she was also a group of weather.

Can you hear beat because
I have a mike that

it's this kind of a Mike has is the
songwriter do you need more projection.

Tell me.
Claudia if it isn't.

I don't think it is and
what I'm what I'm going to do today

is actually trying to be
provocative in order to open up.

Which is a conversation and.

My dear.

Colleague God can gospel who
is responsible of zero four.

Yet again for bringing me here.

Suggested that I think
about the High Museum.

Perhaps and I would use it as
a kind of leaping off point.

To make an argument.

More generally about
the kind of revolution that.

Perhaps could occur in architecture and
also use it as a reflection

I'm going to contrast I had seven years
actually of experience with Richard Myers.

Museum architecture when I did the devices
of water exhibition at the Getty I might

I say an especially on
forgiving space with

its i with the only moment of poetry and
I would speak about

where they are being a small Oculus of
which we could actually project you.

Diana change your clothes but other than
that an unforgiving six thousand square

foot rectangle interspersed with what
would be essentially fire walls.

And nothing really that was
movable inside that space and it.

That also is going to feature
in what I have to say.

I'm going to make an argument that there
is a very strange thing happening.

I come from the world of
the academy from university.

It seems to me that some of the things
that the devil museum design

are precisely the things that the devil.

The academy.

That is a kind of conserved.

It has him.

That has crept into
the academy has also crept into

the museum the museum that is no longer
that wonderful place of strangeness

which it was in the era of Rudolph
just how to initiate a wonderful.

Cabinet green cabinet in Dresden

the wonder cabinet the great period
of the Royal Academy of Sciences.

In the seventeenth century where
exhibition lab spaces were

cheek by jowl and
where wonders were made to appear and.

I'm going to press this by saying that.

The museum is no longer a poetic space and
how does one get.

Poetry and myth back into that environment
and I'm going to contrast my concluding

contrast is going to be something that
I also have firsthand experience with.

Which is Stephen holds block addition
to the nuts and Arkan's museum.

I was just there I was invited to go
there and think about what is really

to my mind and extraordinary those
five lenses that he constructed.

I brought some to show you.

And also much more interesting.

In terms of the relationship to
the work inside the new kind of

interior space that Stephen designs
there is an enormous difference.

Between.

RICHARD MYERS concept of what
is cheerier and what matters as

opposed to Stephen holes and it seems to
me it's the difference between the neocon.

Who was yet moment.

That we have the high all glass
wall all the monumental atrium and

no life inside as opposed to what I
want to call the decade of intimacy.

That whole actually works against and
I would like to try and

hide those elements together again and
think about our larger theme.

That is how does one make a space
like the museum which is threatened.

Which is surrounded by other
sensory apparatus by other

sensation producing environments so
I don't have to say that it were detected.

And what is the life
of this kind of space.

To be and perhaps one might also
mean what does that mean for

those of us who are interested
in curricular reform

because it seems to me one also
has to make one's subjects.

Why are we.

Interesting and
strange Again they have to be strange.

So the museum as a poetic and
intimate experience and

I took this off your website.

I thought I could actually use
your own words against you.

This is actually from the website of
College of Architecture it says that one

of your aims is designing and
design of the everyday landscape and

perhaps what I'm saying in this
possibility of this strange reading again.

It also opens a possibility
of thinking about redesign

at the deepest possible on
the deepest possible level.

Another point just more generally that
I would like to have a scheme in mind

is a distinction.

That we imbibe almost automatically coming
very much of the electronic environment.

That is the language of interactivity and

responsiveness that somehow things must
be interactive things must be responsive.

And I want to propose to you.

That.

There is maybe a more into.

Crisping way than that to think about
ambient elegance to think about new

kinds of ambient arrangements of which
the museum is only one drawing room

because responsiveness is.

Bodily whole bodily responsiveness
is more than mere interactivity.

The rhetoric of interactivity is
predicated on quickness on vastness

of response and also on not being
aware that one is aware and

I would like to get
a different kind of language.

I'm going to say more about that when
we take a look at the Stephen the whole

work but it's something that I would
like you to keep in mind especially And

again I say this and Georgia Tech because
of the bio strong biomedical engineering

of the work state of the art
work on bio feedback

on galvanic skin response on
heart rate it seems to me

that an architect like whole understands
quite brilliantly that the entire sense

saurian is involved when
one looks at anything.

And when one looks at something both
with passion and intelligence so

those are some of the more.

The more general remarks
now what can we say about

Richard Myers it hasn't been
said a million times before.

I'm just going to pull out a few thoughts.

I'm going to propose that actually
Richard Myers museum needs to

be cloaked in I don't mean
Christo I think that it

that it needs to be reconned see
it as an alternative eco system.

An entirely new kind of eco
system one that is not rooted and

dated in the nineteen eighties and I find.

RICHARD MYERS architecture
is really an Arctic.

After that his day did poorly.

Again I'm being provocative
You can argue with me.

I find it is dated poorly.

Remember.

That Richard Meyers as we know.

If we think about his art museum which I'm
sure many of you seen above the Rhine or

the new are apart just museum in Rome or
even the Getty which I will show you.

All of it is predicated on
sight on being in blue.

We are by astonished out
of your mind by the sight

that already tells you exactly
what scene you're in the model in

the classical Foursquare parties
structure of the high art.

The way in which it is the exterior
that dominates that dominates and

that of course poses.

I'm going to talk about this of course
only in relationship to the fact that

the museum.

What ever it is it is at some
level an enclosure of artifacts.

I don't care if you're talking about
electronic a femoral artifacts folkloric

artifacts are but
at some level it is also involved with

the analog world of things of the minute
you say that you are totally.

Where did.

To cite.

It also suggests a kind of extra
knowledge he to your observation and

I'm going to argue that this
is dated he is not the only

one who does this but it's a very
dated way of looking at things and

again I'm going to make hold of the person
that I that I want to contrast to.

Let's also talk about some of
the aspirations I've taken the firm

aspirations off of Richard Myers
website heat the For

Next quite a bit that of course
this may not be Rome but it is not.

Unless Peachtree Street and
we know that this was this

building was sighted in such a way that it
would be true that if there is a hole you

Tolkien enterprise all of that is where
did it in the aspiration of this building.

Namely that it was two miles
from downtown Atlanta.

It was supposed to be our porthole to
what was going to be a new city and

of course our Georgia Tech at some level
is involved with this too and maybe we can

discuss what the reality in your reality
of that desire is it was also and I again.

I used their vocabulary
the vocabulary of the office.

It was to be a monumental
ceremonial atrium.

Which you can see I've got
reviews with my apologies.

It's also very good very raw images
loaded them websites of you know if you.

They've made my argument
that is that monumental.

Central.

It tree in which she called
ceremonial itself a word

we might want to deconstruct I would
ask what ceremonies were meant

to be performed in here or regionally
what ceremonies might one still.

Perform here.

What rituals.

And he says further
that the Harding museum

is a place of a static illumination
of the glazing are the fact

that if you wanted to find a secretive
spot and I want to talk about secrecy.

You know culture of surveillance.

This is our temporary culture.

And then something that seems
to be all stands brilliantly.

In the our museum you
walk into the heart and

I wish I could be doing this
lecture in sitting with you.

Why.

You are very actually your ride by light.

You're right by the light and

the poor paintings as we go hard
will all off in the side room.

The other thing the firm
says A WISH TO A TREE.

Is I quote In light of cultural values and

it is that this too is very much
indicated on the scale of it.

I mean this who has I have
a historian of architecture here.

I mean this goes back
really to the beginning.

You see of building.

A very very different kind of
museum the wonderful P.M.S.

in Philadelphia which you actually require
almost a change of clothing before you get

up that whole flight of steps and
through the great all of the young man may

not use the least sense of right
using our towards the cultural sites.

Even though clad in this
a rather purist vocabulary.

He also claims.

Again the firm for the firm rhetoric
that multiple vistas are important.

That's another reason for
this monumental atrium.

But it's and
I'm sure to hear again from others.

I still see that life is inescapable.

Is a prison of war and.

It's not just wishful
those of you know how

intense the heat load on this building and
various times it's quite extraordinary.

To see that.

We are.

We're it's my son.

If it's a ball because
the multiple misses.

He's talking about are not the biz or
Adrian.

But rather out words so just

one one further point it.

He also implies that in this
too is a sexy vocabulary or

that has been used over and over again but
I'm going to say I'm going to try and

make a distinction about that
the language of interconnection and

interconnectivity is important
to Myers studio are so

that the glass curtain is termed
a membrane you all recall that

which is punctured by solid walls and
connectivity

is perceived is glass can see as
a kind of intersecting of gazes.

What there in that sense all.

Richard Meyers are your
relations are there

Richard Myers were how one things are like

you Rob are you not.

You are in that beautiful garden.

There's a car or something like Yeah.

Leave it is that you know this
is I would say not a museum.

It is a piece of interesting
highly interesting art

installation art here just simply to show
you from another angle of the monument

of of the whole sorry some of
my images didn't come through.

I want to say briefly.

I love the museum that I know
of his quite well but always to

sort of keep my higher up points
in mind this is of course Gary.

A much more recent a much more
recent Richard Myers structure but

you notice this is the tram station.

The Perhaps for
the getting the most important.

Again an extremely sort of south

Italian an absolutely dramatic sight but
I might tell you an absolutely

extraordinarily difficult site
because it's made up actually of two.

Bridges are better extremely difficult

that are extremely difficult to
to traverse Sharia that in my.

I've handwritten everything
I'm sorry I'm looking for

my getting I get the notes
which I thought I could do.

Off the.

Top of my head but I actually had some.

Sorry excuse me I'm sorry.

Here it is so

I should note I mean it's in my bones
I wrestled with it for seven years.

It's a unique site as I said it's
composed of two tent narrow.

Ridges you know this right above
the intersection of the four o five and

the ten Freeway is in L A.

It's also a unique site and it was a huge
problem for Meyer I was actually on

the committee at the time this was before
this was built was a huge problem for

my are because there are seven entities
as again he is fond of calling their

independent units that had
to be cited on the Hill and

they had to be cheek by jowl and
yet at the same time they had

to possess a certain kind of separation

to offset all this down whiteness and

the famous travertine marble there
was a wonder all our desert garden.

Which There are two gardens.

Actually a lot of people don't realize
there are two guards at the Getty this is

the entrance these are this is
the tall flight of stairs and

I'll show you the interior of
the great hall equivalent to be

atrium the monumental atrium
of the high is inside

that building at the top of the stairs
the tramway is down to the left.

And if you were to continue for
those of you who

haven't been there if you were to
continue through past the great hall and

walk it's really the most wonderful
space the most secretive space in this

entire establishment all the way through
to the end up past the fountains you would

have this lovely high desert landscape
that was not designed by Irwin it was

designed by some simple
Southern California gardeners and

it is really quite extraordinary
Irwin's garden is down below and

adds a brilliance of color which
otherwise you would not have.

It is analytical in nature
the structure I mean this is of course.

Robert Meyer and it is also again
I want to make the argument

totally externally directed
even though you do

don't have the hyper problem of
the hanging as you do in the High Museum.

The Getty Museum.

You would think that something that
looks like this on the outside would

actually have interesting
hanging spaces on the inside.

They don't they have rooms like
this that are over let that have

perhaps an arc you list with a breeze so
Larry to break the light coming in but

it is your basic rectangular
room there is a war of what

we see here here a view this is these
wonderful ramparts we're looking here

at the back actually the scholars center
the ramparts and a bit of the garden.

Yes here you can actually see the As for

knotting of the trees
this is a bit of raw.

Urban's garden is well these
moments of living shook rock is

in this architecture of stone and

I want to know and
this is the interior you will find I

think who at least find it and
knowledge is not certain yet

because this way as a monument in

one single mass we get.

It's meet more interesting
than it is right through.

First in a sense story of
the way you're with us.

You walk the view of that which is really
the most interesting which is as long way.

Out to the desert and again.

What I did with flooded with light.

I want.

Now I'm going to move.

Now I want to move to the last
part of my life that opened up for

discussion and this is what I saw under
a month ago when I went Kansas City and

as I said I was asked to think
about the year Force Base.

Atkins.

Structure.

And next to it.

This is the first of
all my lenses that was

like a waterfall at Tivoli like the famous
water ladder typically down the mountains

of our way which looks and
is absolutely minimal right.

Winter.

When I saw it as well.

Even those who are.

Dealing with vaults.

It's a niche different Space or.

Historical comparison.

This is.

A different

way of looking at world and we're looking.

I think when

I was there but

no this is

really what.

It's.

A concept that Richard Myers.

Live.

Thank you.

It's a city

barbecue.

So that's what I want you

because here you have
of course immediately

that which we did not have admired
we have a building that is true and

in the word in a most interesting and

fascinating way that's something
you could say to me is unusual but

not really I mean the fact that
you've got a hill in Kansas City.

You know that's that's not you
know that's not show unusual.

Instead.

What you hear here I would not suggest.

Is that's all of it.

You actually think about
what you've seen inside God.

And you know why I like Mike
because it's quite literally

there is this in turn will
grow in Saudi themselves or

somehow phosphorescent they lead
a life whether we look at them or

not something like Ilya off of for
want of a better word.

So the creation of a poetic space now and
this is on

the side of building the double
clad building really really

really of three more
years before opalescent

glass that you'll see the effect
of that moment and these

amazing severe cases that are cantilevered
up that have actually no support.

They're quite extraordinary.

Some of them are even reversed in the
where do you expect to go up one way but

then suddenly what you thought is is
this arc he way to trade in space

is actually a stairway a stairwell.

If.

If you go.

But if you go around it.

This.

Is what was here.

It's.

What.

Just me that there is.

In you will spaces in
words in one fell swoop.

He gets rid of the hungry or
is that we have in the sense it is very

war in that there were mobiles
place the heart and stead.

Here every area is actually a nice.

It's beautiful.

In a good.

Don't miss Let me just
I just don't show you.

And we're not only can the viewer.

Hi How are you.

Or should you try to you
can get your dog lazy.

You can you can actually go out in my own

go but it's so next space

is for new kind of having a whole

new way of imagining the place.

Here it is nice.

I think you are and you do OK in a way
you know us all know this and then

spill and flow all of the Bloc wing.

And I want to connect this now actually
with neuroscience especially the V.

emerging my concluding remarks and I am
coming to the end my concluding remarks.

About.

The way in which.

Even whole captures the museum as
an emotional landscape a landscape there.

There are various years.

Most are within the museum.

Even the bookstore is
what you're seeing is

a how one one nothing
precludes my first you know.

We're doing an interesting head
Nothing precludes that except

the imagination of the curators
release faces are never required.

Until doomsday.

These mortgages are wrong or
that are all beautiful.

They're all.

And then these great.

Worlds are where I think how wonderfully
one might how difficult video is to.

A display and how one might get
the notion of the other family media or

things after all as well and

they might be juxtaposed with
more traditional artifacts.

So in this emotion and
look at the thing that is boring

if you live there you see
the problem the proportion object.

Nothing was done as it should be so
it's as I said

interesting leave the inverse and
reverse problem of the high but

let me come back to this idea
of yes I mean look at this book

you know I would I mean prison them and
whip them.

I chill they hire me again
to to our to a to do a whole

installation show the emotional landscape
of the museum the museum and this.

I admire is well it seems to me.

Yes in one level we can say the future.

Let's take our theme.

What's the future of the museum
the future of the museum at some level

is about timelessness
people go to the museum.

Because they want to confront that which
they don't know that which we do or

is a fragment everything is fragment.

I mean and I will conclude on on
fragments in the museum at my very end.

But just bear in mind because of course
everything is fragmentary although

it isn't displayed in that way.

It doesn't display the a type Pollock
treat a fragmentation in any way

when one says that he captures
the emotional landscape of the museum.

I'd like to make that even a little bit
more are precise by saying that whole

understands that the future
is about the creation

of a kind of ambient
intelligence where arrangements

of vocal the not just
polar full feelings but

a powerful quality of quality
of of those feelings and

the fact that feelings are not independent
of environment certain environments and

certain objects within those environments
are produced a certain kind of feeling.

Also that the emotions are angled and
nice pieces.

It seems to me are spaces that
speak to that entanglement.

And also to this fine tuned relationship
between architecture and exhibit.

So I he also in this way said one final

thing about this and
I hope you see it that whole.

Well.

Mark says that stop and
you also have light and dark and

the amount of dark space.

It's reclusive space is
secretive spaces he gives you.

It's also quite extraordinary to work
with he provides with these spaces.

I think that which is perhaps most
wanted in contemporary life of solitude

to identify your own identity
to work out who you are vs R.V.

whatever object you are looking at that
itself is evocative of another time and

place and
up where you were last load to wonder and

to wander in solitude.

So I'm going to conclude by saying
something about architecture and

say that arc the architecture
of the future.

It seems to me is it one level going to
have to be about designing the emotions.

If we say historically
I have historians here.

Ha seen.

Backwards.

But I have these and the emotions
I think we would all agree and

historically it's been true.

How great the most intimate aspects
of our identities but these

as we know from contemporary scientific
research are not simply given by nature.

They are also partly given by nurture and
this coming.

This is a moment where nature and nurture
is coming together in a in a special way.

The architecture of the emotions
results from a confluence

of factors and there are factors that
are also just emerging well known.

If Georgia Tech they emerge
from a neurophysiological

perspective where and
I want to invoke design the word.

Designing in a new fashion where design

is a great thing factor if we
ask ourselves what is design.

Bottom just at the bottom.

It's a shaping factor but it's a shaping
factor not just in the larger environment.

Design is the shaping
factor in the human brain.

It is something that links
the sciences that links the art

that links our book our personal
psychophysiology with environment so

that design is also seen
since D'Arcy Thompson

seem to be a shaping factor of
the human brain along with literacy.

And verbal patterns in other words
there are books out there now.

Terence Deacon for
example on the symbolic species.

He is a cognitive scientist but

always interested in linguistics I want
to make the argument that looking and

designing and learning about shaping.

Is of fundamental architecture but

it's also fundamental to the structure
of the human brain itself.

So architecture and design then
as an element of brain structure.

I think structural with an ex
to come back again I'm going to

make that argument as long as I'm
provoke it if I mean it will say that

I think structuralism a lot got thrown out
that needs to be brought back in again.

It is not just an episode in the larger
history of human consciousness and

intelligence.

And one might ask to put
the question another way.

What are the elements of human imagination
that facilitate the growth and

development of design.

What is it.

That is was out of the work.

This is deeper designs component.

I don't want to trespass.

I was going to say it's just really recent
very interesting for those of you who

are interested in space particularly
the new neuroscience of space.

The fact that we place cells grid cells.

We now how wonderful new
research on borders ells for

evening are the way in which
we carry brains with us and

even as I said in this wonderfully or
not or how we got.

A clip of what I'm showing you here.

It's all.

There are the tendency to work within

range of these border neurons norms
amount and should be should be.

I think are part of the classes
being required classes and

school of architecture.

So to come to my final conclusions.

I just have two sets one and one is
haptics everything I've said here about

Stephen Hall has really born on what

my one might call the new architecture
of sensation and what makes home work.

I think so different.

From the saloon.

Visibility and
outward in this Richard Myers work

is the fact that he is
interested in touch.

Contact haptics other aspects of
the sin story and these spaces that

physically enclose you you can almost feel
them like a Christina glazes installation.

We're walk into a narrow
tunnel like enclosure and

you almost brush on the side
of the installation.

It seems to me that one of
the great challenges facing

the new museum is touch feedback and
I'm not talking about the.

Touch screen the touch screen
which after all feels merely

like a screen a flat screen
when you touch it but

rather that surfaces are responsive
I mean they get close.

I mean yes sure.

Myers said.

The.

Gliese was a great but
looks like it doesn't feel my.

It doesn't have that gorgeous this
coffee brain Newark Y N C of a membrane

doesn't have any of that whole all it
gives you at least a sense of that and

he foregrounds contact you feel
the way in which an object or

you should if they hung
the stuff correctly the way

we are here is Nestle one three one.

No You know you.

Especially work with the marrow in America

are facts which words you know where
to get pretty much your life you

want any of them are they stuck
them under glass my final remark

has to do with a fragment of culture
rhyme and reason or something.

Fragmented.

Myers' work.

I mean we are given fragments
of the file platonic solids

and whole gives us something there
is something fragmentary here but

only to conclude by simply
doing a bit of a try.

Policy of fragmentation and suggest that
here again the whole gives us a different

view on to the fragment and the fragment
has a new potential a new potential for

thinking about architectonic thinking
about architecture a fragment

of course is a piece torn from something
that you would say to me is the ma.

Honest if thoughts are tearing it has
a kind of violence associated with it.

A fragment can be a part
extracted from a hole.

You know you've got at least you know the
hole in recently take something out of it.

But a fragment can also be
a work real is as disjunctive or

discontinuous I'd say here.

We're getting closer.

It's it has an element of evolution and

by all of three are in
the concept of the museum.

A fragment is what remains I like this
idea of poignant remains a fragment

is what remains of something something
that once was that Sloss that's gone.

That's not visible to us but
somehow we have a view of it.

There is a very beautiful comment
about creative year be there with

convey to viewers great
gift was that from a bone

he could conjure up
the entire prehistoric world.

I mean there's something about
that in the fragment and

there's something about that in
the task of the museum as well.

And finally a fragment is a unit.

It's discrete it's discrete.

It is isolated.

It is a component of something
that is an unfinished

work in other words and ending you
notice on all these hopeful notes.

It is something that lends itself to
thinking what the next step might be.

Thank you very much.

Yes

there are

other R.'s I mean

there's a problem as well

as a rather serious similarity.

I'm sure there are two different building

a building very religious one.

Yeah right like you have a building from

route for

right now and are very very.

Well I think this is.

This kind of trait.

You know that might resist trying to make

some sense of that.

So they're talking about
the Dolomites we're not talking about

changes in elevation so
he gets this sort of close to the left.

I mean I take your point and actually.

You saw it live right here you

are right that.

Very right.

Very very funny

here with

another problem.

We're down the road maybe

yes

because I wonder what this street you see
the only place I would stop you there and

I should have actually said morning I'm
sorry I did actually have one of these

rooms but for
some reason the system where you are still

moderately I know you.

Quite well the problem
there are no spirits.

There is.

What And I'm not saying that I'm
just using it to make argument.

That different models
not from art history.

Not from architectural history but
maybe a poetic so I just read Marquez's.

And solitude.

In the kind of spaces in
the spaces with member come or.

Once or possess it.

You know and it sure as hell is not
a space and it isn't Richard Myers I can

imagine and that's what I would love
to do actually block So my point.

I understand all the difference is just as
long as you understand where I'm heading

with it a little and
you may dislike it telling me

that's my perception.

You're right.

And yeah yeah right.

Right at the very bottom of the interview.

All right.

Where.

Anything you have to work at.

No it is wonderful.

I'm not able to show it to you.

Unlike here if you're getting
it which is what the rooms are.

In the right but what he gives us.

Different.

Sorts of spaces and to my mind that's
one reason to ward off one of them.

Knowledge is the decade of intimacy in
which he belongs to a different epoch he

belongs to now but he also belongs
to a period where privacy issues.

You know surveillance.

Constantly being watched of constable
on some prospect of electronic device

on was is how people were

warned I mean I follow people where I
want to see even though I thought surely.

I was drawn how people would walk
not that they wanted something

where it was not as our
structure is lazy it's

one of those times like corners
of my suggestion is that.

You know what he needs he realizes
that there is some tension warning.

About It's totally.

Or all of these guys are something else
and sits with the future of the museum.

I'm just saying that
with new work on motion.

Of the various spatial oriented neurons.

You can discover a world.

That.

The whole notion that your motions.

How shall I say finely annotated
both side typically and

emotions are is an area of study
humanities is what it seems to be it's

a brilliant architectural moment to think
about a whole architecture and design

motions and the emotions of something
really fundamental because I think

as much deeper and broader from Norman
also related to the human brain so

that that's where I'm
kind of going with it.

If I.
I understand your objection.

You're just a I'm a Don't you just but

you're saying well I didn't understand
that there's a different quality of

lights a piano it's more muted
it's more in your direction.

I walk into that there's a space.

It seems to me all.

Slightly tweaked version of
every other modernist museum.

I've gone into that is one satisfactory
where people look at the labels and

wonder well they don't think about
anything they do not pay attention to

the architecture which I would
think would bother architects and

secondly they do not pay attention
to the art which while there's meat.

So the whole thing bothers me.

What did you lovely just a totally
different construct and you see why it

seems to me translates to much bigger
questions curriculum questions translates.

How how why we learned
certain environments and

don't learn so well in others.

Sorts of things you know different
spaces elicit different feelings.

So that's kind of where I'm going
with this but thank you for

your excellent comment I'm sure a lot of
other people wish to take me to task.

Yes.

Let us.

Yes yes.

They are brought to my area
that they're hard to get to.

You are the idea was that
you were supposed to work.

A double of.

Scale.

Matters.

You got bitch big say in the middle
where you know this little bill that.

It's also one thing over here.

Actually one or
something where it's difficult.

It could go off.

I'm not saying I'm not saying very same.

Not Christo But by.

Yeah.

What.

And I might darkness as well.

It's like.

The

relationship.

It's very difficult

you know it's it's very eighty's.

You're just you're

in a drug.

And I mean why.

Yes

there

were

some.

Say get to school this week.

Yes yes yes.

Or did you not read the article.

Well for the ones they want to
develop heart real Many years ago but

not the marker as the measure
of love in the heart of what

not and I would measure of
success by God either but

for one little boy they knew exactly
what they were going to do with

our mark which is why they
are they often do the movie

for free or you are sort of.

Where you were.

We don't have enough space
in the hard choices or

what you look for and you're OK So

why are you.

Why are

you just as a scholar.

Why what's one zero

zero zero zero zero zero zero zero zero

zero zero talking about users that.

Why why

why

why are you.

And so I

was or what my

dad said it was

so I would say dear wife

but I want.

You know what I want to take you
what I want you to acknowledge

that I do not lie or
use my bro pointed out that

when you are talking about this.

I mean well no I think I mean what

what put in my head what the visible but
actually visible side that is

our experience based on the site and
the richness of

and I would avoid I would have I would
prefer got there earlier in the very

period of going with the building

that maybe is the really minor
it's a single cell phone.

Yes So what are we always told.

All right and now to go beyond for
those people who run right.

OK the right question.

The part of the sound.

There is a part of our

other of your work so if you're
working with where everything goes.

Everybody can get something out so cold

night about the site going up there with
your yes somebody you know we don't care

who you are and give people an experience.

You know where all of the.

You know all of the Regardless
of how the norm.

Yeah yeah

well it

works well.

What.

What was

what was

a low rent.

And what

I mean.

Or are you trying to

get in some.

Sorry.

Your wife says.

So I'm

not.

And

we're more.

Right.

You know what your

photo was what was

wrong with

this because this is the

I thought

you know you're also

the wire.

Boy.

Sorry one

zero zero zero

zero zero zero zero zero one zero

zero zero zero

zero zero zero

zero zero

zero zero.

And

so

there are some.

Yeah that's right that's right.

Really from this perspective.

My life.

This is our first year not

just for

one night.

Why

were

the.

There's a result

that I would

love

to hear

from our.

Yeah

that's

what

we're

trying.

You know I was

like what

my little girl

got HOT LIKE WHOA WHOA WHOA WHOA

WHOA WHOA WHOA WHOA WHOA for

the last man

plus for

the test.

I see I see All right let's move on

I would like to

get your sorry.

My.

I love watching

for war.

You know everything from
the whole I say so what

we're doing here.

We're like

this one which is

just love or

one of yours or this very wonderful one

of my life

and what I mean what

are you going to make.

Very

well.

But full well that

the war the war already done to

your guys' faces or
you know I say I like the way

I say yeah yeah

I probably am.