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I'm living in the airplane.
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- In the airplane? - Yes.
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I take an airplane an average of about fifteen times a month.
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The site was kind of small forest,
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and I decide not to cut any tree to put this building,
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so I look for some special...
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structure grid system.
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Normally, structure grid
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is square or rectangular,
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but I found out the triangular grid,
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which gives me more freedom to decide
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which...
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space I can leave to the trees and also to the roots under the ground.
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Because if we have a square grid, the corner...
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There is a four beams meeting,
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and we can eliminate only one,
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we need other three beams supporting the one column
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to stay up right.
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But if we make this triangular grid,
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there are six beams meeting in one point,
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so up to three beams I can eliminate,
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if we have a tree or a root is there.
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This is the smaller apartment I can afford.
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But still it has the better view of the trees outside.
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This is my lifestyle,
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I don't want to be surrounded by things.
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I always want to design something particular for a particular site,
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so this solution cannot be applied for anywhere else.
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I'm not interested in owning the things,
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the house is one of the things.
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I'm not interested in owning things.
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The all of them are prototypes,
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so when I design prototypes I try to use them by myself.
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Terragni is one of my favorite architects.
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Also this Cantilever chair was really innovative,
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so that's why a bought it.
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Actually I was very interested in his buildings when I was younger,
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because he is using geometry
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very cleverly and also clearly.
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My favorite project was the Danteum,
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which was not built.
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I analyzed this building, and so I was very interested
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to study how he controlled the geometry.
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I respect the most Castiglioni,
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he's my favorite designer.
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So there are great designers that made great furniture.
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Light and shadow are the most important of any architecture for me.
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And also the cross ventilation is very important
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for residential projects.
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I'm not interested in eco-things,
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it is a fashion, it's a commercial thing,
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nobody really understand what it's eco,
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and just people use this without really thinking the meaning.
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I'm more interested in the materials,
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structure and also the particular context,
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to take advantage of.
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Anything can be a part of architecture,
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and the paper is one of them.
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This is your prejudice about paper,
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you think paper it's something unusual but it's not, anything can be part of a building.
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I just want to choose the appropriate materials for the appropriate use and function.
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For the temporary structure, but it can be permanent,
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and also for some affordable housing,
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temporary housing after a disaster,
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but also this can be permanent, the building material also.
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I was quite disappointed about the profession of architects,
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because I saw that today we can work more for the general public or the society,
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but I knew it, we are mostly working for privileged people,
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because they have money and power, which is invisible,
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that's why they hire architects,
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to visualize their power and money with monumental architecture.
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And also I still want to design these monuments,
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but I was also tired of just working for privileged people.
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That's why I started doing the pro bono project
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and dedicating my own energy doing this Disaster Relief project,
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in order to make my mental balance.
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I wanted to be a carpenter, when I was very small,
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I was very interested in making things out of wood, I love wood.
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Then I was able
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to take some class in the school,
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teaching how to design a building very simple, very basic studies,
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and I was very good to this,
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so that's why I decided to be an architect.
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I don't get inspiration, but I respect so much like Issey Miyake,
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he's also designing from the system.
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Not just the decoration,
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but he created a new concept as a fashion designer,
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so I respect him so much.
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And also do you still remember Kuramata?
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Shiro Kuramata, I respect him so much also,
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he also...
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created a new meaning of the materials also,
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using some existent material differently.
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I'd like to keep designing houses
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until the end of my career.
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Many architects after they became very famous and they get big projects,
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they stop doing housing or also many of the people
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also like to do bigger projects.
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But the architects that I really respect, Le Corbusier, Mies Van Der Rohe, Alvar Aalto,
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they kept designing the houses until they die,
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that's my hope.
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Because it's important for me to keep training myself.
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Designing houses is the most typical project as architect,
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as a program of a building.
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That's what I've seen in those kinds of wonderful great architects
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that kept design houses.
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Thank you so much.
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Milan is a city with a Center, Piazza del Duomo, and a ring of canals, the Navigli,
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and between them the historic city.
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Then there's the city that grew up in the last century,
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but it too has its own distinctive character,
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with the rays that head outwards and the old gates.
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The city is always very present in my mind, it affects how I feel when in Milan.
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Milan is a city that offers you opportunities:
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you live in a historic city,
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with plentiful evidence of its embedded past and values.
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It may not have the dazzling beauty of - say - Rome, Florence or Venice,
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but it has a particular beauty of its own, this ‘Milanese-Ness'.
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I have always lived in Milan,
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and when I think about this I realize that,
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even if I've changed house several times,
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I have remained a city-dweller, mentally:
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living in Milan you end up with an urban culture.
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I have never thought of being able
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to design and build myself a house here, it's just not an option:
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a city has a complex fabric, it's a finished organism.
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This was a house designed by Piero Portaluppi,
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who did not build it from scratch, but restored a 19th century building
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and refurbished it...
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to suit a client.
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When I found it, the house was looking rather old, dilapidated and sad,
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but I was able to renovate it entirely,
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hanging on to some interesting elements from the '30s,
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but changing its personality.
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If I had to sum up my home in a couple of words,
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I'd say it's a huge, soaring bookcase in which I walk around, seeing and touching my books.
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Sometimes I tidy them, other times I leave total confusion
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and I struggle to find them again...
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But this is the heart of my home,
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there's even a narrow table where I can stop, on my way up or down, and read something, etc.
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From the bookcase I can look upstairs and downstairs,
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it's a kind of telescope
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that brings the various parts of the house together.
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A lovely thing about going up and down along the...
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bookcases/library/stairs, is the areas where they end.
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As I reach the last of the pear-wood stairs
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awaiting me is a spectacle that, every time, enriches my spirit and comforts me:
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it's a cycle of secco wall paintings
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done by the English artist David Tremlett.
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When I realized he was working with paper and cartoons
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in preparation for secco wall paintings,
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I said that maybe the only way to have something authentic from him
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is to offer him a few walls on which to create a piece of art.
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After all,
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it's great to have a work of art in your house,
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you end up living inside it,
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but it remains something that is never yours,
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because it belongs to the house.
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Stairs are a system
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that transforms your state, they take you from one point to another,
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but it's not like taking an elevator, which is a stupid thing.
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Because you enter a box and come out of it somewhere else.
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With stairs, you really experience the change.
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And if you manage to turn a staircase into something rich and meaningful,
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then stairs can be more than a means of moving from one floor to another,
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they can be a hub that connects places.
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I always think of this staircase when I come in and out of my office,
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as I go up and down it makes a noise because it's built of industrial materials:
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perforated sheet metal, all galvanized.
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So with each step I take you hear "bang, bang, bang...",
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a noise that gives me a real physical satisfaction, I'm creating something,
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it's hardly concert music but a sound announcing
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that I'm coming in or going out, walking up or down, etc.
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And this has a lot in common
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with the situation I experience nowadays in my home.
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So if I'm asked how and where architects live, my answer is:
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I don't just live in my house but in my office too.
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Sometimes I think:
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here I am living in this house packed with opportunities, things, books, records...
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But occasionally I can't help thinking: what if I instead had a simple white cube,
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made not of precious white marble but of nothing,
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mere plaster, a pale concrete floor.
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It would become possible to reconsider everything all once again, and to experiment.
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Maybe this is the architect's privilege, as well as his folly,
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if we want to start over again and try living with the minimum of signs, the minimum of steps.
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Also with the minimum of emotions, essentially,
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so as to experience the emotion of reading, listening, living,
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much more than simply obtaining visual pleasure from what you see all around.
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Mondrian, for example, he lived in a humble, simple, white house.
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There he developed the language of his paintings,
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which then became those wonderful things we are now familiar with,
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he painted red stripes on the walls,
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added a small table and colored it yellow,
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then lived as part of his picture, a sculpture
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he was creating little by little.
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The Italian verb "abitare", to live, and the noun "abito", garment, share the same root:
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I inhabit but this is a garment, I wear a garment
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and at this moment I "wear" this sofa.
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It would be interesting to research the semantic origins
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that these two words have in common, "abitare", to live, and "abito", that is garment.
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Both words refer to the individual,
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who is the unit of measurement of everything we're discussing.
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Why a house? Good question.
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Maybe the first question is: why an office?
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Because when you win a project in another city
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you don't necessarily have to have an office.
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Neues Museum sucks into Berlin in a deep way, I suppose.
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Because Neues Museum wasn't just a matter of saying: "Let's have an office in Berlin!".
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The office was because of the project, no other reason.
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But the experience of Neues Museum became an experience difficult to throw away
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for the people that worked on that project, the team,
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the major players in my office, who spent 10 years
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working with one of the most complicated,
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Intellectually, technically,
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politically,
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one of the most complicated projects you can imagine.
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It was also very difficult for me
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not to stay involved in Berlin in a profound way.
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You know, these things are connected.
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I could live in a hotel from a suitcase
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and I have 10 years been in a small apartment,
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but there was an opportunity for us to consolidate our little campus.
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When we wanted to be speculators on this piece of land, we realized
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that it was better that we did it for ourselves.
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So we built ourselves a café, you know, we built a...
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We did at least all the things we needed.
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Then I suppose... well it would be nice if I have a place as well in this context.
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It grew out of this.
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Berlin is a broken city, and shows its fractures and for...
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Because of its particular history, it's never been able to close those gaps.
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The first thing you do with a gap
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is trying to understand what was there originally.
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So, what was here originally,
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it's typical of Berlin Mitte and a lot of parts of Berlin,
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was a courtyard house construction.
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So you have a front house, you go through an arch,
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you have a courtyard, you go through another arch, you have another courtyard,
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you go through an arch and you have another courtyard.
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We had a prototype function on the site,
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because one of the small buildings that was a ruin
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we used as a canteen for our own staff,
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but it actually became very popular in the area even,
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it became quite well known as a lunch-time café,
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so we thought when we rebuild we should include this as a program,
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what we sort of affectionately called "the ambassador's residence",
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which is my house.
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I wouldn't call it a manifesto, but there was certainly a pressure
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to try and do something which, in a fairly intense way,
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represented what we sort of believe in.
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We are committed to the idea that architecture is something that needs to be made,
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and its making becomes part of its character,
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and this is a resistant position against the tendency of contemporary construction,
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which is trying to go the opposite way,
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which is to assemble as quickly as possible, and to deskill,
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and to take away all evidence of process.
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We are interested in how you make a building,
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not just how you detail it.
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People say: "You're interested in... your buildings are well detailed".
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I'm interested in... trying to make...
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the construction of the building inform the quality of the building.
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So in this we investigated,
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the idea of an insulated concrete,
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where you could essentially make a building in one go.
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There is no second fix.
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So when the concrete is finished, all you have to do is put the windows in
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and there is no other layer, there isn't even insulation.
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The insulation is within the thickness of the wall.
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So conceptually it was quite interesting.
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It was like making a ruin in a way.
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I suppose it's a strange paradox here to talk about a private life,
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when your house is...
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fundamentally linked to your office,
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there isn't a huge amount of privacy involved, I suppose.
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But there is an element of sanctuary.
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And I think, you know, I don't see the issue
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of a house much different from anything else.
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You want to make places where you want to be, you know,
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that's the power of architecture.
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I think, as creatures, we both want to be...
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protected and exposed,
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but at the times that suit us, I mean,
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we don't want to be exposed at the moment we want to be protected
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and we don't want to be protected...
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So we are, as individuals,
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always rehearsing this balance
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between retreat and commitment.
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So, from your position of protection,
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you see the world
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and that's what a good building does.
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Clearly your house is a private place but, at the same time,
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I think, as communal animals,
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the house is not innocent in terms of... it's not just going and sleeping and having a fridge,
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All of us, I think, see our house as a frontier
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between a private comfort and the first step of where we meet people.
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In my case, that threshold is the opposite way,
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we're sitting in my living room and you're intruders into my life,
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but clearly I have set my life happiness in a certain way that anticipates
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00:27:02,560 --> 00:27:08,060
and accommodates a sort of higher tolerance or threshold
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00:27:08,080 --> 00:27:11,780
to intrusion than other people might feel comfortable with.
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00:27:16,880 --> 00:27:19,140
What's interesting about having a second house
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00:27:19,160 --> 00:27:23,300
is that you don't have to have all the stuff you have in your first house, you know.
304
00:27:23,320 --> 00:27:26,840
In your first house you go to the kitchen and you're looking for a knife,
305
00:27:26,860 --> 00:27:31,460
and there are all sorts of other: "What the hell is that?"
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00:27:31,480 --> 00:27:36,200
You've accumulated over 30 years, all sorts of rubbish.
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00:27:37,660 --> 00:27:41,620
Here, in a second house, you are much more selective,
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00:27:41,640 --> 00:27:44,680
you write a new history in a way, you don't...
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00:27:44,700 --> 00:27:47,500
You cherry-pick all the things, so it's quite interesting:
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00:27:47,520 --> 00:27:51,780
we brought some things from our London house, a sort of stealing,
311
00:27:53,540 --> 00:27:56,880
like a sort of pilfering of bits that you say, you...
312
00:27:56,900 --> 00:27:58,960
And then you're looking on and say:
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00:27:58,980 --> 00:28:03,440
"Shit we're taking some nice things away from there and putting them here".
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00:29:01,280 --> 00:29:04,620
We built our first project in Paris,
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00:29:04,640 --> 00:29:11,820
designed in '85 - '86, it's the famous folding building,
316
00:29:11,840 --> 00:29:13,700
the first example of folding.
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00:29:13,720 --> 00:29:16,660
It's an important building located behind the Bastille.
318
00:29:18,420 --> 00:29:24,160
Faubourg Saint-Antoine is another site in which we worked with an artist,
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00:29:24,180 --> 00:29:26,800
Enzo Cucchi,
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who did a...
321
00:29:29,540 --> 00:29:31,820
Strangely enough, he did a good job.
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00:29:31,840 --> 00:29:35,560
Yes, in an interior, inside a gym.
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00:29:35,580 --> 00:29:39,360
Beneath the houses, there is also a sports Center,
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00:29:39,380 --> 00:29:42,620
in a basement, and on top there's a tennis Center.
325
00:29:48,940 --> 00:29:52,000
When Mitterand was elected,
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00:29:52,020 --> 00:29:56,240
he launched a broad program of cultural change.
327
00:29:56,260 --> 00:30:01,200
In France at that time there were all the major presidential competitions,
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00:30:01,220 --> 00:30:03,940
open to those invited, but also to foreigners.
329
00:30:03,960 --> 00:30:08,000
Then there was the Odéon, Strehler was invited to the Odéon, great poets,
330
00:30:08,020 --> 00:30:12,780
great intellectuals from all over the world, architects, flocked to Paris.
331
00:30:17,000 --> 00:30:22,340
One of the options that France launched
332
00:30:22,360 --> 00:30:26,240
was a sort of Biennale, a biennale for young architects.
333
00:30:26,260 --> 00:30:29,160
One of these "new guys",
334
00:30:29,180 --> 00:30:32,140
they decided that it was Fuksas,
335
00:30:32,160 --> 00:30:36,600
who was doing odd things, but things that shared
336
00:30:36,620 --> 00:30:38,940
this "esprit de la modernité",
337
00:30:38,960 --> 00:30:42,640
a new contemporary spirit.
338
00:30:42,660 --> 00:30:48,440
The commission included Baudrillard, François Barré, there was Virilio,
339
00:30:48,460 --> 00:30:50,800
it was a very fresh new environment.
340
00:30:50,820 --> 00:30:56,400
And we were summoned mainly for one work, no, maybe two,
341
00:30:56,420 --> 00:30:59,680
and you can see a sample there,
342
00:30:59,700 --> 00:31:03,480
that was done with Sebastián Matta,
343
00:31:03,500 --> 00:31:05,320
which is in Tarquinia,
344
00:31:05,340 --> 00:31:08,740
and the other was the Paliano gymnasium,
345
00:31:08,760 --> 00:31:12,300
the building that made me quite well known,
346
00:31:12,320 --> 00:31:16,180
which was the first sloping building,
347
00:31:16,200 --> 00:31:19,120
almost synonymous with a collapse.
348
00:31:25,120 --> 00:31:29,680
We lived at Île Saint-Louis, the first house we ever had in Paris.
349
00:31:29,700 --> 00:31:32,600
Contrary to what we might have imagined,
350
00:31:32,620 --> 00:31:36,540
for us Île Saint-Louis was really a tourist spot,
351
00:31:36,560 --> 00:31:40,960
but in fact it was one of the most entertaining French districts.
352
00:31:40,980 --> 00:31:44,320
And then we moved again to rue du Temple,
353
00:31:44,340 --> 00:31:48,040
a large and very impressive studio over three floors
354
00:31:48,060 --> 00:31:49,760
and in the meantime, having moved.
355
00:31:49,780 --> 00:31:54,040
One of our daughters, the youngest, was born in Paris.
356
00:31:56,900 --> 00:31:59,960
It's a place we like coming back to.
357
00:31:59,980 --> 00:32:03,420
Sometimes I like to return here, and other times to Rome,
358
00:32:03,440 --> 00:32:09,320
then it depends where the people you love are, the people you are fond of.
359
00:32:13,220 --> 00:32:16,240
The best situation is staying in Rome for a while,
360
00:32:16,260 --> 00:32:19,120
and then in Paris, and from there moving around,
361
00:32:19,140 --> 00:32:23,120
to have an idea of what's going on in the world,
362
00:32:23,140 --> 00:32:27,200
because there's nothing worse than being stuck somewhere.
363
00:32:36,960 --> 00:32:42,400
Here it's like being in the country, because the windows look out over a wonderful carpet
364
00:32:42,420 --> 00:32:47,860
that changes with the seasons, so now it's yellow, red, autumn.
365
00:32:47,880 --> 00:32:51,140
Then it turns green, lovely, then it changes,
366
00:32:51,160 --> 00:32:55,200
you come home and you have a different carpet, according to the season,
367
00:32:55,220 --> 00:33:01,060
and you can hear the fountains splashing, you can hear the birds,
368
00:33:01,080 --> 00:33:04,180
while there's no traffic noise at all.
369
00:33:10,960 --> 00:33:13,820
But it's not just the architect, the client,
370
00:33:13,840 --> 00:33:17,120
it's when your husband is the client, then you'll see...!
371
00:33:20,400 --> 00:33:24,340
We have done some work on the house, but not a lot,
372
00:33:24,360 --> 00:33:29,840
we've opened up a bit, taken out a bath tub that looked...
373
00:33:29,860 --> 00:33:34,840
All made of alabaster, with lights inside, on a pedestal.
374
00:33:37,360 --> 00:33:41,260
- Because this house, belonged to an architect. - Yes.
375
00:33:41,280 --> 00:33:44,360
- All three floors. - Yes, an architect owned it all.
376
00:33:44,380 --> 00:33:49,080
And he was a rather particular architect called Pouillon,
377
00:33:49,100 --> 00:33:55,360
who was very famous in France in the '60s and '70s.
378
00:33:55,380 --> 00:34:00,260
He was here and he rightly had
379
00:34:00,280 --> 00:34:04,960
his own sexual and erotic passions and sentimental compulsions,
380
00:34:04,980 --> 00:34:10,219
that had something of an erotic pathway.
381
00:34:13,840 --> 00:34:17,940
We left the sequence, of course, we removed the baignoire,
382
00:34:17,960 --> 00:34:21,540
and turned it into a "monopersonal" bath.
383
00:34:24,940 --> 00:34:28,679
There are also Prouvé furniture, ours are originals.
384
00:34:29,900 --> 00:34:33,960
The first real awareness, not exactly mass recognition,
385
00:34:33,980 --> 00:34:38,560
but a bit more important, for Prouvé, came with our Biennale in the year 2000.
386
00:34:38,580 --> 00:34:40,560
The emergency houses.
387
00:34:40,580 --> 00:34:44,760
Yes, we had exhibited five emergency houses at the Arsenale.
388
00:34:44,780 --> 00:34:48,260
And the problem was finding a system for assembling them,
389
00:34:48,280 --> 00:34:53,179
because they had never been assembled before and nobody knew how to do that.
390
00:34:58,180 --> 00:35:02,960
There are several gifts, yes, because Massimiliano doesn't want anything,
391
00:35:02,980 --> 00:35:04,980
giving him a present isn't easy.
392
00:35:05,000 --> 00:35:08,680
- I love you and that's enough. - Yes, but I'm one.
393
00:35:08,700 --> 00:35:12,500
So the only thing I can give him, at least I hope so,
394
00:35:12,520 --> 00:35:16,680
the only thing he won't object to is a work of art.
395
00:35:19,440 --> 00:35:24,120
That's a model for the Philips Pavilion at the Triennale?
396
00:35:24,140 --> 00:35:26,580
What's it for? I really can't remember any more.
397
00:35:26,600 --> 00:35:30,220
No, it's from 1961 for Turin...
398
00:35:30,240 --> 00:35:34,240
- For the Triennale? - For Turin, the pavilion of light.
399
00:35:34,260 --> 00:35:37,320
There's Fontana, Boetti,
400
00:35:37,340 --> 00:35:39,440
all the things we love,
401
00:35:39,460 --> 00:35:42,820
there's Noguchi, always in all our homes, well it's easier.
402
00:35:42,840 --> 00:35:46,640
There's a little desk
403
00:35:46,660 --> 00:35:48,960
that we are really very fond of,
404
00:35:48,980 --> 00:35:52,140
because it was Lavinia's when she was small, not hers,
405
00:35:52,160 --> 00:35:55,860
it's a little "pupitre" with a little Jean Prouvé chair, again.
406
00:36:00,140 --> 00:36:03,660
- They are the guardians of the home. - Yes there are guardians.
407
00:36:03,680 --> 00:36:10,040
That was their purpose, sentinels in front of African houses.
408
00:36:10,060 --> 00:36:13,060
- And we've got more of them. - They come from Mali.
409
00:36:13,080 --> 00:36:17,140
- In Pantelleria too, in Siena at the doors. - They are Dogon art.
410
00:36:17,160 --> 00:36:19,480
We've got quite a lot of African art.
411
00:36:19,500 --> 00:36:22,300
And then there are other figures too.
412
00:36:22,320 --> 00:36:26,140
You don't notice them in here but there are lots of things.
413
00:36:33,060 --> 00:36:37,860
It has to be said that I haven't got a locked drawer,
414
00:36:37,880 --> 00:36:43,660
and there is no desk, not even in my Rome studio.
415
00:36:45,120 --> 00:36:48,460
I haven't got my own studio,
416
00:36:48,480 --> 00:36:52,520
or a room just for me, the place where I am.
417
00:36:52,540 --> 00:36:55,440
Everyone asks: "But where does Fuksas work?"
418
00:36:55,460 --> 00:37:00,980
Well, I wander round the office, I have a pen, I put it in my pocket and off I go.
419
00:37:04,820 --> 00:37:08,900
I don't only believe in inspiration, inspiration is one part,
420
00:37:08,920 --> 00:37:12,460
but close to inspiration there is the existence of a human being,
421
00:37:12,480 --> 00:37:18,500
we build for others, we should understand how others live,
422
00:37:18,520 --> 00:37:22,420
what their strengths and weaknesses are.
423
00:37:25,680 --> 00:37:30,280
More than projects, it's people's lives that matter,
424
00:37:30,300 --> 00:37:35,620
the human condition that surrounds architecture is the most important, the most amazing thing.
425
00:37:47,580 --> 00:37:50,460
I liked my house when I was in Baghdad.
426
00:37:50,480 --> 00:37:54,800
I think that was a very nice house and I enjoyed being there
427
00:37:54,820 --> 00:37:58,740
and now it's very important for me because it's a very unusual place
428
00:37:58,760 --> 00:38:03,760
and it was very nice, but when I moved away, I was like a gipsy, you know,
429
00:38:03,780 --> 00:38:07,980
I moved to Beirut, here and there, London, moved around a lot,
430
00:38:08,000 --> 00:38:13,340
so I have never really settled down in one place that was a home for me.
431
00:38:16,480 --> 00:38:20,600
I used to come here as a child and I always wanted to live in London because,
432
00:38:20,620 --> 00:38:23,860
again the ‘60s was such a great period, you know...
433
00:38:23,880 --> 00:38:28,780
King's Road, there were all these... Marie Quant,
434
00:38:28,800 --> 00:38:31,780
great shops,
435
00:38:31,800 --> 00:38:35,200
the Beatles, you know, cinema, bla bla...
436
00:38:35,220 --> 00:38:38,660
So I always wanted to come and live here,
437
00:38:38,680 --> 00:38:44,440
then I went to school here and then I went back to Beirut, which really I'm glad I did,
438
00:38:44,460 --> 00:38:47,220
because living in Beirut was a great experience for me.
439
00:38:47,240 --> 00:38:51,780
It was the first time that we lived in an Arab country,
440
00:38:51,800 --> 00:38:54,980
where you come across many other Arabs from every other country
441
00:38:55,000 --> 00:38:57,840
because they all went to that university.
442
00:38:59,440 --> 00:39:01,960
I wanted to become an architect,
443
00:39:01,980 --> 00:39:06,000
so I moved back to London and I went to the Architectural Association
444
00:39:06,020 --> 00:39:09,620
and I stayed here because I always...
445
00:39:09,640 --> 00:39:14,580
firstly, because I liked it, second because of my association with the AA,
446
00:39:14,600 --> 00:39:17,960
because that was a very important part of my life:
447
00:39:17,980 --> 00:39:23,640
being there, teaching there, I was so connected with the AA till the late ‘80s.
448
00:39:26,140 --> 00:39:29,160
I like London, I mean, I think London has become
449
00:39:29,180 --> 00:39:34,300
the most metropolitan and cos-modern city of anywhere I know,
450
00:39:34,320 --> 00:39:36,180
even more than New York,
451
00:39:36,200 --> 00:39:42,800
because it was generous enough to allow everybody to come and live here.
452
00:39:42,820 --> 00:39:46,320
Now the conservatives want to radically change that
453
00:39:46,340 --> 00:39:48,560
but that made London great.
454
00:39:48,580 --> 00:39:53,920
If you walk on the streets, you see every nationality in the world and I think that...
455
00:39:53,940 --> 00:39:58,920
And all these people who moved here brought in something with them.
456
00:40:04,280 --> 00:40:07,920
The reason I think that living is very important is because,
457
00:40:07,940 --> 00:40:11,020
apart from it being very important as a shelter,
458
00:40:11,040 --> 00:40:15,720
you should have the minimal existence, you should have shelter
459
00:40:15,740 --> 00:40:21,000
and it should also make people feel better, in the idea of well being.
460
00:40:26,180 --> 00:40:29,280
I personally think and right now,
461
00:40:29,300 --> 00:40:32,980
unlike the early part of the 20th century,
462
00:40:33,000 --> 00:40:37,060
when the most important projects started off as houses,
463
00:40:37,080 --> 00:40:41,180
think of Le Corbusier, Mies and all these people, they did houses, private houses,
464
00:40:41,200 --> 00:40:45,240
as kind of a genesis of their ideas.
465
00:40:45,260 --> 00:40:47,500
I personally think now it's quite different,
466
00:40:47,520 --> 00:40:53,160
I don't think the most critical thing is to do a house.
467
00:40:53,180 --> 00:40:56,020
I still think it's a very important topic,
468
00:40:56,040 --> 00:40:59,800
I think it's a very important topic to talk about mass housing,
469
00:40:59,820 --> 00:41:02,360
about social housing,
470
00:41:02,380 --> 00:41:04,500
even about private villas,
471
00:41:04,520 --> 00:41:08,400
but I don't think it's not ideological anymore.
472
00:41:12,020 --> 00:41:16,360
I had a very nice apartment before, more traditional, like a Georgian house,
473
00:41:16,380 --> 00:41:20,720
and I wanted to move closer to the office,
474
00:41:20,740 --> 00:41:25,800
so I found this kind of neutral room,
475
00:41:25,820 --> 00:41:28,280
but of course all the furniture is mine.
476
00:41:31,120 --> 00:41:33,820
I would like to design my own house,
477
00:41:33,840 --> 00:41:36,780
but I need an office to do it
478
00:41:36,800 --> 00:41:39,500
and my office will never do my house,
479
00:41:39,520 --> 00:41:43,000
because they are too busy.
480
00:41:45,260 --> 00:41:48,380
We bought last year the Design Museum in London.
481
00:41:49,580 --> 00:41:52,940
There was a design museum which still operates as a design museum,
482
00:41:52,960 --> 00:41:55,060
so we bought it,
483
00:41:55,080 --> 00:41:57,180
at the office, I bought it,
484
00:41:57,200 --> 00:42:02,060
and if I decide to move my flat there,
485
00:42:02,080 --> 00:42:04,920
on top of it, maybe I can do something.
486
00:42:10,140 --> 00:42:13,840
It's very important to think of how people live,
487
00:42:13,860 --> 00:42:15,360
you know, and...
488
00:42:17,280 --> 00:42:22,680
I don't think it's a private house, I think one has to think about housing
489
00:42:22,700 --> 00:42:27,480
in the city or anywhere, you know, because I think that they...
490
00:42:27,500 --> 00:42:29,900
they do form the structure of the city.
491
00:42:31,600 --> 00:42:37,620
I don't believe in the zoning law, zoning, in the sense that the Center is all...
492
00:42:37,640 --> 00:42:41,960
commercial or retail and fun
493
00:42:41,980 --> 00:42:44,160
and you put everybody out.
494
00:42:44,180 --> 00:42:48,640
I don't believe in this segregation of all the programs.
495
00:42:48,660 --> 00:42:52,800
So I think housing is a very important component of the city,
496
00:42:52,820 --> 00:42:55,160
I think without that you don't have a city.
497
00:43:02,060 --> 00:43:05,740
And you have to always update your thinking about what a house should be,
498
00:43:05,760 --> 00:43:08,800
how people should live, what kind of life they should have.
499
00:43:08,820 --> 00:43:13,560
I mean there was a reason why in the early 20th century,
500
00:43:13,580 --> 00:43:17,820
in the early part of the 20th century, they thought they should have glass and light,
501
00:43:17,840 --> 00:43:20,180
not because they liked glass,
502
00:43:20,200 --> 00:43:25,220
but because they wanted to bring in light into the house and into the working place,
503
00:43:25,240 --> 00:43:28,320
because it was better for people, especially in Europe,
504
00:43:28,340 --> 00:43:31,600
where everything was dark, if you think of London.
505
00:43:35,160 --> 00:43:38,820
I think that lifestyle has changed, this whole idea about, you know,
506
00:43:38,840 --> 00:43:42,620
kitchen could be in the living room,
507
00:43:44,280 --> 00:43:50,180
lofts allowed you to make bedroom, no division between bedroom and living,
508
00:43:50,200 --> 00:43:55,360
I think that... and also I think now you can really have different kind of furniture
509
00:43:55,380 --> 00:43:57,800
and, you know, much lighter,
510
00:43:59,380 --> 00:44:04,360
I think that... more spacious maybe, more spatiality.
511
00:44:09,460 --> 00:44:14,360
Well, it could mean that you have different perspectives,
512
00:44:14,380 --> 00:44:18,740
you are not fixed into one view point, the interior also,
513
00:44:18,760 --> 00:44:23,420
some of them they have multiple balconies and you have different projections out,
514
00:44:23,440 --> 00:44:25,740
so you can look that way, you can look that way.
515
00:44:25,760 --> 00:44:28,220
I think, I hope,
516
00:44:28,240 --> 00:44:33,000
it gives you more fluidity and freedom in the space,
517
00:44:33,020 --> 00:44:36,420
you know, things flow to the outside and inside,
518
00:44:36,440 --> 00:44:40,900
and I think it's important to have kind of created this kind of spaces,
519
00:44:40,920 --> 00:44:42,900
if you are confined for space,
520
00:44:42,920 --> 00:44:45,540
that gives you this vistas to the outside
521
00:44:45,560 --> 00:44:50,780
and you feel you can have kind of a luxury, even if the flat is not very big.
522
00:44:55,800 --> 00:44:57,680
Well, I think space is the most important,
523
00:44:57,700 --> 00:45:02,220
how to create space, is very difficult to... quantify.
524
00:45:02,240 --> 00:45:05,580
When I was a student, people used to talk about space all the time,
525
00:45:05,600 --> 00:45:08,940
but I have never understood what they were talking about,
526
00:45:09,940 --> 00:45:15,240
so to create a space is the most complex
527
00:45:15,260 --> 00:45:18,320
and that's why I think complexity is very important in architecture,
528
00:45:18,340 --> 00:45:22,640
because it creates multiplicity of spaces, you know, amazing...
529
00:45:22,660 --> 00:45:25,100
It was like the Baroque, you know,
530
00:45:25,120 --> 00:45:28,660
multiplicity of spaces and rooms.
531
00:45:32,580 --> 00:45:34,740
I like obviously very big pieces,
532
00:45:34,760 --> 00:45:39,460
because I want them to become another architecture inside the architecture.
533
00:45:39,480 --> 00:45:43,720
So it's no longer just, you know, a domestic piece,
534
00:45:43,740 --> 00:45:48,340
they operate as a way of dividing space
535
00:45:48,360 --> 00:45:53,260
or making kind of objects within the city, but in the room.
536
00:45:56,660 --> 00:46:00,740
In the city you have to have harmony between the objects, between the pieces and how...
537
00:46:00,760 --> 00:46:03,860
and you need infrastructure to connect them together.
538
00:46:03,880 --> 00:46:08,760
You need to make the street pattern or the roads or whatever, and I think,
539
00:46:08,780 --> 00:46:14,740
it depends... if a building is an object it's equally complex,
540
00:46:14,760 --> 00:46:17,640
because if you want to integrate complexity,
541
00:46:17,660 --> 00:46:23,280
you can actually almost duplicate the life in the city within the object,
542
00:46:23,300 --> 00:46:26,660
but if it's an object as a piece of furniture, you know,
543
00:46:26,680 --> 00:46:31,660
of course is more... is not necessarily easier but I think it's different.
544
00:46:36,480 --> 00:46:39,140
I think with these private houses, for architects,
545
00:46:39,160 --> 00:46:42,020
you have to do them as a first house,
546
00:46:42,040 --> 00:46:46,500
like a first statement of your ideas,
547
00:46:46,520 --> 00:46:49,720
or you have to do them when you are retiring.
548
00:46:49,740 --> 00:46:51,100
I'm not ready to retire yet.
549
00:47:20,420 --> 00:47:25,960
Here we are in our office, Studio MK27,
550
00:47:25,980 --> 00:47:28,740
in Sao Paulo,
551
00:47:30,380 --> 00:47:33,800
the chaotic Latin American city
552
00:47:33,820 --> 00:47:36,180
where we live:
553
00:47:37,320 --> 00:47:39,620
it's extremely...
554
00:47:41,920 --> 00:47:43,280
ugly,
555
00:47:45,480 --> 00:47:48,920
violent and polluted,
556
00:47:48,940 --> 00:47:52,080
but we deeply love it.
557
00:47:52,100 --> 00:47:56,060
For me Sao Paulo has a really special appeal,
558
00:47:56,080 --> 00:47:57,920
it's a city...
559
00:47:59,580 --> 00:48:03,780
for which I feel a kind of worship, I really like its contrasts.
560
00:48:03,800 --> 00:48:08,420
You walk down the street and there appears to be nothing to see.
561
00:48:09,720 --> 00:48:13,820
There's a lot of traffic, an absolutely infernal traffic.
562
00:48:19,340 --> 00:48:23,160
This great excitement,
563
00:48:23,180 --> 00:48:26,300
this urge to produce,
564
00:48:26,320 --> 00:48:30,080
to live, to create a new world it's a tangible feeling.
565
00:48:51,280 --> 00:48:55,480
My apartment is in the building
566
00:48:55,500 --> 00:48:59,780
that was my first design project,
567
00:48:59,800 --> 00:49:05,960
I don't even know how I came to be entrusted with the job, I had just graduated,
568
00:49:05,980 --> 00:49:11,860
and it was practically my last such project since I subsequently did little in this sector.
569
00:49:11,880 --> 00:49:16,440
I have lived in that apartment
570
00:49:16,460 --> 00:49:18,540
since the early '80s.
571
00:49:22,320 --> 00:49:25,620
I think this is a very unattractive part of the town,
572
00:49:25,640 --> 00:49:29,920
but there's a school,
573
00:49:30,940 --> 00:49:33,180
a bank,
574
00:49:33,200 --> 00:49:39,580
a bar open 24/7,
575
00:49:39,600 --> 00:49:43,760
further over, where you see the hotel tower,
576
00:49:43,780 --> 00:49:47,180
there's a shopping mall,
577
00:49:47,200 --> 00:49:49,560
with a 5-screen multiplex,
578
00:49:51,240 --> 00:49:54,180
a shopping street with pharmacies,
579
00:49:54,200 --> 00:49:58,840
very centrally located in San Paolo.
580
00:49:59,880 --> 00:50:03,880
The apartment is nothing special from the architectural perspective,
581
00:50:03,900 --> 00:50:06,540
as I don't like working for myself,
582
00:50:06,560 --> 00:50:09,500
when I get back from the office I don't feel like it...
583
00:50:09,520 --> 00:50:13,160
My bathroom's bulb it's burned since two weeks!
584
00:50:59,880 --> 00:51:05,960
Glass is a key element of my projects, especially for those made in Brazil,
585
00:51:05,980 --> 00:51:10,680
where the climate is fairly agreeable, not like here today!
586
00:51:12,920 --> 00:51:19,560
In this houses people can open all their living room's large sliding windows,
587
00:51:19,580 --> 00:51:23,660
turning their dining area into a terrace with windows on both sides,
588
00:51:23,680 --> 00:51:27,280
to let in more light and air,
589
00:51:27,300 --> 00:51:31,740
so the lovely gardens are brought right into the home.
590
00:51:31,760 --> 00:51:35,160
Practically all of that is in relationship with the interiors,
591
00:51:35,180 --> 00:51:39,720
it's only recently that we started designing interiors,
592
00:51:39,740 --> 00:51:43,500
because we regard them as a continuum of the architecture.
593
00:51:43,520 --> 00:51:45,920
Everything involves architecture:
594
00:51:45,940 --> 00:51:49,520
the garden, the exterior stone wall,
595
00:51:49,540 --> 00:51:53,920
that is part of the project,
596
00:51:53,940 --> 00:51:55,040
the sofa.
597
00:51:55,060 --> 00:51:57,880
One single line of thought.
598
00:52:02,460 --> 00:52:06,320
Lighting is deeply connected
599
00:52:06,340 --> 00:52:09,560
to my career as a filmmaker.
600
00:52:09,580 --> 00:52:14,900
I did a lot for movies during my early working years,
601
00:52:16,540 --> 00:52:20,200
when I still wasn't sure whether I'd become an architect or a film director.
602
00:52:20,220 --> 00:52:22,900
I studied filmmaking and architecture at the same time
603
00:52:22,920 --> 00:52:25,960
and I also produced some films in that period
604
00:52:25,980 --> 00:52:29,000
and I think that light is one of the things
605
00:52:29,020 --> 00:52:31,460
that I learned from the world of cinema.
606
00:52:36,220 --> 00:52:40,760
I believe, for example, that a script has a lot in common with a design project,
607
00:52:40,780 --> 00:52:43,160
I mean, a film script:
608
00:52:43,180 --> 00:52:46,960
trying to create a story,
609
00:52:46,980 --> 00:52:50,600
a goal, a feeling,
610
00:52:50,620 --> 00:52:53,760
a space untouched by monotony,
611
00:52:53,780 --> 00:52:58,220
exiting a corridor to enter another space,
612
00:52:58,240 --> 00:53:02,020
a meeting room, with another story to tell.
613
00:53:06,000 --> 00:53:10,840
Something else that influenced me a lot
614
00:53:10,860 --> 00:53:13,480
was looking through a camera.
615
00:53:13,500 --> 00:53:18,420
I always have the feeling of looking into a viewfinder
616
00:53:18,440 --> 00:53:23,380
seeing the world as if on the big screen.
617
00:53:26,060 --> 00:53:30,240
Something else of importance that I learned in the movie world was to work as a team.
618
00:53:30,260 --> 00:53:36,500
In architecture there's always been a Chief Architect
619
00:53:36,520 --> 00:53:41,280
with all the others working under him
620
00:53:41,300 --> 00:53:45,120
on a new project, a new job.
621
00:53:45,140 --> 00:53:47,800
But coming from the movie world
622
00:53:47,820 --> 00:53:50,500
in my firm I introduced my teamwork philosophy,
623
00:53:50,520 --> 00:53:53,200
a really cooperative way to work.
624
00:54:12,900 --> 00:54:17,320
I'm putting together a collection with my son,
625
00:54:17,340 --> 00:54:20,460
who's also the curator of my collection,
626
00:54:20,480 --> 00:54:22,640
a collection of sketches.
627
00:54:22,660 --> 00:54:27,180
This is a print by Le Corbusier,
628
00:54:27,200 --> 00:54:31,460
of the Chandigarh project, this is by Niemeyer,
629
00:54:31,480 --> 00:54:36,180
this one by Kengo Kuma, a friend, that recently left us a drawing.
630
00:54:36,200 --> 00:54:40,320
I've brought an assortment of architects' drawings to the office.
631
00:54:46,640 --> 00:54:49,500
Here I have my sketches collection,
632
00:54:49,520 --> 00:54:54,020
the same in the office, but not only architects'.
633
00:55:02,900 --> 00:55:07,540
I love this one, it's the smallest Picasso in the history...
634
00:55:07,560 --> 00:55:11,560
This is a drawing from Woody Allen to Mia Farrow.
635
00:55:11,580 --> 00:55:15,000
- No! - Drawings of love! - I love you Mia...
636
00:55:26,840 --> 00:55:29,660
I like collecting,
637
00:55:29,680 --> 00:55:32,960
because it's collecting life itself.
638
00:55:35,920 --> 00:55:40,200
Each thing recalls a moment, so I can remember.
639
00:55:40,220 --> 00:55:44,140
For instance, the Peck pasta you gave me:
640
00:55:44,160 --> 00:55:48,180
it ended up on the bookshelves, not in the kitchen.
641
00:55:55,400 --> 00:55:59,420
I believe that in my work, as I already said,
642
00:55:59,440 --> 00:56:02,620
I'm practically a prostitute,
643
00:56:04,420 --> 00:56:08,340
I get paid for giving others pleasure,
644
00:56:08,360 --> 00:56:12,060
but don't have time to offer myself pleasure.
645
00:56:12,080 --> 00:56:16,460
This strikes me as a good term of comparison!
646
00:56:16,480 --> 00:56:19,260
Saying that always make me smile.
647
00:56:19,280 --> 00:56:22,560
My clients want to enhance their quality of life,
648
00:56:22,580 --> 00:56:24,500
they want to experience new emotions,
649
00:56:24,520 --> 00:56:28,960
the pleasure of owning a work of architecture
650
00:56:28,980 --> 00:56:31,300
with a meaning,
651
00:56:31,320 --> 00:56:35,040
and basically this is what I see as architecture's mission:
652
00:56:35,060 --> 00:56:38,120
to make the world a slightly better place.
653
00:56:56,700 --> 00:57:00,380
It was my kind of fate or destiny to live in different cities,
654
00:57:00,400 --> 00:57:05,040
because of necessity and sometimes because of choice.
655
00:57:05,060 --> 00:57:09,600
But I was born in Poland, so I grew up in a city called Łódź,
656
00:57:09,620 --> 00:57:13,760
industrial, grey city, under communism,
657
00:57:13,780 --> 00:57:18,180
living in a small hovel, you know,
658
00:57:18,200 --> 00:57:20,840
where the bathtub was in the kitchen,
659
00:57:20,860 --> 00:57:23,360
because that was where the water connection was.
660
00:57:29,180 --> 00:57:31,600
Today you would say looking back it was a slum,
661
00:57:31,620 --> 00:57:35,300
but to us, it was very nice because that's all we had
662
00:57:35,320 --> 00:57:37,600
and then from Poland,
663
00:57:37,620 --> 00:57:40,620
when we were able to move to Israel, we moved to Tel Aviv.
664
00:57:40,640 --> 00:57:44,040
And that was blue skies, freedom,
665
00:57:44,060 --> 00:57:48,960
a completely fantastic sense of the Mediterranean
666
00:57:48,980 --> 00:57:52,300
and we lived, as it happened, because Tel Aviv was a Bauhaus city,
667
00:57:52,320 --> 00:57:56,640
in a Bauhaus apartment building, built by a German Jewish architect
668
00:57:56,660 --> 00:58:00,240
with the terrace, with the beauty of Tel Aviv.
669
00:58:06,040 --> 00:58:09,420
You know, then, of course, we moved to New York,
670
00:58:09,440 --> 00:58:12,040
and not Manhattan, but in Bronx.
671
00:58:12,060 --> 00:58:15,560
And in the Bronx, we were immigrants, once again,
672
00:58:15,580 --> 00:58:18,060
my parents were Holocaust survivors,
673
00:58:18,080 --> 00:58:21,440
and my father had this only surviving sister from a family of...
674
00:58:21,460 --> 00:58:25,380
Many, no one remains, so he was determinate to come to America
675
00:58:25,400 --> 00:58:30,580
and then in the Bronx, we moved to...
676
00:58:30,600 --> 00:58:35,000
We lived in a housing project, the first social housing project built in the United States,
677
00:58:35,020 --> 00:58:38,460
by the Unions representing garment workers
678
00:58:38,480 --> 00:58:42,060
and my mother was a garment worker, working in this sweatshop of New York.
679
00:58:42,080 --> 00:58:45,000
So we lived a beautiful project,
680
00:58:45,020 --> 00:58:49,320
in a very diversified Jewish, Italian, Irish,
681
00:58:49,340 --> 00:58:52,200
African-American, mix of people,
682
00:58:52,220 --> 00:58:56,520
in an apartment that was a social space,
683
00:58:56,540 --> 00:59:01,780
no air conditioning, of course, the fire escapes were the social spaces,
684
00:59:01,800 --> 00:59:05,380
to spend many hot evenings discussing politics
685
00:59:05,400 --> 00:59:09,540
and kind of representative of the life in New York of that time.
686
00:59:09,560 --> 00:59:14,440
When I was lucky to become the head of a school of architecture I moved to Detroit,
687
00:59:14,460 --> 00:59:18,100
this was Bloomfield Hills, one of the richest areas of America,
688
00:59:18,120 --> 00:59:23,360
where I lived in a campus called Cranbrook, I was the head of the architecture faculty,
689
00:59:23,380 --> 00:59:26,940
I was an artist-in-residence, in a project built by Saarinen,
690
00:59:26,960 --> 00:59:31,020
Elial Saarinen, the father of Eero Saarinen, the great Finnish architect
691
00:59:31,040 --> 00:59:34,600
and, as it happened, as the head of architecture,
692
00:59:34,620 --> 00:59:38,380
I was living in the same villa that Charles Eames lived in:
693
00:59:38,400 --> 00:59:43,000
a fantastic villa with an incredible garden,
694
00:59:43,020 --> 00:59:47,800
with that kind of Finnish-American sense of beauty,
695
00:59:47,820 --> 00:59:53,620
functionality and organized as a plan, really,
696
00:59:53,640 --> 00:59:58,720
of an entire little enclave of good luck in America.
697
01:00:02,520 --> 01:00:07,560
Then, after that, you know, we moved to Milan,
698
01:00:07,580 --> 01:00:10,940
and we lived with our kids, we came to Milan,
699
01:00:10,960 --> 01:00:14,140
my good friend, Aldo Rossi was a very close friend,
700
01:00:14,160 --> 01:00:16,780
and we moved for no reason, we had no jobs,
701
01:00:16,800 --> 01:00:19,080
we just wanted to live in Milan,
702
01:00:19,100 --> 01:00:24,500
because to us it represented really a fantastic dream of being in Italy,
703
01:00:24,520 --> 01:00:28,720
but being particularly in this special atmosphere of art,
704
01:00:28,740 --> 01:00:31,440
artists, of great history,
705
01:00:31,460 --> 01:00:36,300
and we lived in a fantastic street, via Benedetto Marcello,
706
01:00:36,320 --> 01:00:40,080
high up where I also established a private...
707
01:00:40,100 --> 01:00:43,180
I called that "Architecture Inter-mundium", a small school,
708
01:00:43,200 --> 01:00:46,300
I called it a kind of medieval way of doing architecture,
709
01:00:46,320 --> 01:00:50,360
in the home with students from around the world who came to study with me.
710
01:00:50,380 --> 01:00:55,080
After that we moved to Berlin when I won the competition for the Jewish Museum.
711
01:00:55,100 --> 01:00:58,860
We moved to the Center of Berlin before the fall of the Wall,
712
01:00:58,880 --> 01:01:02,980
1989, it was a time of change, the Wall fell
713
01:01:03,000 --> 01:01:07,300
and we were in the city that transformed itself, the world was being transformed.
714
01:01:07,320 --> 01:01:11,900
During my time, when I was designing a project that wasn't easy to realize,
715
01:01:11,920 --> 01:01:14,960
it took twelve years to realize it,
716
01:01:14,980 --> 01:01:19,060
and you know, I was there on September 11, 2001,
717
01:01:19,080 --> 01:01:22,420
because that was the day the Jewish Museum opened to the public,
718
01:01:22,440 --> 01:01:25,280
and that was the day I went to my studio and said:
719
01:01:25,300 --> 01:01:27,780
"This is the first day I don't have to think about history
720
01:01:27,800 --> 01:01:31,080
because people can come to the museum and have their own experience"
721
01:01:31,100 --> 01:01:34,680
and of course by about 2:40, 2:38 in the afternoon
722
01:01:34,700 --> 01:01:36,820
the Jewish museum closed its doors.
723
01:01:39,500 --> 01:01:42,080
That's why I decided I had to go back to New York,
724
01:01:42,100 --> 01:01:46,140
and how lucky was I to win the competition to be the master planner of Ground Zero.
725
01:01:46,160 --> 01:01:50,540
And I moved to Manhattan, right next to Ground Zero, in TriBeCa,
726
01:01:50,560 --> 01:01:54,640
where I live in, you know, in the old bank building,
727
01:01:54,660 --> 01:01:58,960
TriBeCa is an old neighborhood, but I found the one building that is triangular,
728
01:01:58,980 --> 01:02:02,460
with a sharp point, and we reconstructed it,
729
01:02:02,480 --> 01:02:05,520
I had an architect to do the work, because I didn't have even the time,
730
01:02:05,540 --> 01:02:09,460
new windows, it has really, you know, a lot of light
731
01:02:09,480 --> 01:02:12,200
and a spectacular place,
732
01:02:12,220 --> 01:02:15,640
reaffirming the resurgence of New York.
733
01:02:15,660 --> 01:02:19,340
I see the Freedom Tower, I see the buildings of my site plan
734
01:02:19,360 --> 01:02:23,300
both from my home, and from my bedroom and from my living room,
735
01:02:23,320 --> 01:02:26,460
but also see them from our studio and our office,
736
01:02:26,480 --> 01:02:28,300
just south of Ground Zero.
737
01:02:31,660 --> 01:02:34,660
When you live in the Bronx, people think: "Bronx is the Center of the world",
738
01:02:34,680 --> 01:02:37,380
when you live in Tel Aviv, people say: "Tel Aviv is the Center of the world",
739
01:02:37,400 --> 01:02:40,180
when you live in Milan, people say: "This is the Center of the world",
740
01:02:40,200 --> 01:02:41,940
when you live anywhere in the world...
741
01:02:41,960 --> 01:02:44,840
People, wherever they live, it is the Center of the world.
742
01:02:44,860 --> 01:02:47,920
And that's true, because the world
743
01:02:47,940 --> 01:02:50,600
is not a disconnected group of fragments,
744
01:02:50,620 --> 01:02:55,200
it is a concentric series of circles around the soul,
745
01:02:55,220 --> 01:02:56,600
the spirit of where you are.
746
01:03:00,100 --> 01:03:03,420
I love books in general, and I've always loved books.
747
01:03:03,440 --> 01:03:05,960
I love old books, I love art books,
748
01:03:05,980 --> 01:03:08,340
I love books that were given to me,
749
01:03:08,360 --> 01:03:12,300
I even love books that I will never read, but I like to have them.
750
01:03:12,320 --> 01:03:15,240
I think books are a part of a home,
751
01:03:15,260 --> 01:03:17,700
I think it was Cicero who said:
752
01:03:17,720 --> 01:03:21,720
"A home without books is like a body without a soul".
753
01:03:24,980 --> 01:03:28,920
Perhaps you were in my apartment in New York, but there is a table there,
754
01:03:28,940 --> 01:03:32,800
which I wanted to get rid of already many, many years, it's the first that I ever designed.
755
01:03:32,820 --> 01:03:36,540
When I came to Milan, we didn't have anything,
756
01:03:36,560 --> 01:03:39,980
we were sitting on the floor, we had no beds, we had nothing.
757
01:03:40,000 --> 01:03:43,980
So there was a carpenter down below, I saw a carpenter working,
758
01:03:44,000 --> 01:03:46,300
I said: "The first thing we need is a table".
759
01:03:46,320 --> 01:03:48,560
And this table has travelled with us,
760
01:03:48,580 --> 01:03:53,400
it's been in Berlin, it's been in New York, it's been in Milan, it's been everywhere,
761
01:03:53,420 --> 01:03:56,160
it's maybe not particularly beautiful aesthetically,
762
01:03:56,180 --> 01:03:58,780
but it became so much part of life,
763
01:03:58,800 --> 01:04:02,340
and actually many people think it's one of the best design objects
764
01:04:02,360 --> 01:04:04,720
because is very, very practical.
765
01:04:08,000 --> 01:04:11,080
I love red, you know, I love the color,
766
01:04:11,100 --> 01:04:13,480
and I like white, I like black, I like grey,
767
01:04:13,500 --> 01:04:15,920
but I like red as a color.
768
01:04:15,940 --> 01:04:19,200
Why? I don't know, it's just...
769
01:04:19,220 --> 01:04:22,320
it's just the color of awakening.
770
01:04:22,340 --> 01:04:25,660
And I think a house has to be comfortable,
771
01:04:25,680 --> 01:04:29,800
but it also has to awaken you and others
772
01:04:29,820 --> 01:04:32,480
to the fact that the world is always changing,
773
01:04:32,500 --> 01:04:37,700
that even your notion of the home is not a permanent notion,
774
01:04:37,720 --> 01:04:40,200
because you might be living elsewhere soon,
775
01:04:40,220 --> 01:04:44,680
for various reasons, you might have to move out, you might have to pack your suitcase,
776
01:04:44,700 --> 01:04:46,300
something else might be happening,
777
01:04:46,320 --> 01:04:50,960
so the red is a kind of a permanent emblem of the dynamism of change.
778
01:04:54,080 --> 01:04:56,600
There is really no difference, in some way,
779
01:04:56,620 --> 01:04:59,360
between designing a private villa for my client in Connecticut,
780
01:04:59,380 --> 01:05:02,860
or the fantastic project of City Life in Milan,
781
01:05:02,880 --> 01:05:05,200
because you think about the life, the everyday life,
782
01:05:05,220 --> 01:05:07,940
and everyday life is a spectrum.
783
01:05:09,960 --> 01:05:13,800
It's like the rainbow of all the colors that are in the skyline.
784
01:05:13,820 --> 01:05:16,779
A home not being just a house, being a home,
785
01:05:16,800 --> 01:05:21,420
having intimacy, having a certain warmth to it,
786
01:05:21,440 --> 01:05:24,260
being something that is emotional,
787
01:05:24,279 --> 01:05:28,560
not only an abstract division of space and light,
788
01:05:28,580 --> 01:05:32,120
and I think probably light, scale,
789
01:05:34,520 --> 01:05:37,420
coziness, I would call it coziness,
790
01:05:37,440 --> 01:05:40,120
without sentimentality, that you can...
791
01:05:41,600 --> 01:05:45,080
be enclosed in intimacy.
792
01:05:45,100 --> 01:05:48,220
To me a good apartment, a good house,
793
01:05:48,240 --> 01:05:52,279
is something that inspires, doesn't only meet the functional requirements:
794
01:05:52,300 --> 01:05:55,020
that is comfortable, and everything works well,
795
01:05:55,040 --> 01:05:57,560
so you can forget about all those things;
796
01:05:57,580 --> 01:05:59,760
but it has to make you more creative,
797
01:05:59,779 --> 01:06:04,240
you have to be able to look at a corner, and it has to make you more intelligent,
798
01:06:04,260 --> 01:06:07,140
has to give you another idea of the world.
799
01:06:07,160 --> 01:06:09,820
And I think those are the houses that I've been inspired by,
800
01:06:09,840 --> 01:06:12,580
and I always say that's what really house is,
801
01:06:12,600 --> 01:06:16,880
it's not just about the measurable space,
802
01:06:16,900 --> 01:06:19,240
it's about the ineffable atmosphere,
803
01:06:19,260 --> 01:06:22,600
it's a certain atmosphere you can't quite touch it,
804
01:06:22,620 --> 01:06:25,560
but you know that's there because of architecture.
805
01:07:44,840 --> 01:07:46,200
Why Studio Mumbai?
806
01:07:46,220 --> 01:07:50,800
For me, Studio Mumbai was a generic name, it found a location.
807
01:07:50,820 --> 01:07:54,640
The idea is that of a studio, whether we grow rice,
808
01:07:54,660 --> 01:07:57,640
build architecture, tend cattle...
809
01:07:57,660 --> 01:08:00,820
I'm just saying that there is no line,
810
01:08:00,840 --> 01:08:05,540
it's a working space, it's a place of work
811
01:08:05,560 --> 01:08:08,800
which is located in Mumbai, whatever the work might be.
812
01:08:08,820 --> 01:08:12,620
That was the idea behind the word Studio Mumbai.
813
01:08:12,640 --> 01:08:15,520
People can come in,
814
01:08:15,540 --> 01:08:19,180
people can participate and leave,
815
01:08:19,200 --> 01:08:20,760
freely.
816
01:08:30,779 --> 01:08:35,420
With the idea that the ethics is what remains intact,
817
01:08:35,440 --> 01:08:39,680
the ethics as a space for expression.
818
01:08:51,660 --> 01:08:55,279
Let's take, for example, this particular stone mason,
819
01:08:55,300 --> 01:08:59,080
he was sharing with me his life experiences,
820
01:08:59,100 --> 01:09:03,580
his family, the terrains he had traversed,
821
01:09:03,600 --> 01:09:07,500
the food he had eaten, the people he had met,
822
01:09:07,520 --> 01:09:10,979
there were so many stories within that, but he used stone.
823
01:09:11,000 --> 01:09:14,319
Stone was the link, the material that he worked with,
824
01:09:14,340 --> 01:09:17,359
was the instrument, if you want to call it.
825
01:09:22,100 --> 01:09:25,160
I guess it's also very Italian, it's like a family.
826
01:09:25,180 --> 01:09:28,260
When you cook and your grandmother,
827
01:09:28,279 --> 01:09:30,880
there's a whole community that comes together.
828
01:09:35,520 --> 01:09:40,160
My interest lies in: can we find a bridge
829
01:09:40,180 --> 01:09:44,720
to draw the informal resource with the formal resource
830
01:09:44,740 --> 01:09:46,920
and then make a product,
831
01:09:46,940 --> 01:09:52,399
or make a table, a chair, or whatever that might be, a box, anything,
832
01:09:52,420 --> 01:09:54,800
that in some way can proliferate.
833
01:09:58,880 --> 01:10:00,880
We were talking about Castiglioni.
834
01:10:00,900 --> 01:10:03,460
For me the interest in Castiglioni was that,
835
01:10:03,480 --> 01:10:06,940
at some point, the pieces that he made
836
01:10:08,200 --> 01:10:12,760
eventually became anonymous, you lost the origin of the maker.
837
01:10:33,160 --> 01:10:37,300
This house, actually, was inhabited by all kinds of animals,
838
01:10:37,320 --> 01:10:39,860
because no one was here.
839
01:10:39,880 --> 01:10:43,420
So there was a bobcat, like a wild cat,
840
01:10:43,440 --> 01:10:48,640
and as we spent the time they, one by one,
841
01:10:48,660 --> 01:10:51,720
started to move out of the house.
842
01:10:57,160 --> 01:11:00,940
When we first moved here 17 years ago,
843
01:11:00,960 --> 01:11:02,920
it was very different then,
844
01:11:02,940 --> 01:11:06,860
I would not say it was a jungle, but it was quite rural
845
01:11:06,880 --> 01:11:10,260
and the first night I remember we slept in our room,
846
01:11:10,280 --> 01:11:13,740
we heard this noise on the roof, like tam tam...
847
01:11:13,760 --> 01:11:16,260
and we were concerned that there were monkeys,
848
01:11:18,340 --> 01:11:22,160
there was no telephone, it was pitch dark,
849
01:11:22,180 --> 01:11:24,420
it was a very different time,
850
01:11:24,440 --> 01:11:27,940
but in that process of evolution,
851
01:11:27,960 --> 01:11:30,660
we also in some way overcame our ignorance
852
01:11:30,680 --> 01:11:33,340
of participation in a landscape like this.
853
01:11:40,580 --> 01:11:45,800
This all property is actually rented, so we moved here around 17 years ago.
854
01:11:45,820 --> 01:11:48,840
The house, I have learnt...
855
01:11:48,860 --> 01:11:51,700
about living in a house, by living in this house.
856
01:11:56,340 --> 01:12:00,880
I think if we consider our time as being temporary,
857
01:12:00,900 --> 01:12:03,740
that we are temporal beings,
858
01:12:03,760 --> 01:12:07,280
our ability to participate,
859
01:12:07,300 --> 01:12:13,500
not on ownership or rent, but the ability to participate with care,
860
01:12:13,520 --> 01:12:17,360
independent of ownership or rental is I think what is fundamental.
861
01:12:26,080 --> 01:12:29,960
Where we are, this was a small extension.
862
01:12:33,120 --> 01:12:36,780
It was more of finding a way
863
01:12:36,800 --> 01:12:40,400
to make a space that was in relationship with the tree,
864
01:12:40,420 --> 01:12:45,940
and how this space enabled or accommodated the tree
865
01:12:45,960 --> 01:12:49,480
or the reverse, the tree accommodated the space.
866
01:12:51,140 --> 01:12:54,420
This is a Ficus Benjamin tree, it is a Banyan tree,
867
01:12:54,440 --> 01:12:59,020
so it drops its roots, that eventually become branches,
868
01:12:59,040 --> 01:13:03,340
in some way, we have to drive the tree in relationship to the space.
869
01:13:03,360 --> 01:13:06,760
There is a maintenance or...
870
01:13:06,780 --> 01:13:09,440
an attention that is required on both sides.
871
01:13:11,500 --> 01:13:15,760
But it's not Bijoy's house, this house.
872
01:13:17,620 --> 01:13:21,840
I think it's a collection of many people who participate, like yourselves,
873
01:13:23,300 --> 01:13:28,480
you know, I am just one of the many, not the only.
874
01:13:42,460 --> 01:13:46,040
I'm very interested in this idea of accommodation.
875
01:13:46,059 --> 01:13:48,660
Accommodate is to give shelter,
876
01:13:48,680 --> 01:13:51,240
it's the primary premise.
877
01:13:53,800 --> 01:13:57,460
So this idea that you talked about protection or shelter...
878
01:13:57,480 --> 01:14:00,180
I believe that it's inherent in us.
879
01:14:01,600 --> 01:14:03,200
It's again...
880
01:14:04,240 --> 01:14:07,340
We all struggle with this idea of being alone.
881
01:14:18,800 --> 01:14:22,700
I think water, for me, is the most fundamental premise
882
01:14:22,720 --> 01:14:26,520
in the creation of anything or in the creation of life.
883
01:14:27,600 --> 01:14:29,600
In a sense, it's the foundation.
884
01:14:34,580 --> 01:14:40,000
You know, I imagine myself visiting this place, and actually just, you know...
885
01:14:40,020 --> 01:14:44,240
going through the pool and, in some way, to experience the house.
886
01:14:46,300 --> 01:14:51,120
Water is pretty much the basis or the origin of every project that has been made,
887
01:14:51,140 --> 01:14:54,460
because it's the origin of space in some way.
888
01:14:58,040 --> 01:15:00,640
Let's take Tara House.
889
01:15:00,660 --> 01:15:04,180
The house that we saw, with the well and we found...
890
01:15:04,200 --> 01:15:08,180
There was a cut in the ground when we went to the site.
891
01:15:08,200 --> 01:15:09,940
It was sweet water.
892
01:15:09,960 --> 01:15:13,059
It was a cut that had been made some time ago,
893
01:15:13,080 --> 01:15:16,280
so it had evolved through time,
894
01:15:16,300 --> 01:15:19,059
and there was still sweet water at the base.
895
01:15:19,080 --> 01:15:22,520
We made that the basis, the Center of the project.
896
01:15:22,540 --> 01:15:24,960
It's an imaginary Center.
897
01:15:26,300 --> 01:15:30,080
One thing also is the idea of nourishment
898
01:15:30,100 --> 01:15:34,120
because it's so close to you, it's like a belly-button of the house.
899
01:15:47,960 --> 01:15:52,080
So if I take Palmyra House, the house will cease to exist,
900
01:15:52,100 --> 01:15:57,160
but the plantation and the water channels will continue to be there,
901
01:15:58,440 --> 01:16:02,380
even if man, for example, doesn't participate,
902
01:16:03,559 --> 01:16:08,040
because with the rains, the monsoons, it would still move the water,
903
01:16:08,059 --> 01:16:11,780
the water would somehow still find the way to move back and forth.
904
01:16:36,840 --> 01:16:40,220
These are just extensions of the human body, at the end of the day.
905
01:16:50,400 --> 01:16:52,440
If we build with care,
906
01:16:52,460 --> 01:16:55,900
the aesthetics will automatically have its own resonance.
907
01:16:55,920 --> 01:16:57,059
You know what I mean?
908
01:16:57,080 --> 01:17:02,140
It's the lack of care that is what we experience, that's why we sense it,
909
01:17:02,160 --> 01:17:06,040
if there was something that I would write, it would be just "take care".
76361
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