This brings us to high-tech and minimalism. High-tech and minimalism are happening concurrently with post-modernism. It's also an exploration that allows for readdressing some of what was happening in modernism in the '20s and the '30s and what is actually happening in the design and the art world in the '70s and the '80s. One of the best examples of a hi-tech building is the Centre Pompidou in Paris. Now this building is an example of a building that is answering a very complex program through a very innovative answer. The love or the interest of the technology of the building, the structure, and all of the circulation in the building, is, is really expressed through the way that it's all been exposed and look at the exterior of this building. This is the structure. What you're looking at is the structure, it's also the circulation for the building; everything has been brought to the outside so that it's visible from the exterior of the building. The interior of the building is essentially an open void and that space can be filled in a multitude of different ways. This is a cultural center and the expectation for this cultural center was that it could be used in different ways according to the kinds of programs that were being set up; so it could be open to a great extent and be used as a theater, it could have multiple floors and be used as gallery space, or you could actually create any combination of those two. So it has no internal staircases, they're all in the exterior and that's what these kind of little, like enclosed tubes are, these glass enclosed tubes, sort of like gerbil runs or something, where people are able to move in enclosed space on the exterior of the building and then when they get to a floor that actually exists they're able to exit and come out on to that floor. The scaffolding is also part of that circulation structure and then there are poured reinforced concrete piers that hold up the building itself. You come around the back side of the building, you can see that all of the kind of systems for support are also expressed on the exterior of the building, so water and air, heating, electrical, everything is actually running on the outside. Now this interest in, in exposing all of this wasn't purely functional; it is functional to the extent that the interior of the building has a tremendous amount of flexibility, but part of it was also aesthetic, a real interest in, in looking at this aspect of the building. And that's partly expressed by the fact that all of the different parts of the building are painted different colors so it can be read by, by anybody and also in that it actually doesn't save any money to have all of this on the exterior of the building; it's actually quite a problem because it needs to be renovated constantly, all of these elements degrade rather quickly. Another shift that we see in, in architecture at this time is, is the idea that Modernism doesn't completely go away, but is readdressed and we can see that in the work of I.M. Pei. So in this world of minimalism and high-tech there's also a place for a continuation of modernism, but it's a modernism that's been softened in the fact that it's more responsive to the program at hand. And we can see that, for instance, in the additions that I.M. Pei has built for a number of very important museums around the world. Here what we're looking at is this kind of pyramid that's added to the Louvre and it addresses a problem of having a main entrance for the building that actually can hold the massive numbers of people that visit the Louvre each day. So where the old entrance had been part of the original building, and you can see it just behind the pyramid in the black-and-white image, it just couldn't handle the kinds of crowds and all of the types of services that are necessary in our modern museum-going world. And so what he does is he builds this clear pyramid in the center of the court so that one knows immediately where one needs to go, the pyramid naturally draws people toward it, but then it filters people down into a newly-built reception area just under that courtyard that has all of the services and circulation that are necessary to handle such a big crowd. And you can see that, from the interior of this pyramid, one can still visibly see all of the Louvre, so it doesn't obstruct the view of the building, but it very gracefully brings people down into this large, new reception hall. Now the idea of high-tech or minimalism coming into the interior, also relates to art movements that are going on, in New York and elsewhere in America at the time, and minimalism is in fact a genre of fine arts. And it is very much about the kind of doing away with the multitude of things that the modern world has brought into play and kind of simplifying in, in life, interior art, everything, down to just those elements that are really necessary and in many ways one can see that relating back to the work of Corbusier. And looking here at Ward Bennett's apartment, which can be classed as high-tech or even minimalist, we can see these ideas that start with people like Corbusier, this interest in technology and new building methods, in new materials, and also in creating spaces that function with just the minimal amount of elements in them; both in in this space. This is, in fact, two storeys of the roof in the Dakota apartment building and the Dakota is a building from the late 19th century, it has a mansard roof that had originally housed rooms that were for servants that were connected to the very wealthy people who had the apartments in the greater structure of the building, and, at some point, these, these spaces are converted into apartments for sale. And Ward Bennett purchases one of them and turns it into his own home. So it has these funny kind of canted walls and non-traditional windows that look sort of like skylights, for a reason, that, that's original to the space; what he does is he carves it out even more and creates this pure white interior; he uses industrial carpeting on the floor and then all of the furnishing is upholstered in black, and you can see how the industrial carpet runs up onto the wall, this is really typical of the late 1970s. We see these upholstered black cushions that can be used in a multitude of different ways and that has something else to do with functionality, the ability to shift things around, and when you look in the foreground, of the image on the right, you can see just the edge of one of Corbusier's chaises, so this is, this is, it's, it's one of his chaises, but without a cushion on it, it's really being it's been placed in the room as a piece of sculpture and as a reference, really, to the master. The desk that Ward Bennett builds for himself is made out of an industrial cart that has a sheet of thick plate glass on it, he's got coffee tables that are made from wooden spools that are used for industrial wire, and as we move into looking closer at some of his furniture design you can see how he's got this love of building materials. Here he's used a slice of an I-beam as an end table, and here he's playing again with these ideas that are first being formed in the 1920s by people like Mies van Der Rohe and Corbusier in furniture design; and he's taking them to another level that reflects his time, of the late '70s the early '80s, in his design for the Scissor chair that looks as if it is actually, could actually fold, but, indeed, cannot. Joseph Paul D'Urso is another designer that works in this, in this kind of minimalist vocabulary or high-tech and the two of them really merge rather rather beautifully because they're about both kind of the reduction of things, but also a real appreciation for kind of raw technical things and certainly looking back at the designs of the Bauhaus and Corbusier. Here we've got an interior for Calvin Klein designed by D'Urso and we can see some of the same things that we saw in Ward Bennett's space. It's completely white, again, the use of industrial carpeting on the floor, we've got, again, black leather upholstered pieces that are sectional and can be moved around, and in this, in this case we've got designs that come directly from the Bauhaus being utilized; you can see the chairs and the tables. Now one thing that, that becomes quite popular, as well, in these kinds of spaces, and something that makes them very kind of lively, is that, is the inclusion of art. And it's both modern artwork and pieces of folk art, or a primitive art, that have lots of texture and color to them, that punctuate these spaces and kind of bring them alive. One thing also to take note of is that this is a time when many of the designs from the 1920s by people like Breuer and Corbusier and as well, Eileen Gray, go into reproduction; like they, they come back, but they're being revived almost entirely in chrome black and glass, so none of the kind of variety of color that was part of the exploration of design, especially at a place like the Bauhaus, is being incorporated into these reproductions; so it's part of why we often think of those times as being purely black and white, it's because when they go into reproduction they are being done purely in black and white. And this is another interior by D'Urso, where he's using this concept of landscaping on the interior. And you can see this, maybe not as clearly as I'd like in this image, he's actually carpeted the floor and then he carpets this platform that the mattress is actually sitting on as well; so that if you were to move that mattress it would just be like a carpeted island in the space. And he does this, he builds different levels inside of the interiors and then carpets them with the same carpet that's used on the floor, to create a kind of flexible landscape to live in. He also uses curtains in much the same way that we saw Mies using in, for instance, the Bruno or the Tugendhat Villa, so that you can create privacy in this space or open up the curtain and have a completely open plan. And we see this again in these views of yet another interior; again he's got carpeting that runs up onto a platform and, you know, depending on what you put on that platform, it's either a table or a sofa or a chaise. And we see that, in his interior, he also incorporates Corbusier's chaise lounge, this becomes kind of a symbol, again, of the reference to modernism from the 1920s. Here in a design studio we see him using factory catalog purchases. He's got these stools and clothing racks, both from factory suppliers, that are being used as part of this series of desks in this room and what's interesting about this is that he hangs chain link fence, fencing over these clothing racks and creates rather transparent barriers between the workstations, but what's wonderful about it is that they can hang things on these very easily, which would create more privacy and also allow them to view what they're working on. And then if one wanted to change the configuration of this room, everything's got wheels on it, so you could just move them around and create bigger or smaller spaces or spaces on the other side of the room. He also incorporates a drycleaners rack into one of the private residences that he designs and so this is kind of the ultimate in the high-tech closet. Now this is a pair of tables that are designed by D'Urso so in the 1980s and you can see that they are made entirely of metal. They're these kind of low box-like pieces of furniture and the reason that I include these is because I want you to think about how there can be some really strong crossover between art movements and the, and in interior design and we definitely see this in the work of the late '70s and the early '80s; with those images in mind now take a look at the work of the minimalist artist Donald Judd. Donald Judd's career is all about exploring the cube or the square as a sculptural form and we see this in this very large installation on the right-hand side of the screen. And he did these in series of small and large and, and all kinds of different forms of the cube, but Judd himself decides to address the design of furniture, and we can see in his design for a desk and chair, how his minimalist approach to sculpture is applied equally to his design in furniture; creating these very minimal yet functional pieces.