okay so Andhra Pradesh's was born in Catalunya he died unfortunately in in the year 2000 2001 he was only 45 years old he died a brain tumor but he left an extraordinary career he left a huge amount of about other world I consider him one of my heroes I was lucky enough to work for him but I went to work for him because I idolized him he was a crucial figure in my development my early days as an architect for many reasons one was because in an era in which the construction was coming to life he was he was an architect that he was working in those series of experimentations and in craley aggressive formerly speculation but also he was doing it in a way and with my material with the language there it was much closer to how I feel being in Argentina so part of his strategy was to try to understand they know see of geometry and part of the issue where I wanted to talk about B lashes is in the regulation of a recent lecture that I gave to Princeton before the quarantine came what happened was that people kind of misunderstood in the idea that I was not interesting in my own work on the 2d on the idea of drawing because in my in my in my point of view and rig was kind of the guy who shut down any possible is further explore additionally today of course that people who have the capacity to keep exploring that but for for me for somebody who was working into those into that territory this idea was an incredible and powerful one in the sense that the computers allowed me to move away from that so the work of a break one could one [Music] could argue one could argue that it was based on this simple idea which is called how to lay out a croissant or how we call in Argentine middle una half a moon and basically is the idea to take something unconventional and then filter to a series of convention that allows us to manage it but the other thing which he was crucial in his way of thinking which i think is something that we are exploring today in different territory whose idea of the day by day life the idea of simple things and can be maximized or elevate to sophistication by daniil manipulation and geometry inform so he was somebody who understood architecture and the way to produce a manipulator detector as a way that you will cook bread or the way that you make the bed is the way that you do it you learn it by doing it so early in his career with the Olympic Games in 92 he was given the possibility to do a series of projects there one is called the carrier the carrier pergolas in which he was in motion day in the olympic villa sorry to allow people to get in into the into the lecture into the talk and he said he was to create like a parade of this gigantic characters I was in a carnival in an Olympic built layer which it was pretty much dead so the notion that an ejection is not just a pure functional element but the idea that the architecture has a sensitive expected of architecture have a sense of joy and things that can be elevating and exaggerated so one of the things that he was truly a pioneer is in this idea without talking in terms of autonomy of the form but the notion of the form and the notion of the geometry and the manipulation of the geometry as a pure articulation of the purity identity of architecture by himself so the other thing which is important is his obsession was through the layer but through the language of drawing the obsession was to manipulate architecture to drawings this is this is a simple drawing of a lady's office in which you can see the plant sections and elevation put it in relation to themselves not always in the same position but the plants the elevation will face to it and this was a technique that it didn't come from didn't come from his own architectural vocabulary this came for carpentry for Northern Conference tree again they did idea to elevate vinyl of simple things into incredibly sophisticated so there was there was this notion that came from Nordic camp carpentry particularly in Denmark and particular in particular in Denmark and Norway that he will apply so this is for example one of the first to do with canopy nose at a time called a social center and and again you will start to see like tiny columns that they are like little legs so there was there was a whole series of understanding of architecture and challenge all the conventions all the time in a very playful and joyful way as a way to as a way to understand that truly manipulation of of the geometry lacing it will start to happen but the other thing which is interesting is to really work with the notion of time and with the notion of poor contraction techniques and cheap contraction techniques so he would embrace imperfection of materials instead to in differently let's say that soccer halidom will press and even from Gary or many of the others further many formulas architects who rely in the precision of technology this also draw by hand and the construction of these drawings also it's an interesting one for those of us would learn to draw with fountain with a Stila graph all this was done in 0 1 so the value is each line was not each line was not something that will be developed in a different scale this each line was a design and construction drawing the same time so in the same drawing you will have drawings in 150 121 5 all compressed into one piece of paper again with this carpentry mentality of drawings in which architecture is understands a three-dimensional thing is an interesting thing because this is way before computers come to play but this notion of that architecture is something that you cannot saw each other so you will work through plants and I said many times that you can divide architects between algae they who work in person section and rig was always in plan and the section was a consequence of the overlapping of that plan this is probably the project abroad who brought international fame to him and karma Pinos is the evil Allen cementary unfortunately he died young he's buried in that cemetery but it was one of the very first radical examples of artificial nature nature artificiality so the the cemetery is carved into the landscape it's carve into this and it became some kind of a river of artificiality in which all the parcels and all places where you would put the coffins will be part of that so you can start to see here how that operates so this is this is around Sitka 88 87 once they won this competition so the work and you will see certain ideas that later husband and Meryl use in the winery in Sonoma this idea that the rock and I met also this notion in which is not is not about architecture meditation nature is the opposite is how much stretch to the line the artificiality of architecture until he became nature so to me I consider him one of the most radical and sophisticated architects in the last 50 of the last 50 years one of the most certainly originals and one of the most playful and joyful so he started to tour things was also a phenomenal thing to understand and this is one of the things that I find him and clearly influenced he always talked about that you never working one brushing at the time you work in multiple projects and the end one product or one project became the beginning of the next one so when you look at of the photography's of the cemetery and how he started to make the collages that would became the birth of the next project in this case is the archery range for the Olympic Games so in a way all the projects are can be continued a colleague a calligraphy or a lexicon or an alphabet they get developed over the years not know the same dance style not the same necessary as as a formula you can repeat but something have the capacity to mutate and evolve and change so through the Scholastic so the cemetery the archery range will come to play and this again this is before computer but you can see the influence of repetition variation and mutation of it but at the same time to produce an effect that it produced in Carroll amount of diversity and also kind of a choreographic a way to understand in which everything seems to be in permanent movement and also in a permanent sense of incompleteness well one of his famous squadron was always saying that the worst the worst part of architecture is it gets finished HHO so it's always his best when is incomplete so there was a there was an extraordinary way there was an extraordinary way to navigate about the manipulation and the construction of the line and the drawing he was no somebody cool free sketch allowed he all these drawings were coming but the precision triangles and compasses and then you will say true spirit this is before way before we were using a pyramid you will do it photocopying and make a bigger and bigger and you will see that his original drawing will match exactly whatever you were working in terms of the society on location but and again the drawings were these kind of a cut at these kind of maps almost a geographical maps full of information so each each of the drawings I'm showing you some of them are my original pictures I took at the office when I was working for him some of them are more new stuff but all of them were in single sheets and they will supply with this you have planned section details all combined into one and then from from the urge to arrange it will become the genesis for a stadium this was a stadium Wesker who also has a very peculiar story in which this one is one of the perfect examples about what I was talking about stretching artificiality of the curve on the line into nature one of the things I always find extraordinary is the reason why I always thought that his drawings and its plans and his curvature language was extraordinary is because it was done between tangents with the compass they were not done with a French curves or or it was not done with other kind of curves of course every curve is a piece of a circle but in Rick Enrique's the curves never felt like a piece of a circle they always felt like it was kind of an arm only the natural progression between the tangent to the connect two lines this daniel has a peculiar story because the original delicious roof which is shows in this picture he fell off because the structure still was put in the wrong way so the cold roof when they were under construction so they had to change it to a different structure and they keep the old columns as a presence of an archeology of a procedure didn't happen so in a way he was projecting his own ruins of his own project which again of course nobody liked that too happens but he made it do something interesting I conceptually had to skip to Splore how the project can build himself another ruins which he became sin parallel through that manipulations of collages and to dust manipulations of the photography and the lexicon that he was developing to weaken degeneracy for the other stadiums in in Alicante and also in Spain and again you can see how the language and the overlapping of the plan so each plan doesn't only have information of its own nature he has a lot of projections on plants on top so there is this desire to saturate the thing but to be honest he was obsessed with new means of beauty and how you can produce new beautiful things I always tell I always tell to to do my favorite the stories about them break walls his answer when you will ask how you want to do this and here we will say beautiful beautiful man and the other story which I always tell which is what my privilege my favorite is it was a Saturday with it was only few of us in the office and he came super will dress out and so one of the people working the office asked him are you going to a party he said no no no no today I'm gonna do a beautiful drawing I find that incredibly silly and corny but I find in curly powerful as I explained me how to understand the culture of design so again out of those stadiums they would come pieces that you can manipulate and change the scale again this is before computer but in a way but other reason what I argue that he was the guy who closed the language of 2d is because he has it discovered to go risk between a scale to go between scales so this part of the study then suddenly becomes tan interior for a small for a small reading room for writers association in Madrid or you only came by the saturation of the same lines into an installation in Japan or a table this tables called in s table which in Spanish is the name of a woman but also we wouldn't mean in a stable so on the table would change and so on but also can became a puppet theatre so and the puppet theater would inspire them to became and a school and the Scottish Parliament which was a competition and he won before died and started construction before she died and finished construction after he died is it building when the tragic story in a way because the Prime Minister who choose the project and commissioned the project died within three months of intrigued me that she's dying but what is interesting is the project was in peril happening with another competition for the Royal Theatre in damar was happening and it was one of the first attempt to use computers and there was a whole leg which I was understanding surfaces in a way that he didn't do before he was working with line and suddenly he start to move toward surfaces and then you will see many of those ideas will come to fruition in the construction in the building of the Scottish Parliament this is this is the building as it looks today a complete which again the integration between the everyday life that officiality of landscape and even emulation of language ares into the control of the nile and to the control the geometries for those all of you who are interesting in lines and with working with faculties inside they're interested in the front of the line i encourage you to go and look into the books and look the other thing which is interesting about the drink and car may be nominated ooh as well is that I and this could be a talk for another day I can show you every per second trick trick what particular code we'll see he was looking at Oh his war was defined by interpreting Andrey manipulated the work of the caduceus which is a really good exercise for those all of you who are going into thesis or I'm gonna go into dissing this idea that you can keep revisiting existing concepts and feel there are new ways to manipulate them and also to take for other things that are almost like ready mates in the way that you shamble do it so he will use this kind of a pocket pocket windows that that's very common in Netherlands and make it into something that can incorporate in in the project of political value so something that it belongs to a little house it will it will get translated and transpose into a parliament and of course what what is the notion of a parliament and what is the idea of a parliament as an entity to convey culture and to convey progress in a society and what does it mean in terms of the functions of it but also how you keep thinking this in different terms so when you operate in a territory like this you will have a whole different way to understand politics even but of course our cadets argue that like I can break molasses which I feel is a kind of breed of architects I admire the most are the one that they dare project their capital project to capital a project is a continuous one is no one and change of mutaib with the particular problems or a particular project himself but it's about the construction of a language is a construction of a provocation as a construct is a is a contraction of challenging challenge in society in challenging status quo how would relate to those things and you can see the complexities of the plans keep amping up as time goes by and time house moving forward and again what I was talking about the elevations in relation to that but they built cross city and this is this is another important subject he work with his work and the work of the team and the people that were with him and his partner completely belong in the category of atrocity an exhibit the velocity and the mastery of the language of the spurt ease of being an architect at a time in that case the line drawn and today will be will mean other things that we keep added but I am I'm a strong believer in the capacity of velocity and that does maybe maybe there is an underline for this pointing towards he will relate to the issue of velocity because when I next week I'm going to talk about a little bit about Frances welcome which also another width also in the world of painting but so when when these ideas translate and move from Parliament when stadion it also a pick up and carry new new concepts so this is before photo shops this was Catholicism forth of metal reflection things and then photography of that and start to create collages of course influenced by people like they recalled me but also by Giacometti portraits in the idea of 42 portraits of Giacometti of famous a famous lord and the ending being that he was doing a portrait of his brother so the idea that repetition of the action you will discover the true meaning what you work in so in this exploration of collages which again this were there was no number computer this would literally photography be cut a blue and put together as I wake to liberate likes Africa did was looking with paintings of Malevich or many others but they did to liberate the territory and to be prescribed by his own obsession with the precision of lines and with his own obsession of the saturation of the line and how we understand the possibility of architecture cell ludecke activity as a one that introduced moments that things are not predictable that cannot define and then keep evolving those techniques so you do like a call me starting to understand when you work in a project that first you do this partial understanding of the site so he will he will go somebody will go and take pictures of inside the project and then I start pulling traces of papers on top or start working with colors and I start to incorporate colors in some of his first attempts to work in landscapes and how that will reflect in parallel to the Precision's of the drawings but those who produce thread in any little jewels like meditation pavilions being clearly over the top is small projects so there was a level of access and saturation that no matter what scale he will find a way to take all the things to the stream and to really to really introduce a whole series of new effects or whatever the textured could do and produce or is no competition like this one for expansion Museum which literally he will take will go through the windows of the museum said okay we're going to span the museum by exploding the room so again banal and simple ideas [Music] so okay somebody's in the chat I guess I'll respond whatever is gonna chat at the end so again the banality of the day by day sayings idea to understand a port of something that their boats moving along or the idea that school is about circulations and classrooms so we put the classrooms that we've surrounded by circulation so there is a premium and they say there is a quality to understand that the simplicity of ideas on ideas that can move from one project to another this is a bridge and he did for the next life actory the name will became the same section for a project University that he will do years later or is or this pension of a house to a swim pool that then it will become a concert hall proposal in Copenhagen or the school expansion of the coda School in Venice that also will find an echo in the museum and a rose museum somewhere in Frankfurt and that that project that roof from the Rose Museum that even have been in France food will find a place and a home in the Santa Catarina market in the heart of the Gothic neighborhood in Barcelona and which in this project I was lucky enough to do the first drawing that ever of the project which was cutted into the into the Gothic sent into the Gothic center of Barcelona and I start to see meaning what examining what parts of the project were ballets unimportant to it and so the project became like this elevated kind of garden to an existing market and put a roof that covers it and allows that to became this kind of visual garden colorful things for the surroundings of the buildings and for all all the air that area in the neighborhood with a whole series of low England housing attached to the market and the market are under to be only able to preserve some own historical qualities but not no preservation in a nostalgic way but presentation as a way a preservation as a way to move forward to take things that again exist in the collective memory and push it forward these are species of the of the windows that they were existing there so they got reported the same within renovation of the Utrecht in Netherlands City Hall which wasn't renovation to in which you can see again there's a simple scale effect that you will see later in the Scottish Parliament a much bigger scale and a smaller one but also this idea that each window could be slightly different in the way that a city get patch and organize which is not different what he was doing with the table but also if we will find a different kind of logic when they have to do with a kind of a more conventional corporate tower building for the gas company in Barcelona but even then trying to find moments in which the idea of nature on the night manipulation on tissue no built in sawing into the city sewn into the fabric and always this one of the things we always will say which I always find super again simple but fascinating is as an architect you should you should you should be expected to leave a place better than when you found it like architecture also should have some ambition there a symbol of that that you give they give you a project to work in a place to work and you it's your job to make it better than what it was and some of these some of this idea will go to much more radical and ludecke extreme in the park in the parts of the days in this case they own admire in which again taking the planters that you will see in balconies in Barcelona and Italy and over exaggerating and making part of scale urban a scale so a scaling up playing with manipulation and geometry these are recurring theme that you will find along the way you know his work and this was a massive project and also to create his pockets of different areas of pleasure the idea of pleasure and joy and the idea of architecture as an to activate those things as an active as an activation also of try for the neighborhood because the people who start to believe that it because this income something else will happen so I don't think so this idea the formal design or design the pursuit beauty is divided from a social agenda is it very false dichotomy he should never be established in those terms very few people have had more interest in how to negotiate those things how you would change a community of the city or the fabric of a small town and he took as I said a lot of projects that were incredibly low budget and try to figure it out this is a small park in the skirt of Barcelona which again in a very poor neighborhood and they will work with graffiti sand and a language of creeks and not even grass because the book grass was too difficult to maintain so it will work with chess with dirt how to incorporate that into something that it can create an agency for for the neighborhood to reshape and push them in different territory this is the project I was talking about the section of that bridge for the factory that any will became a whole I called the University campus in bagel and again the forest of columns and again the idea that instead to put a single call and you can put a multiple one and you can create if an environment and you can create different effects and take conventional memories and soup and can you create like a subliminal of it and then they do the classrooms and elevators so the public room can liberate it so you can get through and see the mountains so it's tough that they're kind of basic but he was predicated in this idea of a simple concept there has a capacity to become a complex project which to me is was one of the most important lessons to learn from him is this the idea that something of a certain kind of lack of grandiosity can became grandiose by the manipulation of the technique and the formal and animating it and they doing it and they doing and again and again again so there was a something extraordinary about that process and the last project that what I want to share with you guys is a project and I was lucky enough to be part of it when I was when I were there in 96 it was a small house in compañeros what it's called it's a summer summer cabin and he said here was a simple one was the idea that each room will be filled by one member of the family so the little one by the kid and big one by the by the man and then one a little bit smaller by the woman so all based on the in in in there in the proportions of it and and I started storytelling as a child story about a little house and so on and how it was about moving furniture so a house was chests to contain each furniture they will need to be placed in each room and he came by this soap carved so idea little bit like matroyshkas or little bear story simple one and then Abel became this kind of a very simple booth and how you would do the drawings again these notion this was absolutely first drawing that he gave us to us it came from with the same model of the soap mobile so you can see was not a freehand sketch it was not different and it's a so many ones we work with the computer it was contracted by straight away by lines and circles by the compass so it was an incredibly reorder some precise way to work and it was about playing like the children when you're a child you play when you play seriously so this idea that architecture is a way of playing and it's a way to stimulate plain and it's a way to stimulate plain and the urine in scale and the social scale the building scale I will say it dominate a lot of his work not only with fear so we have some time to chat do I have a questions or comment or anything they be send me text in private I used the water ludic in a center in a sentence I'm not sure he's criticize you know what David or people don't know your closet PhD scholar it took a pandemic to bring it out of you well in times of crisis yeah we're all naked yeah I do have a question you know they emphasize the number of times that this work is pre-computer mm-hmm and I you know how much I agree with you about this a lot of people seem to think that digital technologies were produced kind of in a vacuum and then everybody scrambles to catch up to it but in reality a lot of the reasons why digital tools are structured and the way they are what's because these concepts were already produced by people like Enric my eyes before the computer yeah the concepts were already established yeah I think I think I think the work of von Drake and Carmen I mean I mean I focus in on Rick we go he transition into between to practice but I think others he wouldn't transition in extraordinary well in the computer as a matter of fact yourself is Dave without him to transition to computer I think he wasn't really precise I think like people like domain and Sasha Hadid and many which are actually the sakai was more or less the same age that Enrique older but I think he work was kind of pushing that and to be and I think for some of us who were very very influenced died and break and I only for him for a short period of time so I was not really also need really but his influence and and I was lucky enough to help to develop a friendship level of friendship with him so I consider him and curly important influence in my life personally too for other things which but yeah I think his work was I really believe at least from my own trajectory that there was nothing left to do in that world that's why I think I embrace it the three-dimensional and animation software so so hard I never looked back because for me was the only word it was the only way to move past that but I think yes I think in many ways a computer eruption it was the natural consequences of a series of architects and theories of thinkers and designers in other fields they were really pushing the envelope to a point that we needed something else understood Sapir kal-el was asking if there was any specific influence on the Catalonian culture his work I think there were but it was it was a subject he was not comfortable with that he was never comfortable people relate his word to God he always he always distant himself from that a little quite a bit he was much more comfortable talking about the influence of the carousing in his work but I think when you grow up and you do get yourself in a culture like a saloon in which our each picture is so fundamentally powerful is one of the few places in the world maybe feeling man is the other one in which an architect is a symbol of the city of the region Val D is the symbol of Catalunya Barcelona and this is this is a region and in Sydney they have people like Natalie and Tony trapeze and music and so on so you cannot be divided from that and also I think allows you to operate with a level of freedom and there is an expectation from the society that each hok pushing the envelope there is no way that you can run for mayor of Barcelona we were platform about what you're gonna do with the public architecture the public space let me use water that's really fascinating and you talk more about how he overcome the difficulty during the process of realized realizing the projects as they're complicated I guess there will be a lot of challenges in terms of budget structure assembly process so I didn't yes like any marketer who challenged and pushed the envelope he struggled with that a lot but he had a very capacity to embrace the imperfection of that process it was very important in the Emmy stage of his career again he is 45 huffily stuff as to you build he managed to build before he died which is a remarkable thing for an architect half of the element were built after he died he also embraced simple materials most of his approaches were concrete steel and bull noose titania nor any of the things and so there was a lot of extrusion and the manipulation of that and also there was a lot of he was don't mean me wrong he was installed in early Talent but circumstances defines a lot of these things he was in a particular period of time with Spain with socialist social democratic government in in the country in the region were pushing for public projects and public buildings so when is public money the difficulty of it even though the badges a little bit more limited and not the same when you have a private client so he will benefit that early stage of his career and then because status get cemented it people start to trust him more he went to a really rough time after the roof of that the stadium went down he went for like four or five years without really getting to secure neckline to build the project until the Santa Catarina market he was really really smart in working to client but also his partners at karma penis were really useful to in navigating that but I think also is part of a different culture most of his work happen in Europe and Japan he died before China became a factor I mean Benedetta his late wife and partner that continued with the firm she benefit from that so part of his work was also in a culture that a pre she ate architecture and that people take they willing to take more risk but yeah he was also incredibly resourceful to war with budgets that and many other architects will not will run away from him okay said Sebelius asking thank you for your spirit can you speak a little bit about technical translating to the drone to 3d model I think there are many ways to do it my way was to move away from today to move away with my understanding of landing geometry it was a progression to in the early days of the computer which David Davey and I we are part of a similar generation and also he were for Jesse and the world of David we did with Jesse and Monaco in the water garden for kidness is a perfect example of that and Jason an Evo really good at that the early stages I was very obsessed with his flying lines and how to manipulate his flying so having more freedom that the tangent between curves so my early my only war with the computer was still a little bit quite a lot dominated by the line drawings as I got more comfortable I start move away from that and start work more with with with latronnik geometries or volumes but the principle is still in fluency if you look at if you look at my word for those of you who were unfortunate enough to buy the book if you look at the book at the boat will you look at lectures and where else and if you look in the drawing you will see that it's a lot of miasha's still in me but it cannot reverse it's like we try now is from the 3d to 2d but my prime preparation was through spline lines and that's something I will talk no next week but the week after which I'm going to talk like I'm gonna talk about the beginning of the computers in the 90s I'm gonna talk about splines on different ways how Greg Lane and I'm Jessie rice and Monaco and AIA people talking about but was to do that yeah the Scottish Parliament yes when over budget big time others again that was the ones I were talking about working with with low budget was telling his career when he achieve let's say the star architect to star architect status this virtual world but particular Scottish Parliament was was incredibly complex process again doing part and breakdown in the middle of the process so there was a lot of other things that's true it was not over a hundred times that was has been exaggerated in the media but yeah when it went over budget many many times the he always somebody hnr asked he always started with two delays or something started with Phrygian special and complexity in my time the office it was all by to D I know lately I told you my team and other people working with the project but office became much bigger because complexity for projects that they were dealing with and they started using the models and the physical model as a tool of communication within within the office a lot but also as I show you in the in the little house the drawing the the plant drawing and the 3d model made out of soap came at the same time so I think that's you work a ball bit the 3d became more and more hundred percent sure he would live longer he would it be if he wouldn't embrace the benefits of 3d technology that came through the computer so I think is where you're thinking was very well suited to operate it that way I think it was a level of comfort in the way that he he learned to draw and I I don't think he would ever learn to draw with a computer probably not but he would have benefit from that but I I know that the last the last video he alive and later on in the office the physical model became a much more a much more common way to work through different things in the office the photography collages the photography colossians was something yes it was straight out stole from Connie first and he was doing the baby hobby thing and then he started to get a little bit more credit even curried and chopping in and so on it was something that he he will use a lot either at the beginning or in the middle of the process he will use it as a trigger or in the pressure was getting stuck or getting a little bit limited he will he will use it as a way to unblock it I think he was a little bit like a ludic playful for himself and it was a different way to communicate I have to say is one of the things I also use a lot in different way I used through with Photoshop and so on but the idea to pylab different concepts fast and I think it's different when you're doing with Photoshop demondo this physical collage but mostly I think they were agencies of disruption I think either to trigger project at the triggers and kind of a easy way to communicate we can start from the rest of the team but also to the to the project and some of them were up top sees some of them many of them were analysis that he will do a previous project as a way to set up emulsion the next project of the project is were running in parallel do you still draw from his work in the 3d animation renderer that is what most with no I think in some way that is a lot of in the work in animation some render somewhere there I can tell you that it's very unlikely that the week will go by and I don't open one of his books I think I have every board has been published about him and Carmel him and Benedetto he by himself I this is something again that I learned by working with him and I'm working with other people but from Enrique will also have a lot of liquor Uzi books open all the time so I find it still useful is not it is not the only is not the only thing I look but ya know I still consider the ITIL to see his presence very very very close again also have to do probably with the there was there was an important or something for me in the sense of when my when I was a student at you guys in intro sorry not Jane Tina I was interested in his work and the work of Safra Hadid and we'll create some ptomaine and Frank Gehry and many other disruptors and but there was a there was a conflict with me about my own my own interest in a kind of a very boring show a life outside of work and so I was a little bit when I was younger traumatized by that but that idea it was a it was a it was a kind of a Nakata mean that and then when I met him break I come to terms with that because it was a very very down-to-earth conventional person in his personal life and all that was liberating through the work so I I consider still he made a big big influence else on a personal level because in any moment of no crisis but the moment that you trying to figure out who you are as an artist and who you are as a person it was a very important important person in my life how did they work for the same process I can only speak for the time I was there probably that change but the office became a little bit bigger Oh most of the pressure would start by and wriggled usually drew in an eleven by a and a half balloon a small and he will do the alter precisely sketch and I usually he will give it to one of his lieutenants at that time he had three and the lieutenant will work on the team to keep developing so the first step will be to develop that start working in the basic plan and they will be a team they will start to work with can extrude model right away with that and usually in brig will start to work on his own to work with a collage I know that by talking with Benedetta many times after that change a little bit change a little bit the model will became something much more generative and like a more simple thing and then give it to the model team and the model team will start to build a new skeleton and then the material will start to grow from there yeah they said she was a Charlie Parker contemporary architecture I that I think he would like that comparison very much I hope everybody knows who Charlie Parker was probably the most the most radical game-changer in jazz it's so awful you think about how much he could have done if he lived longer yeah same with Charlie Parker right yeah and like Charlie Parker like it's also sad how few people know who Enriquez now as time goes on and just how incredibly good he was how come his clients I'd really don't know I wasn't I wasn't in the meeting with clients I mean if I think you can still find I think the insider Harry selection break I think you can find them in YouTube he was bigger than life he was one of these guys who by his own presence so I imagine that he was really good and convincing crying but how he did it I don't know I mean I asked myself with many of the circuits who managed to destroyed in any war how they do it they're really they're really good about it and they know how to navigate that Elaine I was saying can you talk about Romans yeah I think this was somebody was asking earlier anna-lena Catalunya influenced a yes it was but also he wasn't clearly influenced by Italian architects he was a big fan as you can imagine of some of the small work of carlo scarpa and also he he was very close friend with the 40 with Franco Marini and Aldo Rossi even though if language may not look at first glance similar but he was influenced by this idea of the celebration of the everyday life as a form of roughness and again I think his appetite for Rodney's it's hard to say how much it was his own conviction of it or it was more to accept the dialogue between the precision of the drawing I can never be achieved in a building of it the dirtiness of the Romans they come with a building and the way that they can from build in the contact of Spain which was early in his career I would say that for example the Scottish Parliament which is much more polish and he's finished I think he lacks some of the early runners that the war has I think for me his work was as his best when he has that broadness I thought there was a kind of a primal bull I mean we used to talk with him vaguely the bullfight bit but I always picture and drink as a bull not as if I was a bullfighter there was something incredibly brutal and primitive in the desire filter to that exquisite and sophisticate we of drawing it which i think is to me in Dedham in that kind of a doctor check mr. Hyde is worried so which also argued for me that I don't know sometimes and big architects particularly in the anglo-saxon world we put too much premium in the detail or the precision of materials and I think the last scene made a running way to understand broadness it brings certain quality to life in architecture that I think sometimes I get lost I don't know [Music] I'm a big fan of that and I think also what you say is true is a constrain of the time - I think he was in because he got caught between the tradition and let's say the good they will buy a fact of new technology and again I'm not so sure how the Scottish Parliament wouldn't be built with a brick alive he will look exactly the version that he got built it will be slightly different I don't know he would embrace that more precise way I don't know there is an interesting thing because David I think was hosting a salon on Friday I'm cooking there is something interesting about about how cookie is working this way - like you have somebody like like a Ferran adrià which is all about the sophistication of Mulligan on that and then you have people like Francis Mann Mann which combine that and they still try to recapture rawness or somebody Massimo Bottura which he producing really sophistication and and an elaboration of Italian cuisine which is rooted in traditions but he gets elevated but the most exquisite sophistication but he never she does two things so I think is to me is one of the most interesting conversation to have these days I don't know I'm personally obsessed with that and is one of my observations about what I call our agencies of contamination into the computer territory so I don't know I find it I found an interesting conversation but part of the issue where I wanted to start this kitchen quarantine talk with you guys is because I David said I he somebody who I consider ordinary figure and somehow in America hasn't been that influential and also we go here radii almost twenty years ago and many of you know it but I thought I thought somebody whose war obesity again particular since that is old many many interesting the prune of the line and the drawing as a way to understand and I think all his architecture was born into that every line he had a purpose in the building every David drawing was a construction drawing and every joy must design drawing there was no distinction so I think for everybody for everybody yeah digital archaeology I mean I was talking one day the stadium that the roof fell down he always talked that he built on his own ruins so know many argue they had to get a chance to do that yeah archaeology of the city also the way that they will cut into the city and so on so is a I think I think your point is right at the center or what is here well what is in his work analysis what I find fascinating and I try like we always tell the students when you work in thesis you work in a subject now I just work you're doing something wrong so in my line my own work as a designer which not even not even close my leg and Reagan his accomplishment that's a little bit what has influenced my work and I think when when I lecture or in the book or whatever I tried to be in relation to that maybe maybe without the the incredibly heroic or appetite or desire for contraction and in rehab which also he was every everything that he designed was meant to be built most men in his desire to be built it was never a speculate project per se there was a speculation as architecture as a building and that one I don't have that gene in me I don't have that desire of me okay everybody stay safe followed the rules stay healthy and we'll try to spend the time the best we can