 human, humane architecture. We're still continuously in the claws of COVID corona, and in that, courtyards caught our attention, and our means on the opposite ends of the world mean here Munich, Germany, and Yudhisoto, Becken, Honolulu, Hawaii. Good morning, everybody. Good day. Bring up the first slide, because we've been looking into courtyards already in the last show. We, from our places, more or less lucked down, and it gave us time to encourage the audience to think about their memories about such places and spaces that we can think are of increasing relevance and opportunity to courtyards. And I remember my formal home back in Germany, and the slide at the top right is the last one we brought up where we told us and taught us that courtyards themselves and residential is one thing, but to get the whole picture, you need to provide the social and commercial infrastructure going with it, and this is what that community is to fairly well. And that made me remember there's another situation community that's of the same or pretty similar kind that we want to also share with the audience, and so that's get the next slide, and Yudhisoto, tell us a little bit what it reminds you of, something we've been talking before, right? Well, it does look, I mean, the plan that you see on the left, which is a page from a magazine that you pointed out, which has a blue plastic bin on the cover, which is something you and I have also talked about in the past, it looks like the courtyard cabanyas that we've been talking about being made from shipping containers. When I look at this, when I look at this plan as seen from above, these are not shipping containers, but this is a planned community, which includes not only the shopping area, as you pointed out, which is the supermarket or the food market, which is the large arc rectangle there, but it's also got a kindergarten for children, but it's also got all these living spaces, which are arranged so that they form courtyards. Yeah, and this is the situation we're able to build both the commercial infrastructure and the educational infrastructure, the grocery store and the kindergarten next to it. The kindergarten itself, the Ecowood box has sort of little semi-court yards as a sort of curvilinear facade itself, as you see at the very top and in the middle, very small, the kind of solar half semi-circle courtyard. And so, yeah, the community again that you said looks like shipping containers. This is what the editors of the magazine were sort of abstracting the kind of the bigger ground composition there, how we call that. So let's take us and you guys, the audience, and walk to the community. Let's go to the first slide. And, oh yeah, this is important because the community was built mid-tentury, so this is our prime of the MOMO era that we love so much. And these gentlemen here were the inaugural generation who moved in there as young families, with children, and now they grew old. And in the kindergarten, one of the biggest achievements is that they have a kitchen so they can cook fresh and then they cook excess amount of food and basically invite the elderly basically have lunch with them. And so this is the generation that basically now grew old in the neighborhood that we're going to, the adjacent neighborhood that we actually now take your hand and walk you through with us. The next slide, how does that look this photo? It looks extremely inviting and as you pointed out, there's red stuff in the background, that's a very German way of saying it, as I understand. But those are red brick walls, and we're going to talk about those in a second, but it's a heavily vegetated interior as well. So that in the summer, even though Germany is a very cold place during the winter, in the summer it's very lush and green, and so you have the integration of the natural greenery and the built architecturally man-made structure as well. Absolutely. And let's zoom in to the micro of that one. Next slide. And that also reminds us of something, right? Well, you also pointed out that this is something that you can do with brick. You can mix a dye into the mortar so that the mortar resembles the brick. So you don't have the contrast of the light colored mortar and the red brick, but in fact it looks more like a solid red surface or an integrated red surface. And you've also again here got the red roses growing in front of it and our good friend Ron in Long Beach, California is very happy to be growing roses in his courtyards as well, which we will be seeing in another show. But here again, the vegetation draped over those rows to integrate those two elements. Yeah, and I once asked Don Hibbert when he was giving a tour for the emerging generation in Chinatown, they were a few buildings actually built with brick and he said there's very little limited amount of clay on the island only to build a few houses. But on the continental U.S. and in Germany, this sort of homogenizing the brick with the mortar was a very common thing that, as you mentioned, not only does Ron, you know, the roses and its beautiful flowers helping through the isolation. And also he was sharing that at California State University in Long Beach, his partner, business partner and friend at Peelingsworth was building the first administrative building in which we see a brick tower with the same kind of colored mortar join. So did we in the sequence of hopefully in the future happening study abroad with a military diner with this theme again that's very familiar to us and it has its origin always very widely practiced in the glory days of the century. Next slide, let's continue to walk into the community and how does that feel for you? Well, you pointed out that this is kind of again a kind of a medieval feeling of narrow alleys between buildings. And of course, in the distant past in Europe, there were no wheeled conveyances. People certainly didn't have automobiles nor a lot of carriages. So they had these very narrow passageways between these masonry walls. And what we've got here is obviously a paved environment of walls and the floor paving, but with a good deal of greenery again integrated into it in ways that in some ways are sort of informal in other ways are formalized by these rectangular planters where the trees are growing. And this is the these are the spaces between those blocks, which are as you said to me single family homes. Yeah, and if we keep going a couple more feet here next slide, we this is when it opens up so more than the little alleyways and the Bevel feeling ones we already knew from the last show, our professor who designed that neighborhood. Here, in addition to that, it opens up to the larger plazas or piasas. And then from there, it's basically the entrance of the house is very much in the tradition of the modern case study house where the fenestrations are kept rather, you know, small, and you almost have to find the door. Right. So let's go inside next slide. We can only do this virtually here with this company musician and he pointed out that the aerial view that I just pulled from Google here, satellite view almost looks like somewhere somewhere in Arab, right? Yeah. And Arab is certainly another region where courtyard houses are very traditionally located, right? And at the bottom, I hope it was one for sale. So they have this money to see how people basically then, you know, put heavily vegetation in there, there's a little pond there, and look for sure very private. I have one floor plan I put in that they either face south, which is faster, solar is perfect, or they face west, which, you know, if the sun is so low, the walls actually help with a solar overheating in the summer. So that's why it works in the Arab realm so well. You keep it just as open as you need it to get the air and the rain, but you keep it just as high and dense that you block out the sun equally to Hawaii because that's what we need there all the time, right? Right. Let's move on to the next slide. And this was intriguing you and you said that might not have worked equally in the United States, right? And as you just described to me, this is the development in which cars are kept away from the rest of the development. So in the upper right left corner, you see this is where cars are parked in a central garage area. Then you have to walk to your individual home within this. And you don't get to drive up virtually into the house to unload your groceries or anything else. You also have these communal garbage areas where again, you have to walk your garbage out to these green metal doors, which as you said are locked, which are the garbage collection locations. So this is something that Americans would be not very receptive to in a lot of ways because we expect to be able to drive wherever and unload our cars just as conveniently as possible. Yeah. So this might, you know, we might consider this to be more avant-garde and main screen, but it is interesting because this was mid-60s in Germany. And, you know, that reminds us that two years before, three years before that, you had started to trust us again to run ourselves again as a government. So 59 was the inauguration of the building set up in Germany. And let's just look at that. That's guys with a couple of impressions next slide. And so there's something we've been talking briefly about in the Henry G. Kaiser home show about the Kanzler-Bungalow and share with us how that resonated with you and what additional information we have here. Well, what you pointed out to me, which I find amazing, is that in the 1960s, the Chancellor of Germany, is that the correct title? He moved into an official government home, which would be comparable to the White House in the United States, but it was a modern structure. It was a starkly modern structure, which we see pictures of here. And this not only has courtyards, which is relevant for what we're talking about, but it's amazing to me that the head of a country would do this because most countries would stick to a very traditional structure for this. And yet Germany at the time, of course, was looking forward. They were rejecting their immediate past, and they were rebuilding. So it was a very appropriate concept for the time period that this was going on. Yeah. And we, having used on mobile as vehicles for thought, we are happy to share the catch of the day, which is the center picture, me as a self-washed son by this 1952 Mercedes that we can call an Adenauer Mercedes because Adenauer was the first president of Germany, the Bundeskanzler, as we correctly call him. Well done, your German lesson again, your weekly German lesson. And so in 1963, the next president came, and that was Lucie Erhard. And Lucie Erhard was the client who basically asked Zephul, which makes our exotic case as an expert, Susanna Hethi, because he was the very architect from Munich. And he was friends with Kanzler Erhard already, and he built his personal residence, and then also commissioned this one here. And every president until the very last one, actually Angela is the only one who has never lived there, but everyone until up to her has actually been living in there, right? And so talking, you know, mandating, we've been, you know, beaming off about the stupid Trump's mandate of classic style for government buildings. Back there in the century, actually something seemed to, not to be mandated, but basically promoted well, which was easy, breezy living, right? With a courtyard. And that's the house that one wanted to say is modest, was one story. Actually, Kanzler Cole, who then sort of was like the Reagan era, he was this heavy guy, actually, he always complained and was too tight for him, and he was always hitting his knees in certain areas there. You probably remember Cole as kind of heavy guy. And there's an interesting detail of similarity at the top right. You want to talk about that one? Well, is this the picture on the right? If I am correct, that's the house that you used to live in. And your house also dated from that same time period. And it has the same type of wood on the ceiling, the same treatment, if you will, of this type of wood, which I do not remember. You just told me it was resilient pine. Was that correct? It is, right on. And your house, your previous house, your former house, shared that exact same roof with this presidential, if I may say, home. And so you were right there with the, and you pointed out the colors look a little bit different, but the ceiling in your former house probably had more UV damage or weathering to make it look like that. Yeah. And the former owner of what we shared the story in the past show, Mr. de Jonga was the construction supervisor for the only Gropius house in my hometown. And he was very proudly sharing with me the detail of Brazil pines. We wouldn't use these days anymore because it's a tropical hardwood and we tried to be treated wood instead. But again, that's what it is. That's the zeitgeist. It's sort of very elegant, flattest kind of roof. So let's go to the next slide and let's get us back to the next point. So at the top right, this is sweet 16 exotic escapism expert Susana venturing out at age 16 to a country that gets us to a little bit more climatically similar to Hawaii again, because he's palm trees. And the next slide, we can read if we watch close and you tell us what it says as a sign on the tram. Well, it says it's the Metro do Porto and Porto is a, you pointed out to me, I did not know, it's a city in Portugal and it has this light rail system, which is astonishingly the tracks run through this beautifully groomed lawn, which is an amazing thing to look at. And it's obviously an electrically powered one with the overhead wires. And then on the right, here's a view of something we talk about very frequently. This is port because port city, that's the name Porto. And those are shipping containers. And we go from shipping containers to something traditional. Exactly. And again, light rail, on grade, electric, we have that in Hawaii guys from hard to get it back. Next slide. So on the left, you see the harbor. On the right side, you see some rock walls with rather big pieces. And the next slide, you will intrigued by the fine pictonics of it, right? Correct. And I looked at the joints between these two, these large, rustic rocks. And I thought, maybe those little rocks had just been inserted there just for aesthetic reasons, but you pointed out, no, this is dry stack. And maybe those actually function to keep the big rocks in the place that they're supposed to be. And it looks old fashioned. But as you pointed out, at the top, you can see that this is actually a modern wall that's using something that looks more traditional. Yeah, there's a very elegant, you know, filigree flashing and there's a chimmy sticking out. On the right side, this is again, thanks to my home away from home in the prairie, the University of Braskin in Lincoln basically helped me to go and visit this place here. They supported us when we had papers to check that we presented them and they sent you as far as Portugal. And so here, this is an end to it on the right side. So lines roll with and the roses, but obviously then as the additional posts that the cables indicate, you know, at this point, this was the architect is Eduardo Sotomura, who won the Pritzker Prize later. And he basically was widely published. This was actually started in 93, the same year, then got there and then they were completed the last ones in 1999. So it was widely published as I knew about it. And people try to peek over the fence. So the owner of this end unit basically try to prevent that, which didn't really work because they're sagging. So didn't really keep people away from trying to peek over that. So next slide is basically the situation that Eduardo says he wanted to model it after this was in the neighborhood, a traditional piazza that has trees and benches. And then there's the backdrop of the rock wall and there's the floor. And this is where the transition is from the public outdoors into the private outdoors, the courtyard, that's the threshold. And that's what he alluded to. Next slide. And only when you get close to this kind of situation here, this is powder coated metal. This is what covers additional doors that it reminds us of ed, by the way, and Ron telling us that the ed was so short, he always likes to do the tall doors. So this might be a reference also to ed. And also the garage doors are basically integrated as sliding doors. And next slide is because I didn't meet anyone there, so I needed to pull this from the web. This is pretty much how it looks behind that, large courtyards separated by walls, door seating glass, lords inside out, all the goodies. And next slide. Eduardo is a self-acclaimed fan of Mies von der Rohe. And similar to, and we've been talking that the museum, new state's gallery in Berlin is refurbished and it will open one of these days after David Schippelfield has touched it up, leaving no signature of himself as we were reporting on. And that was the last project Mies did in 1969. And that was the first time where he pushed the glass envelope back, so the roof creates an overhang that's very familiar to us, what groups should do in Hawaii to create shelter from rain and the sun. And similar to his master, Eduardo moved from single stories to high rises, and we've been recording on his fantastic Borgo towers in the show referencing he had the bottom right. And one can see that the North and South Passage, you were explaining that very eloquently, elegantly back then, had these horizontal fins that they basically helped to shade. And they almost seemed like a little miniature bonsai version of their roof overhang of the state gallery. Yeah, yeah. And also not to forget, there is at the top right the model picture of the National Gallery, and our gallery has some of its merged courtyard on the right side. So next slide, I leave this up to you because I put this in because it's one of your favorite pictures. Well, on the right there is a picture of the Bauhaus, the original, not the 1825-1926 Bauhaus school in Germany, which is incredibly architecturally ahead of its time when it was constructed. And you got to go visit it, which I have not been able to do yet, but when you visited just a short time ago and parked the very modern Audi, the little Audi with the aluminum body, you also got to park it next to a 1967 or 68 Mercury Cougar, that's just the ultimate American car. And then facing that red car, parked is a Volkswagen Beetle Easy Breezy convertible. So we have a cluster of very interesting cars all parked there at the Bauhaus. Yeah, absolutely. And you asked me last year, because that was the Bauhaus anniversary, and it took me until now, and talking, to give you an idea, I want, Susanne and I, I want to walk Maka to Makai from the Noah Falls to Waikiki because a few hours in Germany from the Alps to the north or a Baltic Sea, basically 11 hours on the Autobahn, which don't get to jealous. It's not as much fun anymore as in the century where there are fewer cars. Yeah, right. And the Bauhaus was built by Walter Gropius in 2526, and but the director, from 30 to 33, before the Bauhaus had to close because the mountain closed and it directly was used on the rower. I want to recommend a reading assignment on the left, this is what my parents gave me as a gift for my birthday. This is a cartoon, a manga by a Spanish architect. That is absolutely fantastic. It hasn't been translated to English, so you have to wait for that. Are you using it for your weekly German lessons? I think it would be a little too complex for that. Okay, then wait for the English one, which hopefully comes out soon. But at the bottom of the double page, it basically points out Courtyard, that means has always issued for its students, both at the Bauhaus and later at the IIC Illinois Institute of Technology in Chicago, that director in America. So next slide. And these are the parts of the exercises bought by its students and by its mentees. Also pointing out, Middle-Left has the North era. They were like actually the origin of the pre-fossil archaic courtyards. They've always been working with the sun, and so these also facing south. So very biochromatic, you know, consideration. And next slide. Once again, when I came back to Nebraska, I had to get myself a new schlossenkoyza, well an old new schlossenkoyza. This is my 93 Lincoln Count car, my tempered PI mobile. And they also didn't just only support you to go to other countries, also to venture out in the United States. So same distance that it takes me north to south in my country here was a trip from Lincoln out east to Chicago. Because I heard that there's, while Mies has actually never built any of these courtyards, some of his mentees have. And this is an architect, the name Yao Chun-Wong. And these were the pre-GPS cell phone, you know, digital era. This was Rand McNally and myself with a vague idea whether this is what I ventured out. And I almost gave up until I parked there and I asked a guy on the street and he said, oh, you're talking about these garages. And I felt like, yes, I made it. So let's go to the next slide. We're going to rush through a little bit because we're getting close to the end. There's also a pretty background picture. Very beautifully, again, as you said before, about the German inclinement here, you know, tempered. So this only works in the summer that well. But very lush, very beautiful next slide. And once you get closer, you see once again, these slips, these slices, next slide, which are the openings that basically get you to the units. Once again, I wasn't able to get in. There wasn't anyone I could ask to let me in. But I found a next slide is blank. That, again, again, there's a magic here, again, of 62. They were built from 61 until 67. And again, they are by this mentee and disciple of the master. He's from the Roa, the execute, but he has, you know, left it up to them to do. Last and final slide, I leave up to you to comment on because it's something that you only have at the very top of the highest mountain back in Hawaii, right? That's right. Well, this is a wintertime picture of the interior, one of these part of this complex that we've just been looking at. And on the left is the interior, which is nice and snug and warm. And you can see that the sun is coming in through the glass walls. But on the right, it's outdoors, and it's in Chicago, and it's in the winter, and there's snow. And we do not have to deal with snow in our everyday life here in the Hawaiian islands. So we are lucky in that respect. But what this does show you is even in a temperate climate, you can make use of this type of courtyard construction in a way that we have here, the advantage of being able to open up those walls and open up those sliding doors and be outdoors and indoors at the same time. Absolutely. And to get us, you know, we're at the end of the show to get us back to, we continue to be on the courtyard. And next time we're going to move a little closer to our climate zone in Hawaii, and we're going to move all across the continental U.S. to the other side, which is reconnecting with our friend Ron Lindgren, partner and friend of the legendary Ed Killingsworth. And on behalf of Ed, Ron is going to share his early work, which is very surprise, surprise courtyard space. So until then, stay all safe and sound and increasingly easy, breezy, and easy, breezy. Bye-bye.