 Good evening everyone. Good evening. I'm Mabel Wilson. I'm the Nancy and George Erup professor here at GSAP and we have a really remarkable lecture this evening. It's by someone who is a visionary yet committed to collaborative engagement, an architect who is profoundly intuitive yet thoughtfully measured, work that is uniquely urban whose spaces pay exquisite attention to detail, buildings that are exuberant in their expression yet structurally restrained. Her work shapes a vital and vibrant public sphere while being attentive to the minutiae of human experience, sound, light, texture, vista, movement and encounter. This is an architect in dialogue with very complex worlds and this what I've just spoken describes the impressive range of the architectures of the studio Carme Piños, her eponymously named practice, which Carme Piños, our distinguished lecturer this evening, founded in 1991 after sharing a studio with architect Enrique Mezraes from 1982 to 1991. We find in her ethos of experimentation and research a body of work across many continents. We see this in her elegant 2018 impavilion in Melbourne, Australia for the Naomi Milgram Foundation and the ensemble of buildings surrounding the historical Gardenia Square in Barcelona. At the Vienna University of Economics and Businesses Departments building and in the cube one and cube two towers in Guadalajara, Mexico, to name a few of a studio Carme Piños provocative undertakings. She has received many international awards and accolades in the U.S. alone. For example, in 2011 she was named an honorary fellow for the American Institute of Architects. In 2016 she received two impressive accolades from American universities including the prestigious Berkeley RUP architecture professorship and prize from UC Berkeley that recognized her contribution to promoting the advancement of women in the field of architecture and her commitment to the community. And back home in Spain in 2015 Carme Piños was presented with the highest civil honor of the Catalan government, the crew de Sant Jordi Medal awarded to citizens and organizations for outstanding civil service. It's important to note that Carme Piños is also a dedicated educator who has taught at many prestigious schools around the world including a studio here at GSAP and we should get her back. Needless to say her work has been published widely in several languages. There's an absolutely gorgeous monograph of her work that was published I think in 2016 that's worth getting and she's been exhibited widely at museums in Biennale. She'll be in the upcoming Venice Biennale for example and she has work in the collections of the Saint-Tropez-Pendu and MoMA. But on a personal note I met Carme in Berkeley when we were both visiting professors sharing the jewel of Bay region modernisms the Havens house by Harwell Hamilton Harris. Carme would sit daily focused hard at work sketching and Skyping with her office but at moment she would comment on the unusual way that the house floated on the hillside. She would marvel at the detailing of the wall of windows that opened the rooms to a dynamic vista of San Francisco Bay or how the moody skies cast light that danced across the dining room table. She is an architect in dialogue with the many scales of the world and we are fortunate to have a brilliant poet and architect with us tonight. Please welcome Carme Diaz. I start with an intervention in Barcelona. It's a commission. I won a competition a lot of years ago and the construction takes a lot of time. I finish just this year. All the intervention. I must say that my way to work is always to be very attentive of the context. I enter always in dialogue with the context. I am attentive of the question that the context put me. I try to read the site. You know here is the old city. This is the Ramla. This is the market, the Boqueria, the main market in Barcelona. And this area behind the market was an area that for a lot of years had been for more than 50 years had been something broken in the city. And the municipality proposed a competition making housing here a new school, a new building for an old school of craftsmen and art. We can pass. The first thing is this area. I start to study the city. For example here this geometry is the geometry that proposed me the competition, the municipality. They asked me to make here a square, a square regular square facing the two, to build it facing to the center like the square of La Plaza Real. But my observation said, okay La Plaza Real was a square, a bourgeois square that all the facades are equal facing to a center is a square that for a level of society that want to be representative for this geometry of this space. And I say here in the Raval is not this case. Here in the Raval there are a lot of different kinds of society. And I wanted to express this dynamism. And I take the observation of this area in more middle ages is how this building making articulation these small spaces. And I say I want to stay more in this way more than this static and central building. This is La Plaza Real, you see. And this is the Plaza del Pino, how this is more with more human scale that make the articulation of the public spaces. And this is the plan that the municipality suggest us, these two building facing, looking at the center. This is Hausen, this is the school. And how you connect this existing square with this narrow street. And I wanted to create more like the Plaza del Pino, more this small less public space in articulation with the other. This is the context when I arrived. The back part of the building with this building that is not so nice, that take a protagonism too much. And the other side. This is the side of Hausen. This is the side of the new schools. And I say it's all the time looking at the context and trying to find all the perspective. This is the view from this important street, the Carmen, and focus in this corner. I say this corner, that is the corner of the school, must be the main facade. Because you see from the first thing that you see from this crowded street. And in a way the project start with this observation. Because the municipality asked me to block this passage. This is the passage near the Boca de Vila. And I say no. I don't want to cut this vision. I want to permit the people pass like always have been passing. And this idea is the first one that I did. Now this is the other. No, because they asked me to demolish all these houses. I was because to build in the other context. We can pass. I don't know. I say this is the result. In a way, I continue, this is the the facade that I show you. How I cut the construction making the house at the same level. And make a passage underneath of that. Because the municipality saved me. This is the area. And I say no. I must be in relation with the old houses. And I cut. But I had to put the piece that I cut somewhere. I say okay. I pass underneath. And this piece I make here to create these small spaces that I said you before. And I make also this movement. Focke. Focke. Focke. This angle that I say you. This is going to be the facade. In this corner, I make all the tension of the building. And again, I remove. I put this building back to create another small space. I suggest the municipality to open this passage to connect. This is the place of the old school with this garden here. And I suggest to open up a passage to connect the old garden with the new square. And when I was the competition was only the housing and the school. But when I won and I started to work, I received the commission to make the new facade of the Vocadia. This is the working model. And later I'm going to explain a little why all this movement. But you understood this movement to focus and to make, not to enter through a street, to create more like a public space. This is the passage underneath. But all this movement is to create dynamism. Not to focus a center. I wanted to express how crowded and how many different social and different reality happen in the Raval. And when the municipality suggests me to make a new facade of the Vocadia, I say, no, no, I don't want to make a facade of the Vocadia. Because the Vocadia is an old market, but it was a provisional roof that was in an incomplete square. This square had to be like La Plaza Real, rectangular, but never finished. And they make this roof to create a temporary market, but then have been the most important market in Barcelona. But it was not really good architecture. It was very, no, no beautiful roof. And I say, I make a facade here. I'm going to transform this building, this temporary market in a building. And in Barcelona, we have a very beautiful tradition of markets from the 90s century, beginning of the 20s. And I say, I don't want to transform this in a building. This is provisional. But the municipalities send me, but we have problems. We have problems with the rain. We have problems with the wind. We have problems with the sun. I say, okay, I'm going to resolve these problems. But no, we have a sun. And I suggest to create this roof, no, a smaller, slower, that pass underneath of the other. I create a more human scale, more scale with the dimension of the square I had in front. And also, for me, what's important is to make this building in the second level, no? To remove the protagonists that have had this building, no? At the beginning, I start with the same geometry. And I start to make, but it didn't work because when I arrived in front of the building, that make like a front door, that make like an entrance. And on the contrary, give more importance instead to reduce importance of the building. And take me some time to find that instead to make a particle, this, is to create this kind of umbrella, no? Because when you make like that, you focus here, no? But when you focus there, no? Out. And when you pass, no? You are fucking here. You are fucking here. And you pass through this building. Next. Yeah, this, no? I resolve and I make, you see, each project because it's a square that I have three facade, but a little temptation to make my own square, no? And I want to enter in dialogue with everything that I have behind, no? And I make the market with the dialogue with the all market, the houses with the dialogue of the all houses. Only the school is more, is an institution and I try to be more singular. Next. This is a night which we can pass because it's not, and now the houses, no? Again, with the observation of all the movement, this is the movement of the people, there are another passage here. And in a way, the houses are a project made with the movement of the people, no? I try to enter in relation with the rhythm and the measure of the holes, no? The windows to be part of the housing, but following the movement of the people, no? This passage, this here, no? We can pass, no? This is the passage, no? The municipality sent me to hear a facade. They say, no, doesn't matter if the facade is beautiful or not. I want to pass and to see the light after this passage, to continue the passage, no? We can pass. This is the building, no? You see the measure of the, I play with, but in a way, instead to make some decoration, the thing that I did is more abstract. I moved the window in the room, to put it in the right of the left, and the living room is go up, no? Out, and the bedroom in, and I give some kind of rhythm, some kind of movement, no? And the passage that I show you, no? Pass underneath of the building, and I make this cantilever to permit the view when you pass from the passage. We can pass. This is the passage, no? It is this, no? And for that reason, I make this cantilever. In a way, it's only to make the solution following the movement and listen, no, the atmosphere, no? And to be part of the city. This is the corner that I said you, no? And this is more movement to show this corner, and you will see here is all the tension. There is the cantilever, the entrance for me is this, the main facade, this angle. We can pass. How I try to be part of the city, no? Like, has been here always. We can pass. You see, this is the thing that I say, no? I put in the same level, and the same plan. And now the Masana. The Masana, why all this movement? I try to say two things. One is a very big project. It's 11, I don't know if you know the meter, it's 11,000 meters. It's a lot. It's big. I didn't want to appear like a big building. And also, it's a school that takes enormous protagonism to the square. And I have two things. One, to preserve the intimacy of the people working inside. And also, not to appropriate the square. I want to be like a back stage, a tent, no? Something... And with the conversation of the professor, the professor said, now our school has a beautiful garden, and we are afraid to go a very urban building. I said, okay, I'm going to make terraces. I want to offer you open spaces, no? For that reason, I make this movement that responds to create terraces, to create terraces. Also, to change the scale. This is sixth floor. Sixth floor. And don't appear like sixth floor. And I cover with this ceramic, this piece that is like a bristleet, but to appear more like something more sculptural, more changing the scale, no? Because... And also, you will see how is the scheme of the project. It's very simple. But all the classroom are behind these pieces. And this is terraces that are at the end of the communication between one part or another. I show you the plan we can pass. It seems very complicated, the building, but it's very simple. It's two elves, with a cord you are in the middle, and these bridges that connect the two elves. And these bridges finish always with the terraces. And I did this more movement, not to appear. Maybe we can go back a moment. You see? If I put one stair over the other, you read the building very quickly, one, two, three different levels, no? And with this more movement, and also with the other movement, these two movements, appear more like an abstract composition. And you lose a little the scale of the building. We can pass. We can pass. No? It's this, no? And this is the... And one beautiful thing is from the bottom of the building here, through that you see the site of the city, no? And when the students move around the building, they realize the beautiful place where there are, no? And the light arrives from everywhere. And this is a section from the competition that before to receive the commission of the new facade. This is the small model. This is the third model that I did. From the beginning, the idea of these holes that cross completely the building from the bottom to the, was at the first. This model is like this, very, very small. And this is the corner that I explain you, no? Here is the point that exists more tension, no? The entrance, the cantilever that express. And I decide, no? Because here I have all the square, new square, and I permit me to be more with bigger scale, more abstract, more singular. But when I start to be in contact with the old city, it became more calm, it became more flat, no? The window are smaller. And then at the beginning, the competition was the same color. But then I decide to change the color because this color are more agree with the color of the old city. And here I permit to be more expressive, also with the color. We can pass. This is the pieces, no? And the pieces are focused to the sky, to permit to enter the light. But from the square, you don't see the interior. All this is for two reason, is to protect the student and to become something neutral from the square. We can pass. And this is how we try to find the facade, not to be boring, to give some kind of rhythm. We change the movement of the space. We can pass. And this is how you see from the interior. It is craft man. Hard craft. Full of machine, old machine. They love their old machine. They put inside each old machine. But I like it because it fit quite well, the old and the new. We can pass. No? The pieces. We work with the craft man because this is not industrial. It is semi-artisanal, semi-industrial. And I managed to create different color, you see. Very subtle. It is the time of coction, the time that are in the oven. But that gives again this kind of vibration. We can pass. I say, no? Because imagine if all that is window, seeing the people working, this is like that is much more neutral. We can pass. This is before the actuation. No? Because they send me to demolish. I demolish all that. And I was very worried because in a way the street, it worked, it is beautiful. One thing is to create a new building in a new square in a very open and broken city has been this for years. Another thing is to demolish things that work well and to rebuild this. I was a little afraid. And that is the thing that made me change the color. And here I make the project in grade. We can pass. This is the new building. We can pass. You see. And again with the context. My size arrived here. And here is the door of a theater. I make this small movement to focus the entrance. I make the project only with these subtle things. Very attentive of the context. We can pass. We can pass. And also I put the building because my site arrived here. I decide to put the building back again to create this small public space. We can pass. This is the ground floor. Again, I decide to make the entrance here also to transform this, how I say, also to focus the entrance with the size that connects with the old garden. And to protect a little the student from the tourists. Because this square is full, full, full all the time. Tourists. We can pass. And when we are inside is completely another reality. From outside you see very solid, very sculptural. And inside is very, the light arrives for everywhere. We can pass. And the people move around the building. When you enter in this building, everybody see you. It's like to enter in a different war. And to take part of all the, because everybody see everybody. We can pass. And it's beautiful because the light arrives from all the direction. Each moment is full of lines, full of shadow that come from different areas and different time of the day. And again, the size that I create in the other side with the houses here inside the school. And it's full of free spaces that the students transform in exhibition. And you can cross the building saying that it's full of new exhibition. Now it's an exhibition from the people that make the facade, the ceramist. And it's a live building. We can pass. You see, it seems very complicated, but it's so simple. All the classrooms facing the exterior, here the corridor. And my design of this, instead of making a fence here, I wanted to appear like a street. And this is a classroom. And the corridor I make also windows. And the third facade is the ceiling. But it's more like an interior street, more than, because if this is a fence, it's like to see the boys. And with this window, same that the corridor are more protected. Here, at the last floor, I opened the section to permit to enter more of the light. And here, I have no other solution, but to make a corridor because the section changed. We can pass. We can pass. It's this, no? From the bottom, you see the ceiling. We can pass. This is the corridor with windows instead of a fence. The interior. And the other reality, I say, one reality is outside, more solid, more abstract, more sculptural. The other is the size of communication, light, with a lot of light, that everything see everybody. The other reality is the classroom, it's correct. That is more a character, more industrial. I live the structure scene, and it's more in concordance with all the machines that they have. We can pass. We can pass. Because it's a school with a lot of, they make painting, textile, jewelry, it's full of craftsmen and art. It's a very complex school. It's not easy to work because the professor, each time, asks me for things different. But we manage them. We can pass. Now, a pavilion. This is a pavilion in Australia. Again, with the context, when I received the telephone call from the now me, they said, do you want to make a pavilion in Australia? I said, God, yes, why not. But it was, each year, it's a new pavilion. And last year was this year, it's more good. And I was, I said, why my God? And I start to think in abstract. They expect me to make something different. And to think in abstract, but pass the time, and I couldn't manage how to do. And when I arrived in Melbourne, changed completely. This is Google, it's very ugly, but this was the pavilion of Greenhulkers. I went in the time there. And I start to see how beautiful is the garden, the park. Here is facing the city. But the thing that made me the project, this is more monticolors, this circle, that is one hit, number three, and also a fountain. And that's funny, because at the time that I went, I was full of people, and all the people were sitting in this small monticolors. No, monticolors, no. I'm old. Health. Okay, my project is going to start with this health. And this is the context, how before, the hills, the fountain, and also this is the Basement. Because we can do everything we want, but we must use all the time the same Basement. Correct? To say Basement? Foundation. Foundation. Okay. And I start always, because my architecture is always, it's a dialogue between two things or three. Never more than do three. You see how this, the project that I explained to you is 12. And here I start saying it's two roofs that are supporting with three montains. Here is like a little papyroplexia, and it's supported by a monticol, and the other with the blend. You can help me. Bent. At the beginning I put here a trust. But the engineer said me that it was nothing. But now me, said me, you are free. You can do everything you want, but you must protect from the rain. But the only thing, please, no rain, no? Because it's always the problem with the architecture on the roof, always the water. And I say, okay, I'm going to play with the with the water. I want to make something that face the side, that you feel protected, because I didn't explain why this pavilion is. This pavilion is to make an actuation. This woman, Noemi Foundation, offered to the city each year a new pavilion. During six months or something like that, pass a lot of actuation. Everybody can make a concert. It's only two months show that you have a level. And each day there are sometimes six actuation during the day. And they asked me to 250 seats. Not a lot. And I say, okay, the hills, the more hills, it's going to be the seats. Okay, we pass. And this is the project. The hills with my tree, because also they said me, you must protect from here the wind. Say, okay, the third hill protect the wind and the lake and the cities here. The wind come from this direction and we are facing the city. This is the plan, the seats. One hill is empty to storage the seats and the things. You see here is the place that arrived the wind, the hill and the lake. We can pass. And I say to you that I start thinking with the game with the water. In a way, this is good. Two layers with a metric in the middle that permit to see the water glistening in the middle. Going down. And with a normal can alone, normal, sorry, that end to the hills. We can pass. This is the familiar. You see how it's transparent. And you see in between one layer and another, you see the water finish with the can in one direction and the other. We can pass. This is the context. And again, it's time that you see from another direction a chain. There are no one face or another, the back. Everything is in movement. We can pass. We can pass. In a way, because this is the canal. I say, okay, canal. Come. We can pass. This, you see? When rain, you are protected, but also way two layers. Because the rain in the make a lot of noise. But with two layers of wood, stop the noise. You see the water, but you don't listen to the sound. It's not. We can pass. We can pass. I made the hills to permit the people to sit. But then the municipality didn't permit because they were afraid to jump to the roof. And then I had to make this protection. But I managed to transform this protection in some kind of ornament. And the people can stay in this piece. We can pass. And also, I managed also to make a, because when the actuation is in the middle, the bunches here work well. But when the actuation was in a corner, I need to create something to make seats to permit to to occupy the center. But the problem is how to store it because they don't have, they have only the interior of this hill. And it's almost 50 seats and take a lot of a seat, a lot of place. And I designed a bunch. A bunch is correct. Bench. A bench. This one. We can pass. I see you. I show you how it works. Because it's is, you can storage very, it's three pieces. It's this. It's three pieces. One, two, three. That with no one nail. And with this shape, no, that make a stop, no. And we made this in Barcelona. And 50 was a small box. And each day they put inside to the hill and make the actuation. Sorry, sometimes the English disappear. But you follow me, no? Okay. I pass because Kenneth Franter wanted to listen. I changed the order. And now I explain very quickly because remain me another big project. I don't know if I have time. Okay. This is an ampliation of one hotel in Mallorca. Again, with the context. This is an old monastery. It transformed to a hotel. And they asked me the ampliation of the spa here. And to make four villas for houses in this area. And again, with the observation in this time is not entering the alley with the, not to compete with the old building. Not compete and take part to transform this in last escape. And with the observation we can pass. This is the observation of Mallorca. Mallorca is all made with terrors, with stone. And I start with the idea, no? We can pass. Because let's start the beginning, please. Again, here you see, no? Because this is terrors, no? And the walls that make the different terrors. And I start saying, okay, these walls, these terrors, are going to change the shape to create the different villas, no? We pass quickly. And here, this is the, okay. This is the first sketch, saying the wall, I'm going to move to create one villa, another villa, another villa. And which one is facing the landscape, but facing the back part of the other, no? And you see each villa with the swimming pool. We can pass. Then the transform in this, no? But this is the wall that at the beginning was like that, is transformed in the different houses. We can pass. This is the creation of the ampliation for the spa. I was worrying not to make a basement of the old building with glass. And I move the wall here. And I face in this area with a bristleet, no? But you see the different houses, no? And the ceiling is the garden. We can pass. Is that, no? And this is the old hotel. And I transform the villas like a landscape, no? And the new spa, which I cover and protect the glass, no? To transform this, not imagine this all glass, because my client wants glasses to see the exterior, but they didn't want. And then with the bristleet, the glass was in second line, no? We can pass. It's this. It's to create a landscape, no? We can pass. We can pass. It's always say what the site want to be attend to the site. I made this because I see the landscape want this, no houses, no roof, no, to be quiet, to be part of nothing. We can pass. And you see, because this is the back part of the other house. The house is facing this. And when you are here, it seems that you are alone, only with the landscape. We can pass. The interior is not really important. Yes, I mean the decoration. No, but you enter from the top. You go down facing the view. You enter here. This is the living room. Two rooms. One facing also here. The other room is facing the other part. But you are interior. You are inside the earth. But the light arrives from everywhere. We can pass. And we have done. Yes. Okay. I'm going to try to explain the first one quickly, La Cacha Forum. Again, the context. Again, to be attentive of the site. Again, it was a competition. This is the old city. You see the street that was following the old walls. And our site was here. This is the site of the rain station that removed to here. And before, the old city was separated from this neighborhood through the train. And I thought the opportunity to connect, no? This is a poor, no now, but was a neighborhood for worker people. But the master plan, we can pass. The master plan, again, decided to make all the building facing the old city and leaving the worker neighborhood behind. And with a park here. This was my site. I said, no, no, no. I don't want to make a, to say this is the good part. I want to transform my actuation in a door. I want to understand the building like a door that connects the old city with the neighborhood, the worker neighborhood, no? And my first idea was we can pass. Because the program, I must say the context and also the program, no? The program is two rooms for exhibition rooms. One double the other. I don't know if you know the Kasha forum in Madrid by the same program. These two rooms. Temporary exhibition. Then a restaurant, lecture rooms and an auditorium. Not very complicated. But the most important was these two rooms, exhibition rooms. And it was a competition. I had to be very precise, no? Because if you make a bigger building, it means more expensive, less possibilities, no? And I say, okay, but I want to be a doll. They think that also with the Kasha forum in Madrid in my head, no? That they take the building I put up to permit the barrier letters to connect with the La Casellana. Say, in a way, I had this in my head. Say, okay, I put these two rooms up, permitting the city pass underneath. But I had another thing in my head, no? I didn't want these museums that have one exhibition room over the other, connected with the elevator. The first thing that I had is to make the two rooms like that. When you go out of one room, one exhibition, you see you have a space of the compression. Because I say, when you go to see an exhibition, maybe it's Bermere. And the next exhibition is a photograph, I don't know. Nothing to do. You need some, no, it's not to enter in an elevator and to connect, open the door and to see another. You need spaces of the compression. And for that reason, the first movement that I had was, no, these two rooms like that. And again, the simplicity of the scheme and also the game of to play with two elements, no? And the beginning was these two squares that cross with this enormous center that is the supporting and with the beam that cross in diagonal and make a cutting lever, no? And also when you, we can pass to see the structure, no? This wall, no? It continues until here, no? And this through the, this through the elevator with the pillar and here through the stairs, no? And that means if I cut a piece of here, nothing happened, no? And the same here because you have all the continuation. And these two walls is the supporting, no? And also if I cut and, okay, you see now, no? And that gives this idea of this, of the fragility, no? And the, these walls is the wall that support the two boxes, the two exhibition rooms. And the lobby is another completely structure, no? That goes to the street, here is the street, but with no connection with the rest of the structure, no? This is the structure, the enormous, the last floor, enormous beam that pass in diagonal and you are in the middle of the beam. We can pass. This is the, I had a problem with the installation, how this is mathematic, no? If I had problem to make the installation, installation is correct. And also the second step. And if I make the square, the middle bigger, that means everything because it's this geometry, no? Everything become bigger. And I had to make the installation outside or also the stair outside. The installation was not easy to find the place, but at the end I decided to make all the installation, you see, make this wall double. And at this point you have the measure to permit to enter a person. We can pass. And it was funny because it was a building made first all the beton and after from the top to the bottom, no? And the people in the seating was very strange. They didn't understand. They thought that we have been building a factory, no? Now they are very happy with the building, a big success, but at the end. And you see the next, the other stair. This is the trick. The stair, I put the stair outside. I need the tool for the fire. But if this stair arrived from the bottom, from the ground, become a stair. But in a moment I jumped to the other side of the wall and I transformed the stair like an ornament of the wall, no? You see from one side at the other jump the other part of the walls. We can pass. This is the model that I made for the competition. And also I wanted to show, to make two boxes blind, suspended. I wanted to make, to show what happened inside, outside, no? That the client didn't like. But for me it was so important, no? That in a moment, also to show the scale of the building. You will see later with the photograph. And also in the corner that are more tension, no? In the point of the cantilever, no? To open a window showing there are no structures, no? That makes more fragility, more because the beam was up and down, no? We can pass. And, okay, this small movement, no? Because from one exhibition room you see the city underneath of the other, no? This is, because they are very big of that. This is more than two meters, almost two and a half. And you see the view and you go out of the exhibition and you see the city, you take the escalators, you go to the other. And with this small movement when you are on the top of the small box, you are in the level of the restaurant, no? And how they asked me in the exhibition room, you must be very neutral. Then when I arrived at the last floor in the restaurant, I say now I am free, I make everything that I want. They asked me to make a restaurant the possibility to make a smaller restaurant. I make a curtain with these lines. You pass. And also I say I want to make a door. And the door is not to pass underneath of the building. And I decide to pass underneath of the big box. I say what happened with the other box? And take me time also to decide, okay, I'm going to make a garden that goes down and that don't permit people to pass underneath the building. And also that permit to make the light arrive to the auditorium that was in the garden. We can pass the building, we can pass. You see the windows in the corner that show also the people inside and give the mezzo. And again, like the Masana, I want to change the scale of the building. Because it seems small, but it's very big. When you see the difference in comparison of the building behind, you see how big is the building. For example, the stair, the fans of the stair take three meters, more than three meters. It's all the lag between them. And I transform this, not really on a stair, more like an armament. And this is aluminum. And I make holes in the aluminum with these big drawings also again to change the scale. And also at night, this appear with light. We can pass. We pass. Because I suppose you are tired. A moment here. This is the lobby. The lobby is a structure completely apart, but I make this connection. This is a beam that connects with the building, but it's something that looks for the people. It's like to say, hey, come here. We pass. We pass. I must say that with the crisis, everything stopped. And my door, this had to be the connection, never happened. Because here, they all abandon it. Train station is behind the wall, because they don't have money no other to demolish. And now the connection with the neighborhood behind passes in the other path. And that becomes more like a square. We can pass. And this is the entrance of the lobby. Say, okay, I need pillar here to support the roof. But again, I didn't want the roof with the pillar static. And they say, okay, if instead one piece is two, that makes more dynamism. If instead to go to the ceiling, I make this pillar enter to the light. I make here a skyline. Skyline? It's correct. Skyline? No. Yes, but a light. Skyline. And the pillar supports the cross. And the cross is the element that supports the ceiling. And also how is natural light? Each time the light make different. It's not always equal. That means give dynamism at the it's like element that help you to go the back part that are the side that the elevator are. We can pass. And the stairs. You know that the stairs must be protected. Always the stairs nowadays is like a box. But I didn't refuse to make the stairs that is with protection with fire in a cloth. But I make more like something more sculptural with glasses that are protected with no. But also for me, a public space, a public building, you must know each moment where you are. For me, a good architect is the one that you don't need a signal sign. And for that, when you are in the stair, through this window, you are always, you know, always where you are. And also with this small movement here, over here is the restaurant. But over here is the terrace. And you have a skyline. We can pass. The stair and the pillar. They are neutral, but the pillar is the pillar. We can pass. And this window that I had to close, but in the middle of the exhibition, you go out, you see the city and you come back to the other side. We can pass. And the restaurant here, I express all the things that didn't permit to express in the exhibition room. I express here. I express the structure, the guides of the curtain. I design also the tables. This is a cafeteria. I knew that the cafeteria, sometimes these small tables, sometimes not big tables. And one thing that I don't like is to put two tables together and to have two legs, one near the other. And I say, okay, the starter of the table is this cross and the leg is a triangle. And when you are two tables together, these two triangles became one square, one leg. And also you make this drawing. And it's not two tables together, it's one drawing that grows up. We can pass. It's this, the structure, everything it appears in the last floor. We can pass. And this level and with the terrace. We can pass. And when you go down to the auditorium, you see the light that arrives from the garden going down. We can pass. We can pass. This is the garden that goes down. We pass. And a night, also because this is a bank, they wanted to be a singular building. They wanted to be part of the skyline of the city, the skyline. And I say, okay, I make a different night we can pass. And I say, okay, but not a lot of time, two hours, no more. Because I imagined all the night seeing the building blue. It's too much. It's finished. Is it the last one? Next. I'm just going to open it up to questions. I will ask the question in Spanish. So you understand my question. But you must translate for the rest. I just said that this project, it has a lot of influence from the Arab world, in a sense that all of these briscelles filter the light in the same way that the architecture in Arab. We share the Mediterranean. Maybe we share with the north of Africa, Morocco. We share the light. We share the sea. And it's to create shadows. But I act the same way in Melbourne. They have sun, too, no? Everybody had sun. Now, I suppose it's in my genetic, but it's not in my real thought. I don't know. Maybe it's my chance. But I feel very close of the Mediterranean shadow. I like to work all the time with shadows and lines. Because also the shadows are always in movement. And I say I like dynamism all the time. I say I start offering movement never. When I explain the lobby of the Kasha forum, I say a pillar. A pillar is something static because it's not the roof go down. But I want to express movement and the movement. How do I make with the natural light? You make like that to the light. The light go down each time differently. It's the light that propose me dynamism. And I make the dynamism with all the elements. With the elements of the volumetry, with light. Everything that made me shadow, that permit me to make shadow is welcome. Thank you. Thank you. It was an amazing presentation. I was very interested about the comment for the Arab influence. Because you presented actually an image of lattice blocks. And then when we saw the shadow inside of the buildings, I thought it was a great reinterpretation of like the Latin lattice blocks that we have in all over Latin America. So I think that that was great. And I was very interested in the way that you approach the site where you're going to build the project. And I think I would like to hear more about what is your process before deciding a project and like getting to know the site and the culture and the people. Thank you. It's time that I changed the country. I remember the first time that I went to Mexico. The first thing that I did is to start to read, to start to inform about culture, to meet people there. Because also each culture has his own conscience of monumentality. For example, a big country liver in Mexico is nothing. Because they are close to me. Big dimension and biggest structure. And I don't know if you know Torrecube. The biggest star, sure, in Europe I didn't do that. No, no lovirecho. I wouldn't have done. Because it's another perception of dimension and when you go and place the first thing that you must do is to inform, to be in touch with the culture of the site. It's different because they are much more occidental. It's European in a way. But when I work in Latin America it's different. They are different. I know from one of the earlier projects that was eventually disassembled the Olympic archery range, there was this amazing, like there are in all of your projects there's this amazing attention to the context around and it's exhibited in plan very intricately. I was kind of wondering if with any of your projects there have been any contextual issues that have maybe changed unintentionally and maybe ways that the architecture was able to respond to that or not respond to that. I don't know if I understood. Can you help me? This is the proof, if it's a good architecture, no. If the people assimilate the project, make the project home. It means that you have understood the site, the problems, no. I must say that La Masana is amazing. I love to go to La Masana because all the places that I imagine that the student is going to sit, is going to stay, to talk, happen. And these amorpho are very free. Now they enter with the bicycle and they was a little afraid. They say, Carmen is going to say no, no, the bicycle inside, no. You say, no, but I plan this courtyard like a street. I love to enter if you enter with the bicycle. And now you see the building full of bicycle inside. And I like that. If you understand the situation, if you understand the site, it seems that always has been there. One thing that I am very happy with the gardenia is you are there and it seems that always have been there, like that. La boqueria with these things. And also the houses. And people don't talk a lot because it seems like they have been there. Maybe I'll end with a question. I think one of the things, there is an interview that I read with you where it said that you start with an idea of universal connection so that you think very broadly and try to generate a dialogue with your architecture. And what I think is remarkable, and this is what I said in the beginnings, and I think just to the last question, is that you are in dialogue with site, but you can also think about the details of a table leg. In your design process, how do you sort of work in those dialogues from those many different scales? Like you work from the scale of the city literally to the scale of a table. Because I think also architecture is to give an atmosphere. We are creating the ambience that the relation that the sociality happened. And it's so important also the details. I think the space, but I must arrive to the end to give an atmosphere. Sometimes I don't arrive to the decoration because the client want a specific atmosphere and I don't control not a lot. But when these are public spaces, it's easier. Also when you make the architecture. I say that because now I am working with offices, not by me. And they ask me to make the interior. And it's so difficult. I can't. Because play with color with only atmosphere. When I make the architecture, I try to arrive to this atmosphere carefully of all the details. But when the architecture is not by me, it's because it's like a not dialogue, a rhetoric. It's like argument. That continues. And continue until the detail. That's why the dialogue between everything. When you are not the author of the architecture to find this atmosphere inside another. It's heavy for me. It's hard. It's like a game. To design the benches, the door, the tables. It's time and design more or not more. All right. Thank you so much for an amazing