 Welcome everyone. It's really a great pleasure to introduce Jürgen Mayer this evening and I should say to welcome him back to G-SAP Since he has taught numerous times here in the past. So tonight represents a long overdue visit giving us the pleasure to catch up with his recent work. There are many words that come to mind when thinking about the work of Jürgen and his practice. Boldness, freshness, playfulness, humor, form, figure, pattern, speculation, contemporary, past, future, surreal, contextual, virtual, material, fluid, physical, smooth, scale, atmospheric, sensational, sensual, irreverent, and I could go on. These words are important not in themselves, but as taken together as a register for the fact that Jürgen's work is not neutral. It is not only impossible to stay indifferent to it, it actually demands of us that we react and that we engage with it, whether to reject it or embrace it. In our age of information where we are overloaded with images and architecture centuries old agency and producing meaning is said to have long been replaced by other forms of communication. Jürgen's work surprises with its insistence to do exactly that, recapturing architecture's territory to offer a unique building scaled and material exploration at the intersection of architecture, communication, and new technologies. Spanning from urban plans to buildings and from installations to objects, Myra's work recasts a relationship between the human body, technology and nature to produce new kinds of spaces and invite new forms of coming together that reinvent every day as well as our relationship to each other and to the spaces and environments beyond. As an architect whose practice is still considered relatively young by the standards of our profession and with a sense of deceiving ease and almost effortlessness Jürgen has already succeeded in building an extensive body of work around the world out of his native Berlin. Actually, is it your native Berlin? No, not native Berlin, but Stuttgart, but he's practicing in Berlin. Even more impressive is the quality of the work, seemingly light and yet consistently arresting. His work has also a sense of standing on its own and on its own terms reframing the boundaries of the discipline to include everything from his personal obsessions with patterns and privacy as a register of our contemporary lives to his whimsical embrace of 70s figures and motifs expanding architecture's historical archive to rehabilitate for tomorrow what only yesterday was still considered kitsch or to his polemical manifesto for quote beige A manifesto he recently wrote jointly with Philippe Ofsprobe for his for this past false Chicago architecture Biennale, not without many ripples We heard in that sense. I believe Jürgen's contribution to the field as well as to redefining architectural practice for today Is that is not only refreshing but also important as a model of independence of design research and originality That is slowly but surely constituting an ever-evolving body of work Whose inner workings are not so much following a previous generation's obsession with the signature and authorship But rather exactly the opposite the uncertainty and messiness of a process That takes it all in to produce a timely architectural response that is at one specific and consistent Please welcome Jürgen Meyer Thank you so much Amal. Thanks, Columbia. She said for the invitation and I know you just have landed so I hope Chad leg is not carrying you away, but it's great that you could make it We all are specialists in travel and infrastructure and mobility So I think you are the perfect example for this now It's also what I would like to talk about its mobility infrastructure conversion sites and Public space this is somehow the overarching theme of the projects I want to discuss today And it's something that allows me to look into The transformation of our cities the way how digital culture Changes the way we communicate and use our spaces and how we can look at certain specifics that we discover On our building sites take them overemphasize them and create new say Signatures or iconic Places that are unique experiences rather than replica to other generic Urban spaces that we see all over So But I'm showing today is a project and I'm starting with this one here a joint project With work ac but also with three other architects It's a project that terry reilly curated It's five facades on a generic parking garage in miami It's a project that um is going to be finished soon So it's actually the very most current project that I can show The opening will be april 25th in 24th in in miami And it's a parking garage in the design district What you see on the upper drawing is the elevation that shows you basically the different segments of The different architects of work ac at the left and it's jay mire h. That's us then nicola buf Then manual clavel and terry reilly and on the firewall. There is a text by sagmeister welch At the lower part you see somehow how these fragments are put next to each other and the process was very interesting um It was called the collage garage in the very beginning and five architects were invited to make concepts for segments of the facade for three axes And Then we sent them in we discussed them and I want to show you which three possibilities be proposed Then we got placed on the Facade and started to create certain neighbor relationships with each other So our first proposal that we made was looking at the Plates and the numbers the naming of your car kind of the addressing of the car And we translated that into larger letters and numbers to create a facade structure We had to keep about 60 open for air ventilation Because of fire issues and what you see here is a mesh with this pattern hanging in front of it Uh, then translated that into a structural Proposal the second one was grits and grills Basically the ventilation of cars Which is somehow to reference to the ventilation of the facades here It's a kind of a mesh a constructed mesh that is covering the facade and we had only about three feet of depth to deal with Um, work. I see was a little bit more lucky turning around the corner They have another I think three feet or four feet so that could actually introduce program and spaces into that facade Which was not possible for the long facade So here this is one proposed and then the third one were the lights um And you see kind of the development of these organic like strange shapes that Happened in cars in the last 10 years. This was another motif where we wanted this kind of organic elements to glow in the dark and create this kind of Face that we know from cars as the image for the facade of the garage We also made one version for the corner where it starts to peel off and this became then Our location somehow that we are sharing with work ac and I'll show you that in a minute So we made proposals for all three of these variations then it was one of them was picked by the client and Then it got introduced onto the facade The concept in the beginning collage garage came from the exquisite corpse idea So you would start, um, you know, one would start with the head and the next one without knowing what the first person through Would continue with the body and so forth and you know these drawings Um, it's a you know, something that I found on the internet. So very generic Or do you create these kind of strange? bodies of composed different kinds of animals so it's something that Was the guiding principle in the development of the of the concept that terry rightly, um, initiated Later on it was moved into a different Like condition it was now called or it's now called museum garage But that's more because it describes the location There's a new museum next to it called ica and uh, like a private collection museum on the other side So it becomes a little bit of a new museum district in the design area But you see here is somehow the concept that we dealt with First developing this idea with the lights and these organic shapes as the glowing elements And I only received actually a lighting test last night and I couldn't incorporate that into a lecture Did you get that too that email? No, I saw it on terry's facebook page actually so after we got the first kind of Location right we started to negotiate with our neighbors and One idea that we could develop with work ac was this interlocking like puzzle pieces Of the two concepts. So you see work ac on the left with the stairs and specific pockets of spaces behind it then it's us You know, which kind of interlocks spatially into Work ac and then the rest is basically how they Concept developed it from the very beginning very clear cuts from one to the other So the idea of this exclusive corpse. I felt wasn't really working so much anymore. However terry and manuel tried to do this kind of neighboring condition as well where the bodies of kind of replicated car bodies Were then taken in two three cases to terry's facade Well, I think some of the balconies terry incorporated in manuel's in the end. It was not realized that way So it's very clear segments of the facade But what you see here in our kind of proposal was mediating between the two ends which is one an inversion from like work ac to our like free floating objects and taking this kind of red and white diagonal strips of Markations traffic markations From terry's facade or actually key and righty's facade Into like a larger super graphic and by overlapping these two it becomes somehow a mediator between the two ends of Of the the garage concept Now by jumping closer into the design drawings you see these Kind of different shapes the ones with stripes are Deeper so they have the glowing at night factored built in and then there's a little drop that comes down to the street level So these are the renderings where you see how it's also starting to peel off at the corner and these are the glowing elements at night And this is the construction as it happened work ac here with the pink background and nothing that color is really glowing through This white surface and then our scheme starts here I'm guiding you slowly around the corner So you see the different facades and these images maybe are six weeks or four weeks old. We didn't get any updates since then But here you see these elements floating and then the next one is Nicola booth Here the super graphics that runs kind of independent from the organic shapes over the facade another kind of confusion, but with the organic shapes somehow covered the rigidness of the concrete Kind of structure behind it then the patterns add another kind of confusion layer onto it and therefore creating a certain ambivalence of Where are the boundaries of that facade and What are the kind of the depth qualities of? of that very thin skin that wraps around it this one here is Nicola booth and it has more let's say direct references to maybe Fair architecture and playfulness And it's a very kind of clear cut out facade another maybe reference or neighborhood relationship that we have here Also floating dealing with the thinness of a facade Here you see these bodies of the cars from manual clever architectors And they are not the real bodies but kind of cast in glass fiber plastic And then Terry Riley's alkein and Riley's facade here with this Like security patterns This is a movie that shows you very quickly how it sits in the context And I think that gives a nice hint What will be opened in a couple of months weeks now This is a reference that Is also important to us and these are cars that Drive on our streets But they're somehow already ready to go cars like cars that work on On you know on public streets at the same time. They're still not really prototypes, but they're in the making They're in the testing phase I'm from stuttgart as you heard earlier and There are Mercedes Benz and Porsche cars produced there and we see that Kind of car driving in our area quite a bit These are not Mercedes and Porsche. These are other cars, but you have this pattern that kind of irritates the design and It's somehow Kind of catching attention at the same time confusing the real Let's say final product and this is kind of in between situation of not there yet and Confusing at the same time creating a certain curiosity is something that interests me And might work quite well in this ambivalence of what Discovery and covering up Means at the same time It references to things that are private or public or exposed and concealed There's a clear relationship between what's behind that surface and what is kind of seen And it's a condition that are found In these patterns that i'm collecting for many years. We also did one of these cars for The toronto design week a couple of years ago So that's a pattern that we found but it does exactly the same as the patterns that we showed that i showed earlier That comes from these data protection patterns that i'm collecting for the last 17 years now or even longer it's A technique or a technology that was developed around 2000 And no sorry 1900s early 20th century where the pattern became kind of an efficient tool for administration So you could write the copy in Original and the shipping slip at the same time by using the typewriter or like printing through different layers all this of course is technology that is kind of out of Production today with the typewriter is not used anymore, but you still have something like this where You can write the pin numbers like through a multiple form and you only discover it when you open The paper or you like cut it and peel it It's something that also works in shipping slips where this confusion of patterns and numbers actually confuses the information And covers up and makes it clear like spatial distinction between Who is in front of that information and who is like inside that information? And it's a reference that i find interesting also for architecture where this envelope Of buildings deals exactly with a certain kind of Covering up Dividing between inside and outside between a kind of concealed situation and an exposed situation And of course, there are also windows that are clearly addressing or personalizing that building Which is quite similar in its strategy to envelopes and Windows in envelopes and i'm collecting these patterns now for many many years and they come as all kinds of graphic possibilities either Names of cities as we have it here or logos from companies That are you know used on the inside of envelopes or when you hold an envelope against the light You cannot read what's written inside because it kind of camouflages or Confuses the the writing on in the letter So all that becomes somehow a source material that we develop step by step from a very tiny kind of graphic condition Like a layer of negotiation between inside and outside private public and so forth To a condition to be occupied and to becoming like the spatial condition that i think speaks of our our time This is an installation we did in the billionaire gallery And taking that pattern that i showed you in the car now even made larger to a human body scale relationship Where it's printed on a carpet it envelopes the building and the space and It allows you to kind of occupy it in a different way than just going into an exhibition space You could also start to read or discover certain Letters and numbers But what was even more interesting in this exhibition were these 3d prints of patterns that were Extruded spatially into like a third dimension And there were different strategies to do that either by layering it like one after the other and Like starting to mediate from one to the other extruding Having two patterns run through each other And the rule was that from one like elevation it had to be the original pattern as it was found So this was one kind of pattern that we had another one, which is a little bit more of a camouflage pattern Then here you start to see Numbers already this was a more floral pattern This one here is quite obvious you see the 7 the 5 the 0 the 9 the 5 And by layering and then starting to like relate them through dimensionally it creates this quite complex three-dimensional structure By going step by step into a larger scale, this is one possibility Where we designed an exhibition for mobility and sustainability kind of ironically for Volkswagen And what you have here is kind of a network of Interdependencies where this kind of triangle that we all know at least for me was maybe the first time we realized that Sustainability and consumption and production has to do with the future Shows you that there's a certain care of like what we do now might affect the future It's not so easy than the triangle relationship that we see it's Kind of a network of uncertainties of dead ends of interlockings and Translating that into a spatial experience within all these kind of interactive stations to explore more on the content of mobility and sustainability in the future By developing that into even a larger structure This is a dining hall in cultural We also explore the potential of This being maybe either a building or in an artificial forest because it's at the border between a larger forest and the city Here we built A dining hall that was made out of timber So it's one of like the early timber projects that we did which have a polyurethane coating and that three like structure or sculptural interpretation of these patterns into a larger entity Is what guided us through the design process Here you see how these layerings of timber then became the structure Pre-fabricated put on site very quickly and then coated with the three millimeter weather protection created that space that becomes kind of a sculptural entity Inside and outside it wraps from the floor to this roof but not just as a skin but as a as a structural solution And when we jump onto a larger scale, this is a courthouse in belgium On the west aid master plan. You see similar understandings of how this Material in this case, it's also timber Going all the way up to the 14th floor The timber and the reference maybe to the tree is One guiding principle at the same time. It's a courthouse that on that scale creates a certain That's a different form of atmosphere or approachability with a material that you wouldn't expect in a building like that Um hustled Developed the whole area around the train station. This was the cargo train area A couple of years ago with a master plan by West aid and the competition that we won with at soil and lens us from hustles Was Kind of looking for two high points one is this one here and the other one is next to it and The one that was built first was the one that we won It's a courthouse for limburg and hustled comes from hazelnut trees They also have hazelnuts in their logo. You have these two hazelnut trees and what's interesting And I don't know if this is explicitly already developed by rest aid or if it was just a coincidence There are always two high points in the city from important periods of the city. So you have the two gothic church towers You have the two towers from The 1960s from the 20th century, which was the technical Town hall and then the new development also will have two high points To mark the city. So somehow there are nice references to like the Let's say iconic image of hustled with the two hazelnut trees embracing each other and kind of talking to each other All the way to the urban planning reality And here you see the building of course It also kind of echoes the industrial Trusts of the of the cargo train station It the wood might refer to the hazelnut tree or the tree as the place That locates you in community to speak justice or to have a communal meeting And it has on the other hand a very nice. It's a haptic quality that kind of contradicts or maybe softens the the power or let's say the The Atmosphere of a courthouse, you know, that's certainly it's not a playful building that you want to go But it's more of a building that you have to go So some images that shows you how this timber really works in that scale And I think that's a really unique experience that you need to experience on site It's very difficult to show in pictures and then the interior was done by lens us art architects from Hustled that translated that idea into an interior concept There's also a Cantina or restaurant at the top of the tower But the building has three parts. So here is the courthouses. This is the main offices with the restaurant and here It's the university Justice department that has a library and also rooms to rent Another conversion site that I would like to show. Oh, this is also Then it made it to Onto a beer bottle, which I think is quite interesting Thinking that it's a courthouse and where a lot of let's say, maybe alcoholic problems in driving might be discussed It's another conversion site for university in Düsseldorf It's a building that also Deals with this long strip along a train track Although this all development is mostly housing and offices and then here at the upper end the north end We have the building that touches the bridge here But also mediates between the two levels the lower park and the bridge that connects the two sides of the city Wanted to expand the spaces inside the building as much as we could And create a certain efficiency by reducing the that necessary staircases To allow for more space inside for other like areas At this one that kind of pushed The envelope of the building outside so we would have resting resting areas in turn in case of fire Or you would have Kind of a little break and you could get some fresh air But basically it's everything that couldn't be handled by the interior stairs Then would be done either by exterior stairs or waiting areas until the fire brigade would come And this is what kind of marks the Kind of the quality of the building you see all these envelopes peeling out as balconies to wait or to communicate, you know Between floors and this is what is becoming the design guiding element The ground floor has the main Lecture rooms and here you see how the building can develop some larger spaces all the way up to like smaller areas up here And it connects the upper bridge here down to the main Park and here you see that Being kind of touched with the kind of lever here and then it takes you down to the main entrance This the other side again the stairs that take you down to escape and That bridge that touches The other elevation level Some material spaces were also the main staircase really becomes kind of an experience It's attractive and spatially exciting So you would actually like to go up the stairs and now take the elevators Also an important aspect to run into other people to communicate to hang out their waiting areas their little work areas and different platforms here or over here And it gives you like the spatial Experience of the outside also into the inside some of the meeting rooms are In parts where the facade really affects the interior This landing or the the the rising Chairs of course echo the facade of the outside and vice versa And here again the view from the main entrance where you come down To the park level We also build and this is maybe just a quick panoramic view what What we are involved with other projects at this time This is another building for the same university in Berlin We start construction with that one end of the year This also has an interesting kind of technology built in it's an infra light Concrete so it's a thick concrete wall which has glass fiber Sorry glass foam pebbles or Adobe pebbles in the concrete so you don't need any extra insulation. There's no other cladding It's one thick wall that covers all that So it's a nice release kind of solid building that only gets these cuts with the windows This is a high rise that we are building right now also in Düsseldorf. We are up here now with the concrete slabs This is a housing project we did in Berlin a couple of years ago But you see also some echoes of like smaller scale that you discover certain facade details that then later get translated into other scales An office building in Hamburg that was finished a couple of years ago This is an office building in Berlin where We are cutting the volume on the level of the elevated Trained advanced for Berlin. So you have kind of an open floor That is more a communication floor for the offices below and above And also relates to the more of the kind of the traffic flow of the train on that height of the building This project we are just heading in building permission, which is a parking garage in a hotel with a high rise in Düsseldorf as well Another trains Rest stop we built in Georgia And the train station that's just finishing now also in Georgia and this one is Connecting turkey with baku. It's a train track that was built to Basically bring the goods from asa bachan towards europe and Since there is a change of those The sizes in the tracks you have an international train station in the middle of nowhere Basically, so this one here. This building was financed by asa bachan and it's located at the At the intersection aha kalaki here from turkey into georgia Georgia was an interesting part also in terms of infrastructural projects where The country developed quite rapidly in the last 10 years and it Mostly involved projects that dealt with rest stops airports Border stations and so forth and we were Involved in a couple of them and I wanted to show you some projects that got realized not all of them All of the ones we designed were really put in in real material, but there were some For example, this one here rest stop along the new highway that connects tbc with batumi and the rest stops had like different Programmatic functions, of course there was a gas station, but also it would bring a supermarket or a farmers market and arts and crafts market to it which means that There's a certain infrastructure that hasn't been there before they would also build these projects in areas where the Highway would come much later, but it would create already a certain Let's say dynamic and it would show that there's a transformation happening in parts where It might take a while to connect it with the highway, but it would activate the local Communities so these projects In this case were opened with the first highway that we built but it was also kind of a A An activator for the location in this case gory when we went there for the opening We were already like asked that what we would comment on Like two couples that were getting married and they wanted to have their wedding Ceremony or the wedding party after the wedding ceremony in the height and the rest stop and I thought this was quite an interesting Proposal because You know for some people their wedding is the most important day in their life But to have it in the rest of I think shows also kind of the curiosity and the urgency for something new and this Was one of the places where this could happen We also built the rest stop and Border station between Georgia and Turkey and this is on the black sea coast It's a building that is welcoming you or saying goodbye, but it's also a sign Which says it's not a markation between two different countries It's actually a place to meet so it's a place where Program, you know that you can Spaces that you can rent Shops where you go for shopping But also the beach where you can actually swim all the way up to the beach and you see here This is kind of the line between Georgia and Turkey It's a little steeper here. So you can swim here, but it's a really popular beach and you have Meeting rooms where you can have conferences or business meetings. You have shopping area You have terraces to overlook the city and of course, there's a lot of shopping as well So to understand the border more as a Connector rather than a separator. I think it's quite unique and I don't really see that in other border stations It's maybe more of a concept of like airport hotels where you can have meeting rooms and you fly and meet and go back but similarly here This is the floor that you can rent and it's above the checkpoints and it's a beautiful place to Hang out I guess and to have meetings and Also, I think a nice kind of gesture to Welcome and say goodbye It's basically the architecture along the the the connecting routes through the country and Georgia is a country that is extremely beautiful, but for most people it's just a transit country So to understand the architecture along that transit is an important It's a cultural factor that was decided by the government to Use architecture as something that it stays in your memory when you travel through Georgia And this one also is a small airport that activates the local business and tourism It's maybe one of the most tiniest airports in the world. It's 250 square meters. I don't know how much that is in in square footage, but it's in Svanetia the tower is called Mestia And you have a tower, you know, which relates to the ancient towers here, but you also have A waiting area and the checking area So it's basically all three axes of x y c and one is before the security one is after security and one is the tower And so it's quite let's say structurally clear in its programmatic display. So you have one two and three access For the construction of the tower. There's also a little town hall That looks like this at night and the police station in the new town And another project that kind of deals with the idea of activating tourism and business is this now quite lonely public space It it's a tower and a pier that was supposed to become the marker for a new development a new city in Georgia and also a new port in Georgia This is What it looked like right after we finished the project. There's a street here. There's a small town hall here A little hotel which was already built in the 80s But the idea was to build a new town for 500 000 people with a new port at least this was the plan from the government Now the government changed a couple of years ago and the plans were stopped And so what you see is a little like sculpture that is the marker of the beginning or maybe the end and Here the town hall that is actually not doing Anything for a town because there's no town around but the structure itself I think was an interesting process to Understand that by Walking out into the pier and looking back onto the land you kind of understand where the development comes from it's An area where the water is deeper than usual. It's a very flat Uh coastline in Georgia. So it's difficult for larger boats to come to Georgia And deliver goods So all of that was somehow put as a challenge for the future and The the elements were constructed in turkey that were brought to The coast in Georgia and then built up to this sculpture that glows at night like this It's Maybe sad or it is assigned to the future. It might be reactivated But it's maybe one of the most lonely public spaces that I know it sits there in the on the on the coast and Is waiting for kind of a rediscovery but It might also be It's a nice let's say memory of a moment of Kind of a future that that was constructed Now jumping from maybe the most lonely Public space to the most busy public space. That's an installation or project that we developed here for time square in new york And it's called triple x time square with love. It's a project that's commissioned by the time square arts alliance and it Wants to like experience that space in a different way We were thinking of how the technology in the media of that space really relates to our spatial and communal experience That we have there and of course the mobile phone and let's say the Documentation that we are there was an important factor that we wanted to consider in this project The x of course relates to the intersection of time square the Broadway and seventh avenue x But also It relates to a certain history of time square Here it's placed next to the recursion pavilion Which I think is maybe the safest place on earth where you can have a nap there always Some soldiers with machine guns standing next to you make sure that you don't get disturbed But it refers also to kind of a more cd history of time square and I remember when I was studying in the 90s this was just a moment when all these movie theaters closed and the early like first art projects kind of took care of that history and kind of You know looked at the transformation of that area. This is maybe another also hint or Reference to that moment And takes that xxx history of time square again in a kind of playful way into the everyday experience Of course now with a more humor Aspect to it But once you're lying down on these access you have to negotiate like who is stretching out the legs who is kind of Who was there first? how many people fit on one and Really after like three seconds when it opened They were busy and I think since then there's always somebody lying on them all the time What we wanted to explore is the relationship of Like a vertical experience when you're looking up you know that actually you're looking into Many webcams and your broadcasters all over the world So this is the view that you might have but actually the webcams might see you Lying down on these access and if you could lock in somehow seeing yourself lying there kind of highlights or Kind of shows you that relationship of media presence and real presence in space So this is one of the images from The webcams that you see there Some others you know that explain to you when you use a snapchat filter or when you want to communicate that you have been there at the right time At the right place. This is just the random moment Where you see the access lying down there So we wanted to connect that with our social media experience or like performance that we do every day And this is what we simulated it was of course in Media and if Times Square can't manage to get media attention who else can get it This was in the cap when I drove home that same night and they talked about how You know Times Square now has a different experience, but also two weeks later It was the image when new york times talked about the real estate market and The transformation of that area and that when you get really kind of exhausted looking at different Options in the real estate market You can go there and lay down and have a little bit of a break And what's nice as a reward also that last year it was also named as one of the 10 places that defined the new york city reimagination of its urban Spaces From that kind of very busy Urban place which was already busy, but it transformed somehow the perception of the place I wanted to jump to the last project i'm showing today, which is metropol parasol in severe Which was quite a deserted place when the competition was launched But now turned into something that is extremely busy and you know developed somehow into More than what the city expected it could do for the city, but also for the citizens It's in the very heart of civil It is um On the former side of the market and it was Kind of empty for the last 30 years when the competition launched This is the largest medieval town center in europe All of that was development In the like after 1950s basically here you have still some old parts of town in triana But this is basically everything that was kind of containing the city till until the 1950s more or less What you have in this very dense fabric of the city are these Huge like buildings or interventions. This is metropol parasol. There's the bullfight ring This is the cathedral and there's the alcazar castle so it's mostly like Very specific places that guide you and orient you inside that fabric But it's not never really like big plazas like in matredo in basalona that create an open space It's more institutions or buildings that kind of Dominate or define that place here. It was the market And now it's metropol parasol it's a place that Brings back kind of the heart of the city to Civil when the competition was launched the city really worked quite well here in the lower part And you have the cathedral you have the town hall you have the alcazar The bullfight ring the northern part was a little shady and not really well kind of developed Now the hope was with this location to have different Like scales of let's say inter-relationship One was to bring the development of the lower part into the northern part One was to also compete with other spanish cities who all kind of showed their innovation capacity And then of course international attraction and innovation In terms of business Relationships this was the site During the competition the city wanted to build a parking garage three stories or four stories deep And into the ground and once they took out the earth they found all these roman ruins and mosaics And that's when everything stopped and the city used that moment to rethink the window into history And also what could urban space in the 21st century be So this is the market here Where you see it's kind of a city within the city With a wall around it It was taken down in one half in the 1970s to build the end point of Oh, no in the 50s to build the end point of a bus Bus line and then the 70s to take it all the way down It was too small anyway to kind of feed and support the growing the fast growing city But also it became structurally quite Problematic today everything would be done to save them But in 1970s it was more important to have the cars coming in Creating a temporary parking lot and this was a temporary parking lot for about 30 years Now when we decided to work on the competition The first thing that I had in mind was shadow as the main element or material to bring to the site It was an experience that I had when I was at the world expo in 1992 Where it was so hot and humid that Shadow was the most valuable Gift that you could get and so the idea of a roof that would float over this plaza was The first gesture and then we had to bring down the loads in very specific points Where we were allowed to go into the ground into the archaeology And that's how these loads became stems and these mushrooms or trees Developed Then there were certain references to neighboring plazas for example these huge ground trees as somehow Natural version of our build Set us as the civilians call it now Or the underlated stone roof of the cathedral And the interior structure as the space defining element So the structure becoming kind of the architecture You get also the different layers now So first we start with the roof taking down the load into the basement Then there is the ground floor with The market again and some commercial areas and restaurants the elevated plaza as the roof of the market But also another kind of activator for the city and then restaurant up here and walk on the roof Now when it came to Implementing this design concept into reality We had all kinds of options that we researched one was timber with reinforced timber with a coating or no coating We had reinforced dust fiber reinforced concrete or Also steel construction And the timber was always the solution that kind of survived all three Iterations with the cost Predictions with the construction company and also then in the end with the overall construction company so We looked into timber in relationship to Financial or like cost development how it would behave During heat and cooling down at night. So the expansion is an important factor What would be the prefabrication qualities? What are the sound pollution during construction? How does earthquake? You know affect the building and so forth So all of that became a really complex matrix and always guided us to this Timber like layered like timber construction that you see here So the process is quite interesting. It's a it's a lamination of different Layers that timber comes from Finland. It's produced in Bavaria in Germany It's cut and prepared there then it was shipped Or put on trucks bought to civil and then in civil it was coated and Prepared for the implementation on the construction site It's supposedly the largest timber construction in the world as our engineers told us, but it's also the largest glued or bonding technology building in the world where all the candle-levering parts of the roof are actually glued together not If you see steel trans here, but these rods are glued into the timber because that transfers the forces much more equally And this equally distributed then by screwing these pieces into the timber and you see that In the section here, this is the steel rod. This is the glue and this is the timber and the polyurethane coating This was Developed with the Fraunhofer Institute to develop that glue and this only existed at that time Maybe for two three years. It was finished in 2011. So this would be like 2008 or nine And we had to make tests if that timber if that glue would also work when it's if there's fire Or when it gets really hot in summer So the glue would start to maybe melt or become a little bit elastic The test showed only the first five centimeters would be problematic and the rest is actually okay because the timber really insulates it So here once it's actually delivered to civil It's coated with the polyurethane that I showed you earlier also for the dining hall in Karlsruhe And here you see these kind of pieces that are then packed brought onto the construction site and put together These are the steel joints and I think logistic and kind of control of like what goes where is really important in this case You see two concrete towers that are For the elevators and we had to build them for earthquake issues and fire issues So here you have the elevators going up and down But all the rest is timber construction except for the larger spans On top of the earth The archaeology which is fiendel in steel But here you see some construction pictures How it's put together The vertical parts are put together in like in a seamless u-shaped metal But once you know, we've reached that point here You have the candle lever and the glued steel connection the steel rods that I showed you earlier It's quite traditional in a certain way how it's put together You have this steel like spatial steel skeleton underneath where you can rest the elements onto it And then once it's all like put in tension you can take it away again and then you create this beautiful like undulating Shapes that are creating spaces up there. You walk through them. You walk on them This is again the archaeology downstairs Where it sits on and this would be this part here everything that's dark is either steel or concrete The lighter beige parts is the timber and it's beige Now I'm referring to your introduction because there are a lot of Like sand winds coming from Africa So we wanted to have a color that doesn't make the building look dusty very quickly So anything that's either too white or too dark, you know would be problematic So the beige is really the head of the low maintenance color for the project and also of course you see it as a traditional color in Seville The dimensions are about 150 meters long 35 meters high and 75 meters wide. So it's times nine in feet I mean times three in feet. So this is the The aerial view that you see from above. So you see it's an open grid But it brings the shadow down onto the ground It makes the important that's a material that we wanted to create In dialogue with the existing buildings. I think it really creates its It plays its kind of power most Best it shows somehow the kind of the relationship of This big roof with the neighboring buildings that are not built as plaza facades. They're built as Very small LA facades and once the fabric got ripped out because either, you know, the cloister Got bigger or the plaza had to be other the space had to be created for the market All of a sudden they became exposed to a larger space So here you see the shadow that is projected around noon And this would be a close-up of that shadow, but a couple of hours later. This might look Like the shadow of later afternoon where it becomes a swoop And also projections of that shadow onto the Architecture itself is constantly changing and looks differently. So here you have all these beautiful, let's say projections And maybe that's the one of the main reasons to create that roof because it animates that space in a completely Unexpected way Some images how it's put into the city And when you're going up onto the roof, you'll see again the high rise The skyline of the city with this church tower the chiralda the main let's say anchor of the city and The best viewpoint that you have It's open for civilians for free and as a tourist you pay a little bit But it's really important for the city to make it part of your promenade and Sevilla has the promenade culture you go out in the city you meet your friends You walk and you might walk up to the parcel have a look at the city and go down again and continue So this is what What you see from further away. It's not really Part of the skyline you might experience it or discover it when you actually get closer and all of a sudden you're underneath it But there's some points in the city where you get kind of a view of it But now at the end of the lecture, I would like to show you How it really arrived in the city and this is um, I think the exciting part where All the expectations that were kind of put into it and let's say the adventure the adventure and the uh, Let's say the kind of expectations and hope but also the uncertainty Somehow all culminate now in this um, kind of effect of uh, metro power so The city itself of course now uses it to advertise the city But also you can imagine that some Did not like the project in the beginning and this is the Simana Santa people, you know the promenade where you had Of course the catholic church Being somehow against it or fighting it but the year after it opened It was already on the cover of their program and leaflet So they also understood that it was helping their Simana Santa It also worked for Christmas somehow Which is kind of cute This is a school in the neighborhood and they use it for their Crip So that's another version of it in a smaller scale This is Simana Santa and it's actually as we speak It started yesterday and it runs till Easter. It's like a whole week of processions of of these like very heavy floats that You know need like 20 men to like be underneath and you hear the press and they have to carry it and they will exchange after 10 minutes and It's a really interesting process and there's a special music that goes with it. So again That's kind of the iconic week in Seville besides the Feria and social media you document You have been there like you show other people they wear the same, you know at the right place at the right time It's this relationship of a local experience and the media media kind of presence and communication. So this is again Simana Santa and this is how it looks at night. So it's a really magic moment in the city Then of course it works for all kinds of events like flamenco festival or public demonstrations. This was in 2011 and 12 right after the metropol parcel opened It was the moment when Podemos was founded. It was the moment when Spain discussed about the future of their society and about the country and in Sevilla This was the place where these discussions happened Again a place that seemed to like Have a feeling of the future at the same time. Maybe we didn't really know what happens and how to get there This was the place to discuss this This was the founding meeting of Podemos and new party In spain and they even used the metropol parcel as their logo They had sit-ins and workshops and This is maybe the first time that it's not a form follows function, but actually function gets organized by form one of these Stems was the kitchen one of them was the Wi-Fi area one of them was kind of the registration for all the discussion groups So somehow there was a map and I took a picture and I can't find it anymore, which I'm really kind of sad about Shows exactly kind of how this week of weeks of demonstrations for organized around the six stems of metropol parcel And this is at that time, but also it could be a regular evening nowadays in summer where it's really busy At that time we were also allowed to sleep because discussing about the future is really exhausting Normally it's closing at around one o'clock at night. So there's a certain control factor built in but at that time It was also a place where the city, you know embraced the discussion and allowed that place to actually work for 24 hours But I also find it in social media. For example here Not social media. I find it in the internet in like music videos. This one here is a kind of cheesy Latino pop But also it works for hip-hop It works for other Latino pop. This is the elevator or the on the roof It works for Bollywood music And it works for swiss Song pop songs So all seem to kind of have a reference and this is miss Spain. She was competing for miss universe Taking pictures up there, but it didn't work out New balance felt inspired or for their souls and then there was of course public viewing for the Eurogames Again the moment where it was really packed and part of the city An action movie was shot there And car companies like it as well. So here you have Mercedes Benz kind of rebuilding Digitally the spatial quality of it, but BMW was there Also cheap was there Volkswagen was there. Actually they moved it somewhere else And also Renault was there lately Also for grinder, it seems to work So it makes you look better supposedly And uh, Lonely Planet Also put it on their cover for civil but also called it the best place to travel to number one in 2018 So that's maybe the biggest honor and the biggest achievement that the city wanted to Get as an attention for kind of the activation and kind of the improvement of their economy Also red bull use it for one of their Adventures Gay pride works well with it The cartoon festival as well Then that moves into somehow a fashion cover Of course, they're like souvenirs all kinds of souvenirs calendars That's kind of cute Also street photography or street painting This one for example So it kind of plays the whole range, but it also has a couple of like offsprings This for example was sent to me by a friend from india. It's a tv show a sports tv show in india So that Has some kind of reference and i'm not saying that we kind of invented this system But there seems to be kind of a general Like spatial let's say language that works on different scales. This one here is I think a lobby Frequent flyer lobby or somewhere and this is a shop An installation somewhere else So it's a nice kind of echo and let's say offspring relationship that happens here and the last one That I find quite cute and I always wanted to finish a lecture with a cat video This one here is I don't get money for this, but I wanted to show you that even Cat litter was inspired by it And they made tests for their cover for the for the for the packaging with all kinds of motifs Supposedly this one with the test consumers was always considered the best one And I'll show you the video and it makes sense. I then I understood why they actually wanted to have it This is now A cat video So It works on all scales What you see here is like wrapping up the lecture and showing you that this obsession with patterns is obsession with like surfaces And how they become like spatial qualities inhabited like environments three-dimensional Like realities is somehow The search and research that we are doing and anchoring that in different realities in different kind of contexts in relationship to mobility in relationship to public spaces in relationship to new material materialities and construction possibilities is somehow how We see our office explore An architecture of today and maybe of tomorrow. Thank you so much Well, thank you, Jorgen. I don't think there's been a better ending to your lecture than your cat Advertisement I was thinking, you know Both in preparing for just tonight and also just listening to you speak, you know, how How is it possible that, you know, someone who's based in berlin? You know the most Contextual polite, you know built built, you know to the street edge Kind of be incredibly Rational with that, you know technology, etc. You know you're like almost the opposite You know and yet I by the end of the lecture I thought actually you're probably one of the most contextual Architect practicing today and I wanted to open up a little bit this question of context I think it's so interesting That you're working in places such as georgia really articulating You know one of the sort of Maybe most important Sort of roles architecture has come to play again today in the kind of global context Which is to bring to these places a sense of identity and a sense of iconicity. I think your your work really embraces Notions of iconicity, but you're doing that In a very different way than the sort of architecture which you know latches on to reductive cultural cliches of place or or You know you're bringing this kind of completely Almost, you know the patterns that you know, it's a completely different language that you bring and yet somehow it works to create This iconicity for for these places and Similarly also, of course the ending with metropole parcel, right, which which is this This you know beautiful structure that you know frames the context around it and through it and and and really becomes of the place and then So I so I wanted to maybe explore this question of context a little bit with you and You know Which is kind of much broader. I think question for you in in in your work And I was wondering for instance in in georgia You you seem to have developed this, you know fantastic relation with I guess the government or You know, how how is the work received or understood or what is the conversation around? What it communicates and how and at what scale Well, the context question and I never really Like thought about it Until now you ask this question Maybe comes from like the education that we all got in the 80s where You know, the city was just kind of rediscovered again at least, you know, then also translated in in educational patterns where usually it was kind of referred to as placemaking or like Typology or a certain like fabric of the city that kind of had to be Reinstalled it was about like access and visual Connectivities and things like that and especially in Germany, which was so much destroyed It was all about regaining. Maybe something that was lost But it didn't feel Like it was kind of relevant for our generation. It might have been important for, you know, like a generation who actually felt the loss We grew up in this like different kind of reality. There was Disruption, there was new construction. There was this clash of old and new and So I've I know it Maybe the the sensitivity for that kind of placemaking or this certain like the repair of the city fabric was there, but Maybe our generation had to define it or they had to find it with a different like language and When we look at places there is something that we find Is unique for a certain place and that might be very intuitive It's not the general like this is a place. This is the axis. This is a symmetry and so forth That might be part of the articulation of that understanding later, but It's usually some condition or some Factor that I find interesting and by taking that and overemphasizing it Maybe similar to like as meta graphic or like a super graphic Um Becomes the frame to then incorporate all the other program in Georgia it was somehow a moment where the early ideas how we developed over years then Had a chance to be implemented very quickly. We didn't have much time to really think of a project It had to be very like first reaction like very spontaneous intuitive reaction to a certain site And having a vocabulary and having a certain repertoire Was kind of helpful to like use and then transform and then put in place You could say that it's certain certainly echoes some of that say Soviet, you know, like 70s like bold architecture from that moment, but also it tried to find a certain let's say poetry From that space and like introducing that into a different as a spatial Experience so Georgia was It's not happening anymore. Like, you know, we're done with Georgia But it was a moment which was quite exciting It was a time that needed a lot of like help in the transformation And we were one of a couple of offices international office brought in but also in collaboration with local offices so we brought our maybe Uh That's our experience and expertise from outside, but we also learned a lot from the local architects so there was actually an interesting dialogue and It was a moment I usually compared to Maybe post-war Germany where a lot of buildings just had to be built to make the city or the country run like a train station of stop On the airport and things like that. So they might not actually exist that long You know, they might be important for a certain moment in time and then they get replaced when the country develops I love the the one on the border between Turkey and I mean You know in terms of super graphic and the sort of two-dimensional Kind of figure. Um, does it is it inhabitable that one? You showed the section But it's not that you can go up the tower and then some of the can levers are platforms that you can go out and Upset the the roof on top of the checkpoints are the conference So you mentioned Materials, you know, sometimes you build in steel. You've built quite a bit in timber actually And and sometimes in concrete, but The materiality never becomes part of the expression, right? I mean there's a kind of abstraction of the materiality It's sort of covered up and and polyurethane And I was Wondering if you could You know, does that would that work against the kind of graphic quality or like this kind of Resistance to expressing the But we look at the atmosphere and the in the space before we look into materials That's it's somehow different when we do small objects like chairs or furniture It's usually taken material and exploring that potential in that scale For example temperature sensitive paint then becomes a surface to lie on and you create an imprint of your body For example, or elastic glass mosaic from viscetta, you know, things like that trying to define different Um, that's a qualities with the material that we see Um with the buildings, it's the other way around It's usually the spaces that are interesting and then we find the right technology to build them For example, the dining hall, which was the first timber building that we did Was actually conceived as a concrete building and the budget just didn't allow us to do that So we had to find different ways to build it within the budget and we found timber with the polyurethane as a solution and um, so kind of the budget restriction forced us to be innovative in a certain way Um, and that guided to all the other projects that we built with it and in the end also severe the metal Parasol But now there's this new thing that really is interesting the concrete with the foam Pebbles inside and we are not the first ones building it but still it's not like An official construction technology So you always need special permission to do it and you have to apply for that and we just got it about half a year ago So that's a new way to also work with the solid material Which I think is nice and you see that as an entire sculpture. It's not so much a tectonic building, but Kind of a frozen liquid building and the Polyurethane also does the same thing, you know when you have these different elements and you coat it and it creates a same entity rather than Collection in parts. Yeah, I did want to come back to beige because I I actually really liked your manifesto at the chicago architecture biennale and you didn't mention it tonight, but you could see it, you know across the um The projects and and uh, you know, I think there's few architects who Today will make claims on color and so I also think it's interesting to make a claim on not only a color But what is considered usually a non color? And and in your manifesto that you wrote there was a sense that You know beige is the color of war and desert today and the sort of the generic city Uh And um, and it got very strong reactions. I heard and at the vina there that was kind of Uh, so I don't know. I wanted to talk about color and talk about beige in particular Yeah, I I'm happy to explain it again because somehow it actually works very well with the school here When we're beige now because when I was teaching here for the first time Mark invited me to come here and teach it was somehow a reaction to his book on whiteness in architecture and um around the same time that I read his book or Yeah, maybe a couple of like months or years later. I also um Came across two topics of beige which one uh was uh this discovery that the cosmic Color is beige. We are cooling down from a red light source to like a blue cool light source And that right now we're in the face of a couple million years of beige universe color at the same time The other kind of reference was A story I heard about gated communities in phoenix where when you buy a house there There's a very limited color palette of different beige that allow you to you know to paint your house with And basically it's an economic factor because if you would paint your color in yellow or pink The value of your neighbor's house would go down because nobody would buy a house next to a yellow house or pink house For example, so I was interested. What's the power of beige? You know, what is what is this thing? and so when I was invited to teach here, this was the beige studio um that I taught with mark kushner and uh, we were exploring Beige in all its facets. So it's um, it was a research on beige and tourism beige and military beige and age beige and shopping beige and real estate So each student became a specialist in one relationship And then developed their own project out of it. So war and military was only one aspect Now of course with the presence of all these like wars in the near and middle east it becomes kind of unavoidable to think of beige in relationship of war But we wanted to document somehow The production of architecture globally as something that Reduces its color palette and mostly its beige at least in Germany it's not related to like its spatial or like aesthetic expression or like sculptural quality or It really goes across, you know, all kinds of agendas from reconstruction to Whatever neo tectonics to the even let's say organic architecture. It seems to be um Phenomenon that it's not even talked about because beige always comes across as given rather than chosen And like skin. Yeah, and we wanted to kind of highlight That it's it's not an innocent color. It's something that does with us. Maybe unconsciously And comparing this kind of collection research of beige from like high-end architects to no-name architecture production and compared or put it next to the destruction of our beginning of Culture, you know the destruction of palmyra and all these things. So the dust clouds, you know, the beige dust clouds versus the production today No, and this was then done with philly borscht one. We developed that. Yeah. No, I thought it was really Interesting, but beige doesn't work for miami That's true. You have to go we went pink and you went red blue and white So I Think we should be talking more about color. So I think it's really interesting to open up That conversation and I'm glad it started here at the school. I think that the I didn't really get the kind of the reactions in in In chicago to the beige topic I think it was The pro-white people It was maybe the pro-white people, but it was kind of considered as something that is pro Neo-liberal and I didn't see that at all and maybe we have to Communicate it in a better way because it was not about pro corporate architecture. It was actually creating a certain sensitivity for a phenomenon that seems to be at work And you know, either we like it or not, but it's a kind of creating awareness for A moment that we are facing right now in architecture Yeah, I mean for me. I thought it was it really captured This time there's a kind of mirror image between the expansion in phoenix and dallas and houston and And then the clouds in the middle east and you know, it's kind of this oil transfer or And so We also we designed a project in orange county where the lifestyle mall had to be beige Right, so we had to cover it and with the green screens and but I think it's a very interesting um sort of proposition to to think about The non-neutrality of beige somehow so why is your project in miami penguin and that's because of um miami vice And the pig flamingo And uh, what's his name again? Don Johnson, okay So that's miami for you right there cultural reference Highly sophisticated cultural references from the 80s in south europe. Yeah, actually where I watched miami vice. So, um Maybe we should open it up for questions The durability of the poly wood over the decades And is it popular with our fine feathered friends similar to rom or venice where the pigeons are all over the place I didn't get the second part of the question Is it popular with our fine feathered friends the pigeon and other Um, we have they have a falcon, you know that they Have it have have falcon fly over it. Like I think once a month Um, and so that seems to work. Um, they're actually no they have no problems with Pitches not that I would know But uh, yeah, that that could have been a big problem But supposedly at this point. No, it's no not an issue The polyurethane on timber Seems to work really well In severe especially because the climate also, you know, it's it's warm and dry. It's not so humid So it actually covers the timber and It has a couple of positive effects to it. It Allow us all the timber that is constructed being a structural timber If you would not have the polyurethane You would actually have to add two centimeters of timber on both sides as a weathering Timber layer and then the inside would be the structural The structural timber Also, the polyurethane Helps you to not have to repaint it all the time, you know to cover like to paint the wood So it has these both aspects, but the timber the polyurethane doesn't have any sex solution Built in so it doesn't go bad. It just has to be repainted once in a while That's what we were told and it stands already for six years or seven years. So it seems to do. Okay You talked a little bit about patterns of use in social media. Obviously you are a collector And you archive patterns graphic patterns Can you speak a little bit to your conception of privacy and exposure and how we as designers Can envision the way that the user is going to play into Either digital patterns or social patterns physical Um, what is your idea of privacy versus exposure? Um, but the pattern is maybe the last like visible Tool that creates these certain Divisions between private and public or that that creates certain filters of private informations versus like public accessibility So if you have an envelope or you have these patterns on your pin number It does, you know conceal that information until it reaches you as the as the receiver Now of course that all moved into the digital space whereas maybe not visible anymore But you might experience it or you might think you You know how to create these filters or these kind of Barriers, but in the end, are you sure they are working? That's kind of the question So in a way it highlights that issue of privacy, but with maybe the last Material expressions of that strategy how to cover certain private informations Yeah, they both seem kind of anti architectural I mean I'm too unhooked to have ever use snapchat, but I don't think there exists an architectural snapchat So now the people are now the people are deleting Dropping out of facebook and dropping out of snapchat. I don't know. Do you think that'll have an effect on architecture? But the other student that I was teaching here a couple years ago Was a temporary space Where the Hudson Yard is like in that area? Which was all about kind of thinking about the relationship of social media and architecture and how like wayfinding how like Let's say information on the way on the go How a certain let's say visibility and your digital body that you can construct You know this might be a different body than your physical body and might be in a different location than where you are Was part of the research that we did and we tried to find an articulation for that I think it's something that we have to work on And it's a reality that we deal with every day So I don't know how that architecture might look like, but I think part of that is already in Building or part of the thinking that I'll show tonight Thank you for your talk This time going through the work. I was struck by The way in which a lot of your work is so three-dimensionally sculpturally volumetrically driven and quite Clearly beautifully articulated and then you have this other interest in the surface patterns and kind of encryptions That you're talking about Then also on the parking garage for example, it's really a facade intervention and Both types of work seem successful, but as I think about it, they don't naturally connect You can't say okay working sculpturally leads you to this interest in patterns or vice versa So for you in your method or in your thinking Where do they meet or do they confront each other and Is there friction there so and you know you have these gallery installations to the super graphics And I don't think too many architects are working At the same time on a kind of graphic sophistication and this really intensive spatial volume volumetric So how is that how does that play out in practice for you and in the creative process? well, um I try to explain this obsession Translating into like three-dimensional Like structures with this 3d printed cube At the beginning of the lecture where the pattern becomes kind of enlarged and then interpreted three-dimensionally into a spatial entity And somehow it's like thickening that layer that envelope between inside outside and you know this Devealing with oppositions as an inhabitable space So it's somehow an an interpretation or a reading of that graphic as a three-dimensional entity and that's when you get You know these larger sculptural structures So they become kind of ambivalent or blurring The idea of the layer as a you know as a dividing space and becoming um That space in itself. So it's A space that maybe doesn't really have an interior and exterior and inside and outside um Some of the projects like the civil project or the the dining hall Remains somehow in a skeletal face. They don't have a skin anymore. They have no like real Boundary between inside and outside. They somehow are open. They are um They're unfinished in a certain way. So this idea of unfinishing and kind of openness create a certain Ambiguity maybe um where you don't really know are you inside the building or outside? Is it like? I think that's somehow along the line where the buildings stand in relationship to the patterns It's it's blurring somehow the the idea of the boundary I guess I mean just I I was thinking also something similar in that I think the pattern at times becomes Three-dimensional and at times you also layer another pattern You know with the kind of window glazing and you know So there is this sort of surface pattern and three-dimensional pattern that that sort of you know come together and in Uh, and maybe miami is the most extreme because you weren't you know But but yeah, you do have some sculptural kind of quality there as well But I mean it seems you you play with both, right? But the miami project is a good example I mean we came with a concept in somehow relationship to the car You know there's of course the the lamps and the the lights and you know They kind of defined as the first strategy and then once it got applied onto the facade We contextualized it somehow by looking into its relationship to the neighbor work ac and the other end, you know, which was it's terry Riley like keen and Riley and then you start to reread your proposal again and like fine tune it adjusted and make it kind of work and contextualize it within that new That's a yeah context that you're creating it and that's maybe an example of how a process a design process works See you are contextual architect. You didn't know it baby One last question What's going to follow up on this this idea of your extrapolating from A pattern that's meant to disguise information To what extent that's an intentional Strategy in terms of this analysis of the way that that that media is functioning in our Public spaces in terms of absorbing attention and taking it away from actual public publicness let's say to the extent that it's You know an individual experience of Your robot Is there a self-consciousness of trying to Make the the the building literally a reflection of this kind of blocking pattern of information and then on the flip side the the this the one of my Bilvance is about this kind of heavily formalized architecture is it's often signaling a kind of Exclusion in our context of new york especially in in in the u.s. In terms of the way that it's applied Whereas it appears that the the that frequently your work Uh takes the form of very public spaces that invite participation So I guess there are two different questions. Maybe Well, I I I want to see the pattern and the exploration of the pattern and exploding them or like you know enlarging them and scaling them up as kind of a pre Architecture somehow it's it's it's a search towards Maybe a different form of Building It I don't see them as like the solution. I see them as more of a question and Maybe they try to avoid certain let's say architectural elements like a real window or the stairs or you know things like a tre partito You know these kind of rules that we all learned in school And by trying to avoid them they become of course abstract objects somehow, but they're not meant to actually Create and I don't know if I understood your question right they don't They don't mean to kind of create a distance. Actually they are meant to create a certain that's a questioning I or like a A curiosity that then reflects into rethinking about the context or the urban fabric around it also means So it's somehow a catalyst or an activator for a different form of like urban perception and and participation And the same thing how it then happens of course when they become real public's projects Where the quality somehow is a unique specific place that allows Its citizen or the people who live there to appropriate it as stairs A certain let's say reference that it's creating That urban context for them And then start to play with it like interpret it like that's why I'm I'm so happy with all these pictures that I can show With the civil project how it really Started to become part of the life and created a different kind of creativity and appropriation and transformation um And that would not work if it's just a simple box or you know a mundane or building, you know in that case it really Seems to generate a completely different form of production and I think that's Uh, one of the advantages advantages. This is one of the It's a side effect of that kind of Okay, well, thank you Jürgen. Thank you so much. Thank you