 Okay, good afternoon everyone and I welcome everyone to this event with Mr. Martin. Martin Henn completed his architectural studies at the University of Stuttgart as well as the ETH Zurich, where he graduated with a master's degree in 2006. In 2008, he received a master's of advanced architectural design from Columbia University in New York. Prior to Henn, he worked at Zaha Hadid Architects in London and Ascent Art Architecture in New York. Martin Henn joined the Henn Architects in 2008, becoming a partner in 2012 and a managing director in 2017. Henn is an international architecture office in Munich, Berlin and Beijing and draws upon more than 70 years of expertise in the field of workspace, culture, health, education and research as well as production and master planning. With a count of 380 employees from more than 40 nations, their architects, designers, planners and engineers benefit from a wealth of knowledge collected over 3 generations of building experience in addition to the worldwide network of partners and experts in a variety of disciplines. This continuity, coupled with progressive design approaches and methods and interdisciplinary research projects, forms the basis of a continual examination of current issues and for a consistent design philosophy. Forms and spaces are no mere objective. They are developed from the processes, demands and cultural contacts of each project. I welcome Mr. Henn to start his presentation. Thank you very much Rata and yeah welcome everyone. I'm very pleased to be back at Columbia. Initially we were planning to do this in person. This unfortunately was not possible but I'm doing my best to still keep you interested via the screen. I am going to share the presentation so maybe just give me a quick thumbs up if you can see it. Okay so when I studied architecture, this was kind of a pre-Columbia days in the early 2000s. Architecture was based on binaries. This is how I learned it. It was differentiated in outside, inside, public space, private spaces, in work, in life and I want today to focus on the in-between space. You could call it the third space. That is spaces that is basically neither nor. We are living in a time of big transformations, digitalization, climate change. They are all disrupting our economies and our society and the speed of innovation is moving forward faster and faster and the changes that are happening are more fundamental and more fundamental and affecting our organizations and our work culture. I would like to ask today, what does it mean for architecture? What does it mean for our discipline? How do we design for these possibilities, for these ambiguities and uncertainties? And if traditional typologies are maybe no longer sufficient, then how do we reinvent new ones? And we understand architecture as a sort of framework or as a scaffolding for social processes to happen and to take place. So architecture is not just the reacting sort of player in this context, but it can become an active agent and a driver of change and innovation. So we're not just designing the spatial dimension, but at the same time we're developing the social dimension. They are kind of mutually dependent and affect each other. In the past, and this is an interesting, I think, illustration from a book, which is called Neufat. I don't know if you have come across it in your studies, but in Germany, each student is kind of like the Bible. And it is a very thick book with a clear categorization and cataloging of activities of people and the respective kind of spaces that these activities take place. And everything was kind of measurable. And you could clearly say, okay, there's a single office has kind of these proportions, and you could even sort of rely on a catalog then of building typologies. So, yeah, a very clear differentiation in functions and building types. Today, those typologies and those activities become much more hybridized. The programs and functions become more networked, interconnected, and kind of blurred. The processes that are taking place in these buildings are more and more nonlinear. The results, the outcome, is oftentimes not quite clear yet at the beginning. And things cannot be organized as easily anymore as most may be possible in the past when there was a clear hierarchy. So we are dealing with gradients of communication and different activities. Similar maybe to the building scale. There's a similar kind of tendency also on the urban scale where a blurring of the public and the private seems to be taking place. And at this point, I want to introduce the concept of liminality, something that I kind of came across and I think was quite helpful to describe this. It comes from the Latin word limen, which means threshold. And a liminal space is that space that is no longer and not yet. So kind of something in between something, a zone that disturbs the usual binaries now of A and B, and a zone that disturbs the hierarchies that uphold the power system without resolving the differences of the two. And yeah, in this space, we kind of, we are out of our comfort zone. So we need to create new meanings, the rules that we know need to be negotiated. So it's a space that is primed for change, a space for transformation and for innovation, a space in which anything seems possible, and a space of constant change. So it's a kind of permanent limbo, a space of fluctuation. So if I look at our practice and also the projects that I'm presenting to you today, I would say that we are a practice that is very much focused on this type of space, the third space, operating in between clearly defined typologies and between individual systems, trying to bring together and to unify seemingly opposites, focusing on the performance and kind of the potentials that this unfolds. And yeah, here is a quick overview. I will do that with the help of five projects, three office buildings, production facility, and cultural center. The first one is the Osram Headquarter in Munich, a building that was built by my grandfather in 1965, Walter Henn, and it was the headquarter for a bulb company. So they were basically producing light bulbs. And what, yeah, the innovation that he brought to this building was the so-called Bürolandschaft, an idea of the open plan office that at that time was already quite prominent in the US. He brought that over to Europe and developed it further in a way that he broke the rigidity and the repetitive sort of configuration of the furniture and loosened that up and created more organic circulation patterns. So this one here is a floor plan. And if you compare that now to the images that we saw before in the Neufrad, this is, yeah, something I would say quite radical and quite innovative, yeah, fully blurring the spaces and the different functions in an effort to improve the collaboration and the communication between the people. So there is these lines here are kind of demarcating the different teams that would always reconfigure. So it was a permanent contestation and renegotiation of boundaries and sort of a one-to-one translation of that liminal space diagram that I just showed you. But there was still a clear hierarchical organization. If you can spot here, the two corner rooms where the managers that had a very clear idea of or a plan of what should be done and those tasks were then executed proficiently in a very sequential kind of linear process. The second project is taking us to almost today in 2018, the Merck Innovation Center in Darmstadt, where we're taking this idea almost to an entire building scale. Merck is one of the oldest pharmaceutical and chemical companies in the world. They turned to 350 years old when this building completed. And at this campus here, we have roughly 10,000 people working in healthcare, life science and electronics. And the idea was to build a building where all of these people could come together, work on kind of interdisciplinary project-based topics for a limited period of time and to then kind of go back into them respective departments and sort of infiltrate those new ideas and these innovations. So yeah, the client basically asked for design as a building that is breaking down the hierarchical boundaries. So their way of working was still a very traditional one. Take the people out of their comfort zone. Take risks and create opportunities for ideation. So we looked at the constellation of these future sort of project teams very closely. It was a number of 15 to 25 people and these project platforms, they had to offer everything from kind of collaboration zones to presentation zones, but also moments where people could kind of sit down and work in a concentrated way. So what at Osam was still kind of like a two-dimensional network is now taken to the third dimension and the office landscape is becoming or turning into an office topography. So in this little diagram here you can see these project areas as the say smallest unit of the building. They are connected diagonally with the bridge and then vertically kind of connected with these ramps and staircases. We intentionally decided not to leave the center open. This is often essential. A germ in a building but to occupy it and to program it as a space where people can come together and interact. This is our favorite model, like a very early concept model, but I think that shows best the simplicity of the geometry. You have this clover-like kind of shape and if you unfold, unfold this in 3D, you're creating this sponge-like very interesting sort of spatial continuum that is kind of mediating as a gradient now and as a space between zones where you can work more concentratedly. Those are situated along the perimeter of the building and the center where you have maximum exposure, maximum also visual connection to the other project teams and that also serves as kind of the central circulation of the building. And this is here a view into one of the four voids and this is a shot a bit further away from the perimeter of the building looking at one of these project platforms. Visibility is very important now as sort of like an initiator of two people to interact and to start a conversation and you can recognize a phase very well at the distance of up to seven meters and then kind of medium okay up to a distance of 20 meters and then anything beyond that is it's a bit hard to grasp. Many squares in Italy are kind of designed around that size or that proportion and this was also an influencing factor when designing this building. So the when you take our central bridges the maximum distance kind of diagonally until the end of a project platform is roughly 20 meters so allowing people who would pass by to kind of say hi to recognize their colleagues and to kind of start a conversation. This is here a view when you're kind of all the way back. There are also some mezzanine levels with meeting rooms and from here the sort of perception of the space is a much more horizontal one but you can still see these kind of central staircases winding up. What was quite important here is that not only each team would you know work together effectively but that there would also be a cross-pollination between the teams. So if there's like the electronic teams that gets inspired by the life science team the so-called weak ties know that are really the ones that sort of bring upon the real changes also the systemic changes between the different systems and the building is really a catalyst almost for these sort of global ties to happen and to then kind of bring back these ideas into your kind of local teams. That's a view when you enter the building and you can already guess what was kind of happening here. The ground floor is a very open landscape of cafeteria there's a big auditorium and a showroom and you can see that we try to almost hide let's say the elevators of the course trying to encourage the people to walk through the building and when you go up now this is the second floor you can see how those four voids are basically perforating the building into this kind of sponge-like space and how the two cores are holding all the kind of serving functions elevators fire staircases toilets and so on and so forth and yeah going one level further up you can then basically imagine this continuous loop that is taking you through the building. The section through the innovation center on the left hand side you can also see the restaurant the canteen building that's connected to it shows you how these project platforms are always two stories high and how they sort of diagonally distributed to provide for views now from one platform to another and so yeah just makes it very open and you can see quite easily okay what else is happening above you or below you. On top of these project platforms there are lots of other completely different functions or programs on the top floor there is a workshop where people can build prototypes and they have these tables here where they can build models there are 3d printers in the back and on the second floor there is a library where you can come together read a book or discuss things this here is the co-creation area also on the second floor where smaller project teams can form and and meet also with external people. This one here shows you an outside view on the left side is the innovation center and then on the right side is the the canteen building also a very important this one here the transition is kind of tunnel that takes you from one world to another with an art installation and then on the other side on the ground floor this kind of open network of streets with shops there's a bakery a butcher and then on the second floor the the canteen a nice shot where you can actually see the production facility in the back and also the scale the scale of the entire compost. The next project that I want to talk about is the Zalando campus it's a project which is located here in Berlin in the heart of the city Zalando is probably not so well known in the US but it is the I would say most successful German tech company they were founded in 2008 here in Berlin and have grown into I think a 20,000 people business now and what they do they are an online fashion platform basically selling fashion through the internet and when we started to work on this project the competition was taking place in 2015 they were spread all over the city working in these very typical Berlin backyards conditions and the aim was to really bring all of these people together to unite them under one roof and to also give a purely sort of virtual and digital platform also like a physical presence in the city. What was interesting here is that the competition brief when we met the client they told us please guys don't reinvent the workplace but the way there so think about the experience when you enter the building and when you walk up the stairs to your desk what is what is happening along that way what are the encounters and what are the experiences that that you can sort of program as an architect what the yeah to kind of typical Berlin sort of urban design module is the Berlin block right I'm sure you've heard about it where you have the courtyards in the middle and you're kind of occupying all four edges what we did with this project is we kind of inverted this idea of the Berlin block and push the courtyards from the inside to the outside creating essential atrium in the middle and took the orthogonal grid and sort of rotated it 45 degrees to create this kind of network of building volumes so the campus or the building both opened up quite generously to the outside but also allowed for views into the building and this is something that was very important for them to also have to show a sense of transparency and what we tried to do inside this building was to almost apply urban planning principles at the scale of a building and within a building so some kind of office urbanism with squares streets and different neighborhoods and yeah this is here a representation the Nolli plan of Rome which I think is quite or quite beautifully illustrates now the differentiation of public and private spaces and actually already contains clues on how to break that binary by carving out kind of public spaces within the private pusheys of certain buildings and this is something that we tried to create also this gradient from public to private within the building so the central void became a central marketplace connecting vertically all the different levels and here the entrance passage that had the auditorium on the right side and then this big central staircase to the left that would take you up to the to the second floor there's a very big showroom and then also to the to the higher levels what was important here is to have the space that was surrounding this atrium not as a pure sort of circulation space but to program it and to also make it usable as a workspace each floor had a so-called living room and this living room was facing the central atrium and was kind of encouraging people to get up from their workplaces to socialize and to exchange ideas to kind of interact face to face with their colleagues because this is what we believe is where most of the innovations the real innovations happen over a cup over a cup of coffee and here you can see them they're always like double high spaces connecting also to the outside and yeah actually very popular and not just used for lunch breaks but also during the day and yeah they were kind of articulated differently on each floor representing the different neighborhoods that you have in Berlin from these kind of living rooms or from the central void we had the streets then a network of streets that would connect the colleagues through their different neighborhoods here you can see one of these paths that would kind of bend and take you into the depths of the building and along these paths there would be also auxiliary functions like telephone boots and shelves lockers and so on the yeah actual neighborhoods are these kind of boomerang like configurations always facing the outside facade and this is where the actual workplaces are located in the pinch points here always with project rooms where the teams can come together and discuss their discuss their ideas yeah so again the marketplace streets and and the neighborhoods so I think as a as a project for us quite an important learning that it's a building that is moving I think from the notion that an office is a building for a place for work to become a place of encounters a place of interaction of collaboration and therefore more than 50 percent of the of the area in this building is dedicated to these kind of communal functions and we were also talking to the client and kind of asking like post corona what or how they would sort of re maybe configure this building and they also confirmed that these sort of areas these sort of functions would for them have become even more even more important one thing just as a quick maybe excursion here that is kind of like an ongoing research that we have in the office that we are also trying to really analyze and to measure on the left side you see kind of like a visibility gradient map of one of the floors and the building on the right side is a connectivity of your your workplace so we're kind of asking ourselves like how do we make this informal communication measurable how can we use this data to inform the design of new spaces and how can we potentially also deploy technology to enhance the social interaction inside a building in real time and yeah this is something that we still haven't figured out but that we will kind of look into more closely in the in the future. The next project is an entirely different typology it's a production facility the transparent factory in Dresden and what is quite interesting about it is that it's taking a typology that was formerly outside the city production of a car and basically brings it into the heart of Dresden surrounded here by all the very rich cultural heritage of the city the Semper Opa and many other buildings so this was kind of this was one thing and the other idea or kind of taking this production facility in the middle of the city was combined with this idea of the the the manu factory so the idea of making a production process visible and exposing showing the the craftsmanship that goes into into a product so similar to like a jeweler a shoemaker or a furniture maker that basically sits in his shop window and works on this on his product and in combination with this idea of the kind of human craft it's this idea of like a fully automated factory where yeah all the parts are you know delivered just in time kind of anticipating a hybrid future of production or where both the man and the machine are kind of interacting in actually quite a livable environment I mean this the factory that has wooden floors daylight and is actually quite a nice quite a nice work environment. The assembly line of the car is stacked vertically to to save space and as I said fully automated here you can see it quite nicely in plan and so it's this kind of L condition with you know the parts being delivered actually some of the parts by a local tram and then the car being assembled put together and theme the square that you see on the left hand side is this kind of added space no that is for visitors but also for the customers who are coming to to buy the car. So the flows the different flows of the car and the people they're kind of overlapping and yeah showcasing almost like a choreography and the assembly line and the movement of the cars and making that yeah an experience for the people of Tristan. That's a very old concept model which I really like because it nicely illustrates these different these different flows of the products and the people. Also here a short movie where you can see I think the beauty of the movement of the robots but also the people and the sort of the depth and the transparency of the space and how that can nicely influence this sort of semi-public area that is created around it. And what is interesting is that this sort of added space this public forum has been used for many different purposes. The probably most interesting one was when in 2002 the river album flooded the city and the historic center had to be closed off for protection and the Sampa Opera was basically looking for a place where they could do the performance of their operas and they moved the entire sort of audience the orchestra and the stage into the factory and this is just one example of how this space was reprogrammed and reinvented over time. Last but not least I want to talk about Rastajk. It's a current project that is in the making in the center of Munich. The Gasstijk is actually one of the largest cultural centers in Europe. It counts up to two million visitors per year and was originally built in 1985. So it's yeah already some years old and it had to undergo a renovation process. What's quite unique about the building is that it houses very kind of different programs. You have the concert hall on the one hand that has a big auditorium, a library, a public library and then also educational facilities. So even for the time back then this was quite innovative to combine all of that in one building. The only problem being that those functions were kind of separated from each other. So when we started to work on this project we thought like what can we do to connect them and also to connect the different functions and to open them up to the city. So we were kind of introducing a third element as a connecting link, the so-called culture stage. So this kind of orange volume which was kind of cutting through the existing building. We tried to maintain as much of the building as we could as much of the existing structure also the existing facade and sort of deliberately injected this bridge in very strong contrast to the monolithic character of the existing building, this highly transparent bridge-like volume that is displaying the vibrant interior to the city of Munich and also allows for amazing views from the inside out. And the so-called culture stage functions both. This is here a floor plan of second floor, so kind of the main level of this bridge. And you can see how it both works as circulation. It works as the foyer space for the philharmonics for the auditorium as an exhibition space, as an event space, a space of encounter for people to walk through and also a space of cultural production where employees, students, visitors can all sort of become actors on this stage. So in a way I'm very hybridized, no machine, a production machine for culture bringing together very different demographics and age groups into one space and this is something that was very important also for the client not to have something very elitist but to really cross-breed and connect the different activities that are happening and taking place. Besides that cultural bridge, the also the individual parts of the gastric had to be sort of re-thought and revamped. This is the old philharmonic, the old concert hall, which is actually still in quite good shape but had one problem is that the acoustic quality was never really there. So we on the one hand kind of redesigned it but also improved the acoustic behavior by moving the stage closer to the center and basically making or adjusting the proportions, the geometry of the space to improve the acoustic quality. The library also underwent an update for the digital age. Formerly very kind of story like spaces were opened up with big collaborative spaces and also new functions and programs were introduced in the cultural bridge. Yeah and I want to wrap it up or kind of leave it at this here. This is a view kind of standing on this bridge sort of looking down this interesting space and I hope with the project that I showed I could somehow inspire you and arouse your interest for the space in between and its importance and relevance for our future world. You'll be the ones to shape it and I'm now looking forward to questions and a conversation with you. Thank you. Thank you for this fantastic presentation Mr. Martin. Before I open it to the audience for a Q&A I have a few questions for you. With around 2 million visitors annually to the gas station in Munich which is the largest cultural center in Europe. How do you think the hand renovation adds value to the cultural and historic importance of this center? Well if I kind of go back to the competition, it was a very big international competition and most of the other competitors they designed a beautiful facade or created a beautiful kind of interior space and I think we were probably the ones that were most radical in paying respect and tribute to the existing and keeping as much as we could but kind of combining that with also some radical intervention that would sort of bring in a new dimension and empower and enable the existing programs and activities. So I think in that sense it's very much respecting what was there but also adding something that brings in an entirely new dimension. And just another question that 10 architects you know specialise in like a social performance design as to you know how people collaborate and communicate so from that which one do you think is your favourite project and why? That's a tricky question. This is almost asking like who's your favourite child and you will always have one against you. I would say I mean there's lots of favourite ones. What my favourite thing is when you have it's not so much the individual project but when you create a relation between one project and another and when there's a certain sort of evolution or lineage that you can recognize and that you can maybe also intentionally build up with each project you learn and you understand things better and you can take them to the next level. You can also create connections and this is why I showed a production facility next to a cultural centre. You can create connections between them and you can take learnings from one and sort of apply them to another. So that's my favourite thing. I don't have one favourite project. Okay and I think now we're open to the audience to ask questions. Be free to unmute and ask or top your questions in the chat box. Hey guys this is a webinar so the students aren't actually able to unmute themselves. Sorry about that but they will be able to enter into the chat or the Q&A. Okay perfect. We know you have questions. So we have a question from Dhruva. What would be the employment opportunities at your firm with the masters from G-SAP? That's pretty straightforward. I like that. Oh you would have the best employment opportunities. No but as I would say very good opportunities. We are welcoming students and future talents from all over the world and I mean I know from my experience that G-SAP is a great school and that it really helped me to broaden my horizon and to kind of find my own perspective. So very good opportunities. Go ahead and send out your applications and we're happy to invite you for an interview. Okay the next one is Sebastian says thank you for a great presentation and greetings from Braunschweig. I don't know if I say that correctly from Germany. Yeah. And then there's someone in the YouTube sorry. No that's probably not a G-SAP student but yeah yeah. We have a question on YouTube. How has social distancing in commercial programs influenced the work? Social distancing in commercial. What does he mean with commercial programs? They're good at the YouTube maybe. Well um. My assumption is what they mean is in like the idea that people want to be farther apart in a commercial program for example like a mall or a factory like allowing for more space for egress or what are the ways that you are thinking about crowding? Yeah. Well I mean the I think with many of our clients the hope is still there that things will kind of become more normal but at the same time the workspaces for example you know they are designed to provide for more space when it comes to kind of the circulation of buildings whether that's elevators for years they're proportioned more largely. Shopping and all that I would say has largely shifted to kind of Zalando and the likes no to many more people including myself are shopping online these days. So yeah this is something that I think will influence and this is kind of what I briefly touched upon before with when I was talking about Zalando is that it will sort of affect I think the way these spaces are programmed. Now for example the office if people will you know work more easily and more commonly from home in the future then what's the reason to come to the office and you have to kind of I think offer them those reasons now that you say okay like either you have a great infrastructure there or there is a way to further your knowledge or to socialize and to meet interesting people or to collaborate and to co-create. So I think this is probably the biggest effect now of kind of post-corona kind of thinking of how do we reprogram the kind of typologies that we know and how do we kind of reproportion the different sort of programs that they consist of. Thank you and we have a next question and the question and answer from Jai Gang. Does the office have a research project on the topic a liminal space or interstitial space? What was that again? Sorry. Does the office have a research project on the topic liminal space or interstitial space? No but I mean the project that I mentioned before the one that we're doing for Zalando is kind of targeting that liminal space no it is kind of informal space where we are trying to understand how do people move through these zones, how do they occupy them, how much time do they spend there, how do they kind of interact and communicate with others. It's this shaping space research project now that we do with two universities from Berlin, Berkeley and our industry partner Zalando. Thank you and we have a next question from Ebriana. As per the current world scenario, technology has started to play a key role in touch-free architecture, mainly entrances, circulation. What is your take on how technology will affect design in the next 10 years? I think a lot. I mean on the one hand how the building is kind of operating from let's say a touch pad at the entrance or in the elevator but I think also and how light and air and everything is kind of controlled around you and geared towards your individual needs so but I think it will also fundamentally and it's one thing or the first thing I think is maybe the easier task. More interestingly I think is the question how does technology influence our behavior or social behavior when we move through buildings. I was talking a lot about kind of visual connectivity before now and that to be sort of the initiator for communication to happen but what if that communication in the future can also happen virtually or can be kind of hybridized non-augmented by a virtual reality. This is something that I think will fundamentally change the way we use buildings, move through them and kind of collaborate with our colleagues. Thank you and we have our next question from Jasmine. Thank you Martin for a wonderful presentation on the relevance often in between space. When working on a building with the mentality of an urban scale how do you decide how big a district or neighborhood needs to be? Lastly on your website you seem to be hiring from all over however there seems to be a requirement to be fluent in German. Is this true for all positions in hand architecture? The first question is when working on a building with the mentality of an urban scale how do you decide how big a district or neighborhood needs to be and the second question is how fluent you need to be in Germany for all positions at hand architecture because that's a requirement on the website. Well maybe the second question first, it depends very much if you work in the sort of early phases in our design studio the kind of common language is English so you don't need to speak German. When you work in our office in Beijing that's the same also if you work on an international project here the lingua franca is English. When you work on a hardcore German project that is also like going through the execution phase and then German is very helpful otherwise I think you will get very frustrated by not understanding anything but this is something you can learn so we have lots of colleagues who joined the office and didn't know a word of German we also offer language courses and they are now some of them actually quite proficient and others at least understand and can say enough to to participate and the first question was like on urban scale projects how do we sort of measure the importance of what? How do you decide how big a district or neighborhood needs to be? A district what about? When working on a building with the mentality of an urban scale how do you decide how big a district or a neighborhood needs to be? Well I think that depends very much on the context no if you have a very dense urban context around you then it's maybe you know larger if that's less dense then it can probably be smaller or more dispersed so yeah I think that would depends very much on the context. I think before we conclude this enriching event our students would like some career advice from you I think please shed some light on how to plan a career path in the field of design and what do you think should be the do's and don'ts? Well first of all doing many things right already no I'm studying at Columbia no but jokes aside then what I could recommend is during my studies now too I think change contexts and I mean I studied both in Germany in Switzerland and in the US and the schools and the teaching sort of philosophies were very different no so in Germany it was very technical similar in Switzerland that's where they teach you how to build a house and in the US it was much more you know theoretical much more conceptual and I think to combine the two worlds this is something that I see also when we you know hire people is that I think the combination of the two is really what makes you strong no I think to come up with great ideas but to then also have the capacity to translate that into something tangible so this would be one advice and yeah there's so much to learn from in architecture something that you learn also a lot through experience no so I think also then working in different offices getting these learning experiences for me was very helpful and maybe last but not least also experience and expose yourself to different cultural contexts I think in order to understand also the relevance of what we're doing go to India go to and see China go and see Africa because this might alter and change a little bit no also the perspective on the problems or the issues that that you're working on currently and that helps to broaden I think your horizon and to really I think sort of tackle and target the global issues and the problems now that we have to do but thank you so much it was a pleasure having you thank you very much for having me and I have a nice day it's already dark here in Berlin I'm sending my best and good luck with your next semester okay thank you bye bye