 Welcome back to the Human-Humane Architecture Broadcasting Live from our Tropical Paradise in Honolulu, Hawaii. And we're tuning in today with a very good, for the topic of this show, a very windy, wintery day here in our paradise. And we're bringing in someone who is actually at another tropics where it also sort of cooled down relatively speaking, and that's Da Nang, Vietnam. And we're welcoming David Rockwood, hi David. And David, if you don't know David guys, then look up one of the inaugural shows of this sequence here. This is when David introduced himself and his work in the field of tropic hearing. And you were showing some, if we can get picture one, you were showing some very impressive work. And we see you at the top right of that image here in front of one of the projects you proposed. And you can also see something in yellowish, in brownish, and these are some screens. But before we get there, maybe you tell us a little about the sort of the sort of parallelity or duality or schizophrenia of this image here that we see on picture number one, David. It's a beach city. It's about the same population as Honolulu. And so there's a lot of tourist activity. This is a photo on the beach, beautiful beach. And the image on the left is a new condominium tower that's being built. There's a lot of building activity that's happening. It's really booming. And you can see the difference between the kind of open, thatched roof on the right, very open to the environment. And the kind of hermetically glass curtain wall building is being built on the left. And some might say now this reminds us very much of back home, home meaning here. And this is the next picture where we see a project that is by someone from the East Coast, Richard Meier, where you actually have lived and taught at Pratt Institute for quite a while. And you had to bundle up in the winter and stay warm. And that's the same where I'm from in Germany. But we came both to Hawaii to not wanting to have that anymore. We got sick of it, right? So we come to Hawaii. And it's architecture that is different and climatically responsive. But then we get the sort of invasive stuff. And this is the gateway project by Howard Hughes. And at the top right, we did a show with this Soto about what used to be there before and is currently under demolition, which is the Warth Warehouse. And I'm sure. Yeah, it's a kind of phenomenon that's happening. And as an example, we just saw in Da Nang, Vietnam, we're seeing a similar phenomenon in Hawaii. So developers are coming in. They're bringing in designs that really don't have too much to do with the place, the people and the climate. And so while this is a very beautiful building, kind of formally, that's a work of art in terms of creating a really livable environment appropriate for Hawaii, that's probably kind of lacking. So yeah, and I'm sorry to be even more Debbie Donner because I'm taking you home now on the next picture. This is our way to work, which we mostly do in an easy breezy, post-fossil, commuting way either on two feet or on two wheels. And if we can get the next picture. But when you come back, what we see here, I'm afraid to say it will be almost completed as the rendering, which I took a picture of at the construction fence at the very top right. And also to make you cry, I put in this picture at the very bottom right, which is a detail of the former building, which was a very nice few story walkup, port-in-place, external circulation, very nice and easy breezy. And so sorry to tell you that. But lifting back up our spirit is the. Well, thank you for being here. Yeah. A lot of this, and that's when they're kind of most kind of raw and pure state. This particular building is actually post-tension concrete. So it has long span. So it's very minimal structure and really very beautiful. But now we're kind of seeing all of this kind of superfluous things coming in. And it's very unfortunate. She at all beginning to get all kind of closed by them. Yeah, and therapeutically for you, we bring up the next picture so we don't get more depressed. This is an uplifting picture, at least sort of in our mind. We imagine we could freeze the moment of time and construction because this is a picture I took from the other side in the portrays sort of your dream of basically inhabiting the skeleton, right, and keeping it easy breezy. It provides everything that you need to stay dry and basically get no sunburn. That's all you need here because otherwise it's pretty good. They work quite well, if designed properly, and probably less expensive. So all kinds of advantages I think to be had to. Exactly, and we're not giving up on thinking this should be the case in the future anymore. And if we can get the next picture, which if you guys watch the show, you've seen us talking about this project every now and then. This is the project we're both collaborating on with the emerging generation. It's called Primitiva and it tries to sort of reintroduce these kind of values. And to the left, you see a suggestion for the fenestration, which is pretty much the absence of it, but there is like a stainless steel fissure net so you don't fall off the building and there's also vegetation. And that vegetation we've been very critically discussing forever, I can say. And recently, our most activist journalist, Kurt Sandburne at the bottom right, who did a show with us, was sending me this provocative article about the sort of boom of vegetative towers in Italy and it says, does it also have room for the people? So while myself, I'm crazy enough and extreme to say I want to live that way and I don't care because when people say it's cold, I'm saying it's not because where we're from, it is cold. But let's just say there aren't enough people like me and that's probably reasonable to question. Then the show today will be about what the solution could be that actually many people, not to say most people, would actually feel comfortable living in these buildings. And to illustrate that and to share the work you've been doing with two generations of emerging architects, we bring up the next picture that gets us to a fellow German of mine, right? Who is that? Yeah, it's perfectly fine. I tried my best. The large kind of four main elements that he said really comprised architects and a reminder about what it did. Yeah. And let's look at some of these in the next couple of pictures. So the next picture here is an example from the 30s, 1932. And this is Le Corbusier, right? Yes. What we need so desperately here. We're doing an early curtain wall. And while we bring up the next picture, we can certainly say he learned it the hot way, right? Versus the hard way, the hard, hot way, the hot, hard way. And this one here is also bringing the solo in and the show we basically did about tropical brutalism were introduced and debris soles as even the term indicates it comes from French language. It's something that is a device and architecture that helps mitigate you from the sun, which is building shows. And this is in the 50s now. And since it's so exciting, but we have something more exciting coming up that we need to make sure we don't fall short on. So we should show one more picture from the past, which is actually sort of a hero or a mentor in that field or two of them, two brothers. And then we're going to show how all that sort of history and legacy that you know you're aware of basically and inspired you to do prototyping with your students. So who are these mentors? Yeah, it is. And you guys just watched the other show. We did one about the LMWANA building, the Soda and I. And it's a building that at the same time mid-century was doing sort of automated shading that sort of adjusted itself to the changing sun. Unfortunately, they got taken off and replaced with something purely formal and hideous and non-functional anymore. But that is why you basically picked up on there and basically said, let's go to the next picture. I think this is the reason there's a great tradition. There's a great legacy. And this picture is now in the 63. And you basically told your emerging colleagues, hey guys, let's get back on that. And let's basically test and experiment the next generation of shading devices if I'm correct. Yeah, I can still hear you. Sorry, connection, you're far away. And so we're on picture 10 with an awesome diagram from 63. And let's use the remaining 10 minutes of the show to sort of do a sprint through a selection of projects that you sort of did based upon that methodology and theory just the last few couple of semesters here at the University of Hawaii in Minoan. Picture number 11 brings up, before we do that, we jump to the 80s. And this is one of your mentors. You had the privilege as very few architects in the world to be recognized and highly recommended by this gentleman, Kenneth Fremton. And he was also sort of adding sort of more contextual theory to that subject matter, right? And he was more authentic to the people on the place. And go to the next, take the next picture to basically here now, this is where we start introducing the emerging architect's work under your supervision and guidance. And now go to the next slide, which shows us the, as it says, the methodology. Are you still there? Yes, the overall methodology that we used. That work pretty well, which we will see soon. But if we get the next picture up, we have one more picture with some more prerequisites here. We would just jump because we're running out of time, just jump right in how that would look like the result of that, which is the next picture, which is also a permanent background whenever you see us. We have that in the back of us. But different than mostly in school where you're happy when you get a pretty picture, you were holding them accountable on actually making this work. And let's get to the next picture, which shows us details of that laboratory-like environment that you created with them, where they tried and failed. And they tried and failed, just like your curbusier, right? He was allowed, and maybe he needed to fail to ultimately be successful, right? But they made it work. As you can see on the next picture, and I've seen it, I witnessed it in an operative mode. And it's rather poetic. It's kinetic, and it's performative, and it's formal, and it's all of that and more. And let's go. We've got only three minutes left, so we've got to run through. Probably we show maybe one picture after another. And you just talk while following the flow of the pictures. So if we can get the next couple of pictures up just for a couple of maybe seconds, and then just keep on going, and you just sort of tell us the quintessence of what we see while we have the images walk by. OK, so the next one, so this was the next slide. Exactly. Number 20, second show is sort of not the final, but I guess the ultimate sort of prototyping or the mock-up, as we call these things. And we only have two minutes left of the show, so we got to just have walk from 23 to 27, which is another project where students taking another take, which was a vegetated one. So here comes the green again, Martin. So Martin is happy. But it comes in a very sort of different way that the planters had to be designed and prototyped. And it's sort of a mesh out of big planters and troughs suspended. So we have one last project, which is 29 to 30, which I put in because you had done then the following semester, which also had great, there are too many to show. And if you guys are around, they're still in the architecture school to check them out. But this one here is a lot of fascinating, too, because it's sort of almost going back to the first project, but in a different way, saying sometimes you want to have it all open. This is the Martin way, right? But sometimes you want to have it all closed, and then you want it incrementally stages in between for these all different other people at different times. And this is what this system fabulously sort of demonstrates. Absolutely. I can confirm that. And we're at the end of the show, but the next picture of 32 is like we go back home maybe up from dawn from school, and no, 32 we need again. And we go down, and why we would hate to see one of our sort of great Brie Soleil artifacts by Pete Wimbley, which is the varsity ability at the bottom right. Some of our team members gave us sort of a little inner scoop message from the development team of this area that it might have to go. And we said, hopefully, when Pete would turn around in his grave to see his masterpiece go, maybe it would be a little bit less upset if he would see another circle that hopefully makes sense would be there. And this is why we suggest that Prima Tiva to be there. But after you talk, David, Prima Tiva wouldn't just work for me. It would work for the Beatles and for you and for many other people, because the screen seems to me a really necessary thing and a really exciting way of the multitude. And you were just like basically starting and there's like tons of other options are possible, right? And that being said, the next picture, we thank you for having been with us from far away. But your heart's still here and also your sensitivity for the tropics. And this is you talking about that subject matter to some of your students. And I subtitled this, the Saigon screening. But you actually, you have been in Saigon recently and you're going up to Hanoi. So you're all over the place in Vietnam as well. And so we can't wait to have you back, David, to apply everything you learned and you taught over there back home. And until then, please keep up the excellent tropic hearing. All right. Thank you very much. And see you guys all next week for another episode with the Soto Brown. We're going to do the volume two version, which is called Volcanic Veneer and Ventilation. So stay tuned for that. And until then, hopefully you guys start tropic hearing as well. Bye-bye.