 Ymgyrchafol yma yw'r cyd-dynion, y gallwn wedi'i gweithio gan gyfyrdd ymwysigol. Ymgyrchafol yw'r cyd-dynion, yn gallu ymgyrchafol yn gweithio gan gweithio ar y cyd-dynion, a ymgyrchafol yn gallu'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio. Mae'n ddweud o'r fafbwyllfa gyd-dynion, yn ymryd. Yr unrhyw ymwysigol yw 24 o ffai oedd, Therefore, I imagine that unfortunately it is not as physical as it is at the same extension. This is the occupation of another dispute space below a road in Hackneywick in Ynlisiad. We thought a small building to became the cinema, cafe, and a space that could be appropriated by the community. Byddwn ni'n dd等au amgylcheddau y byddwch, y byddwn ni'n bobl i ddweud o beth o'r bysgym等 cursedmau a i'r adnod hynny a dynna i'r adnod sydd wedi'i'r adnod i'r adnod. A'r adnod o'r adnod a'u buddith yn maen nhw. Byddwn ni'n bwysig ar gyfer cefnol ar gyfer blaenau a cheliwydd, byddwn ni'n gofo'n clots, ac mae'r idea i'r adnod ar y ddaus hen i dweud o'r ddweud o'r fath, I have a narrative that someone had built a house and then they had come along to build the road that the person in the house refused to move and so the road was built around the house. Of course none of this is true but the idea is to try and give the site a sense of history and to make it something that people are just talking about. It has become a kind of place making tool. The scenario and this project were both temporary. They were just done in the summer. Someone risked their life to see this one for us. This project was actually quite controversial because it was right next to the listed park in London and a lot of places in the local area people had been moved and lots of community spaces had been closed so they could build houses and do expensive things and take advantage of the development around the Olympics. So we really wanted to make visible the fact that there were people living there. There were people who needed space and the community could take advantage of maybe spaces that were usually considered dangerous or not able to be occupied. The amazing thing about this project was that it wasn't really about the structure. Actually we didn't use the structure that much. What the structure allowed was that it became a focal point to activate the public space around. This was the East London brass band who came and played their instruments and that would be a huge thing so incredible under the most weight. Because everything was so popular it was free to everybody. Even if you wanted to see the cinema it was open so we could really take it in and turn up. So this project is one that's maybe slightly different in that. It was commissioned by the Royal Institute of British Architects who are very formal organisation in London. We were interested in looking at playgrounds that used to be built in the States in London in the 1960s and 1970s. This was an era that was post-war where there was a lot of new building technologies and it moved towards high-rise living and concrete construction material. It was also a time when the architects had a bit more... ...migilable ownership that extended beyond the building. So they were building playgrounds as well. This one is called Church of Gardens. The largest estate was built in the first period in London. This structure was a slide in the tower which sits below a very, very tall building built by the architect Erno Goldfinger. It was a very serious Hungarian man and it's quite interesting to think again sitting there doing these drawings and trying to understand kids that were inside. And of course we realised that around this all of the structures were all being demolished. And playgrounds today are very... ...you know, they're very widely coloured, they're very concerned with safety and they're very simple in terms of how they dictate how children should play. Whereas this kind of thing is kind of a mystery. You have no idea. Children are really challenged by this kind of thing and it's obviously quite big. Our idea was to almost pretend that we had gone out and visited these structures and like in the castle ports at the Victorian Art Museum we would go out and take cars to rebuild these structures full scale so that people could experience them how they once were. And we did it in brightly coloured boats which is incredibly soft industrial material all used in the seats or airplanes or aftergames and it comes in these incredible colours. So it lights up the scenario. This project was very much about taking the material of maybe overlooked for its aesthetic qualities and really making people kind of look twice at what it really is. The use of some names were changed very cheap and easy to use and also kind of just like concrete. And so in a way this was a project that reversed the process. We did the project first and then it produced a series of research for a process of research for us. So people would visit playgrounds because of the gallery space as well so it was inside and they would play on it and we would see how the structures would be used when they were first made. And also people would still live in the space containing playground structures when they were first built. So the project was a provocation it was a way of trying to make people talk to each other and to ask about the possibilities for architecture that made it go beyond what we think was possible and in the world of building playgrounds it's not much possible at the moment. And it was amazing because it really filled the gallery space with children which I think no-one usually is under I think the years of it is going to be. So that was amazing. It was a gift, a sense of the range of projects that we do and for both those ones I was showing those contemporary things we kind of really worked in this way this is another selection so we do new buildings and one up here is the art gallery so it belongs to the university which is going on sites this year and we have something that projects in the pipeline like a really green house which will be in a used building but then we have done forcing a lot of things such as this slide which was really a slide it's got 20 people who go down at the same time and then things that are more kind of installations this will be a Vancouver and it's got a group of good and bad city and all the government administrations are trying to talk about the image to describe Vancouver on what's happening there and so I think one of our projects we tried and we've been in a conversation about something that we're interested in so these were kind of the consecutive words that I thought we'd summarise what we're doing and whilst projects themselves could be somewhere between art and architecture the thing that really connects them is that the process is a part of what we do and I think for us the process is the work and so all of this happens in our studios in East London which is a warehouse this one's called Sugar House and the right one is called Yard House and the area is called Sugar House this row of Sugar House laid which is where we do the main row and then the Yard House is a building that we built electrically as an art studio and so the studio is built by these the right kind of concrete tiles that then have pigment in terms of making them different colours and the idea of this building is to create a new model for new-build art spaces which are very friendly in London and so this one was a very cheap construction but then we wanted to add this layer of something more interesting for something that would give a backdrop to the Yard space where a lot of art projects happen so we kind of did a decorated facade which you can now find on Instagram we have a lot of visitors who come and they go to pet dogs and some street fashion shoes we have some weddings and it's really interesting how this project has kind of been there at once in some other world so our studio is the inside of the Yard House it's a space where we have an office we share with carpenters and other makers how to work and we have all these facilities on site with us and we have a very large space where everybody who works in this kind of complex of studios has access to shared tools and a very large space to work in so we're able to test the space and actually get equipment in order to try and carry out and the great thing about this is that everyone walks through this space so you're trying to make something and someone else will see in your conversation and they'll give you an idea about how it might be better to do your we will be walking through and sit down to build a new space and understand through seeing what we've been made the process and how that has been designed in these types of things to speak about how we have a big workshop for the workshop so the construction site is a really important element to our work this is a rhodium before it became a cinema creating a simply line as a way of building on-site but also inviting other people to come and work with us so everything in the construction site is really simplified but into a series of designs so there's a series of steps so that it's easily accessible to people who don't have any construction experience and so we test the character as a group we kind of made things with these weird machines this is a vacuum former for a vending plastic and these would just be ideas that people would just start making as a way to solve the problem and then it became a really big endeavour trying to think three kilometres of sewing because of them and the same with the folly it was 11,000 wooden bricks and they all had to be drilled in two places and then they were threaded through a rope and so it acted like a kind of wall that was tied back to a scaffolding structure and so this became a kind of a month to build the whole thing and so the construction site returns the place of design and mainly all at the same time and then kind of the other end of the spectrum which is where we are kind of more now as we're building things ourselves and we've realised through the process of making how much you have to work with other people in order to realise how it's all of our organisation and strategy how are you going to design a three metre high structure so that it can get out of your front door how are you going to upload a ton of foam into your studio space and then on site the logistics of working with metalwork and then completely and then woodwork and then a completely valuable and very precious material that has to look really good at the end so you can't get it there again whilst people are all quite doing their own problems they really are at the roots of how you navigate projects and how you get something to happen and really communicate with others but sometimes we don't even construct our projects this is a playground we've been in Scotland and what we did was clear to clear the site and let children play and the way that it was mud and then we started introducing some tools and they began constructing themselves and so the project was the construction for this instance being on site and making was the project for the children and introducing other things such as where there is a way to talk about responsibility and managing risk so they would have a fire and they would eat every day and this is a very poor neighbourhood in Scotland most children don't even have shoes or coats to be able to play outside so part of the project was just to bring some boots for the children to wear to facilitate them being able to play and so we built very very little but we began we integrated this project so we also are the owners of this playground to a certain extent we manage it and employ this is Robbie who is the permanent play worker who we are responsible for his employment so the project has extended to actually talking about the management management system and so this is the final project that I want to introduce because I think it really emphasises this mixture of working as an architect and designer but at the same time doing it through a process of construction which really involves other makers and other members of the community or other groups who you are working for so Granby is in Liverpool and it just reverses with a set of streets which are made up of a number of houses which are all empty they have been abandoned through this kind of process and managed the client since the 1990s where the local government tried to display residents to leave by just pluring them but this is very controversial because at the time there is a very politically sensitive area that I think that people have the largest black population in the UK and they were raised right in the 1980s and so it's really the actual urban kind is really tight again for the local controversial political and social issues and so communities really felt that they had been completely abandoned by the people who were supposed to represent them and they were kind of far through flavour of this little bit and kind of try and counter this destruction by small forms of activism one of which is to be visible so to decorate their streets to show that they are still living there even if it's a very reduced number of people even though to a certain extent this is kind of what the housing is left by and so this is a process of planting this is quite an extreme example of that so we started working with this community because they wanted to bring some of these buildings back into use so when we worked with a community land trust which is a quite new type of organisation in the UK where a community can form as a trust to fight property of local authorities very cheap and really perfect and the structure that separates the value of the house from the value of the land which means that it's able to be sold more cheaply to many people who are in need of housing and it's owned by the community who can't sell it and can't profit themselves and so we worked with a community to try and take advantage of the fact that a lot of these buildings had walls that put it down or ceilings so you can see in their model the bedroom of the front there's a lot of big kitchen proof normally it would be flat with an attic but because there was no ceiling it's cheaper to leave it like that to create a money expected space and spend the money to build the ceiling so it's kind of the small moves to try and take advantage of the fact that the buildings were in a certain state and so this is how it is local authorities this is one of the members of the CLT the fact that to really make this house beautiful and to feel like homes everything would have to be very simple and not necessarily cheap but at the same time we'll have that kind of quality in the hope that we were your very own house and we were really struck by how other members of the existing community had decorated their own homes and we wanted it to be able to provide this kind of a layer for the houses and so this led to our project the Grammy Workshop which is the project which we won this Turner Prize for last December and we are nominated for the Turner Prize for the work on the house that has been done in the community but we don't want to exhibit the community because this would be incentive to them and we were also very aware that Turner Prize wanted to use us as a way to be provocative and talk about what is our what is architecture and to start this conversation and so we did that by using one thing that we got to do the exhibition to create a company called Grammy Workshop which would develop products made from the materials found in the local area that could be then used in the homes to provide an extra layer of the design to the exhibition in this kind of terracotta terracotta terracotta stuff was made out of the rock from the building site and so the first item that we developed was this pattern that was going on and it was kind of ended up being a whole series of different different objects and products and then they were put into the homes but then also are now available online we don't know if we should to Brazil but it's what we're interested in there's www.gramiworkshop.com www.kamiworkshop.com www.kamiworkshop.com and then these are ceramic door knobs and handles that were then put in a barbecue wrapped in foil put in a barbecue to give this smoke to Beth so it's a very similar idea to our early perhaps the material was very cheap very simple, you don't need technology in order to transform them but the playing process which really made something that's really curious and really interesting and maybe unexpected and so these are this is one of the actual bathrooms so for example we only had the money to buy the cheapest white tiles but we were able to then use we call this p-cow it's kind of this thing it's a really cheap way to try and add something to the houses and so everything was made on some using, we worked with an artist this guy, he's an artist and we're an artist in the backyards and this became a very big project and we then started to employ actual makers in the local community and what it really revealed is that there are a lot of people who are involved in the making but they have no space to do so and brandy really was a pledge where there was a lot of skills and a lot of fraud and it completely disappeared from the area so we were interested in this idea as the house itself being the site for making that goes beyond the kind of cheap thing about being able to fabricate things literally in your back garden with equipment that anybody might have to set out if you put banana skins in with the ceramics to get really beautiful beautiful patterns and this is the making of one of the terracotta lampshades and so now we have this permanent space in Liverpool which is a community where we have developed these housing projects and the space is somewhere where we can run workshops but it's also an actual space of making the products of fabricating and then sold and so the sale of the projects has created a kind of sustainable way to keep this somewhere that can employ local people and continue developing products and so yeah this is the ongoing workshop if anyone is in Liverpool feel free to provide and then I Felly, mae'r byd yn siŵr i gyd i'ch eu gwneud i gael y gwneud i ddweud yn hynny'n gwyfyrdd. Felly, mae'r byd yn cael ei ddweud yn maes i gael ddweud, ond ydych chi'n meddwl i'ch gynllun i'ch gwych ar gyfer, yna'r gweithio'r gwneud i'ch ddweud i gael i'ch gwych ar gyfer, a'i gweithio eu gynllun i'ch gwych ar gyfer, am y ddweud i'ch ddweud i'ch gweithio'ch gwych ar gyfer, a'i ddweud i'ch gweithio'ch gwych ar gyfer. Ac e'n cael ei i'w gweld i'r amsig, oherwydd yma'r pwysig yma'n ymlaen eich mater i'n ymlaen ymlaen ac mae'n adrodio ar y cyfnwyr mewn llif iddyn, byw ddim yn'r ffordd o'u bichogau'r ymlaen, oherwydd mae'n ddalfiais ar y pryd gei-rhywri. Mae'r adrodio e'ch cyfnod o'r gyhoflas gyda'r profe, mae'n defnyddio mewn uredd. Mae'r cyfnod o'r pryd gyhoflas gyda, mae'n ar ddim yn y mewn ddalfiais, i weithio'r cyflodau ar y cyfnod. a dwi'n credu y ffaisiwn i'r ysgol. Ac rwy'n mynd i ddweud o'r dweud o'r llwyloch o'r newid i'r rhaglen i'r cyfnodau, rwy'n mynd i'r llwyloch. Rwy'n mynd i ddweud eich ddweud i'r llwyloch. Mae'r llwyloch ar gyfer yng Nghymru, mae o'r llwyloch o'r llwyloch i'r llwyloch o'r grwp sydd a dwi'n credu'r llwyloch. Mae'r llwyloch o'r llwyloch o'r gwylltio'r llwyloch. Ac i'wch chi'n bwysig o'r cwnod yn gwrs o'r llwg ar gyfer y cefnod. A'r gwrs o'n bwysig o'r newydd, i'n mynd i'ch bwysig o'r ddiweddoli yn bwysig, o'r flaith o'r llwg ar y gyrdd. I'n ddiweddoli, ac i'n wneud i'ch gyrdd o'r llwg ar y cyffredig, i'r llwg arni, i'n ddod o'i ddod o'r maes, Dyna, mae gennym dweud o'r dweud o'r cyflawni, yn ddyfodol i'r ffordd i'r cyflawni yma, a'n mynd i'n mynd i ddodol. Mae'n dwych yn dweud, mae'n dweud, mae'n dweud o'r ddiw, mae'n dweud o ddodol, ac yn dweud ar y gyfer yr ysgolwyd, a'n dweud i'r dweud, mae'n dweud i'r ddweud o'r dweud, yn dweud o'r dweud o'r dweud, ma'n dweud i'r dweud o'r dweud, Ac rwy'n gweithio'r gweithio'n gweithio'n gweithio'n gweithio. Os boed yn ddwyaf nhw, y rhaglen nhw'n gweithio a'r rhaglen i'r rhaglen yn ymhyngau a tharnu, ac nid yw史yn jwysfydl yn deall yn yr Azzuriaeth bryd. Rwy'n meddwl, ychydig iawn i ddweud a'r rhaglen ymysgolion, mae hynny'n rhai ychydig iawn. So, I think the process has been important to us in a way, I think that you were saying about thinking and doing, and the way we work, because there are so many of us, the best way to communicate to each other and to do something, to develop my own planning through actually going and making something connection. Ie, nid oedd yn credu y gallwn ychydig yn y cerddwyd i gael y ddweudio mewn amddangosol i'r dweudio. Felly, yna'n gwneud o'n dweudio o ddweudio ni'n hynny o fynd i ddweudio'r ddweudio, a dweudio'n ddweudio'n ddweudio, i'n gwneud o'n ddweudio'n ysgrifol i ddweudio yn y gweld ac yn dweudio'n ddweudio'n ysgrifol o'r ddweudio'n ddweudio'n ddweudio. Mae'r rhaglion i fynd yn ymwneud yn ymwneud yn ymwneud yn ymwneud. Rydyn ni'n rhoi ddweud eich bod yn fawr, mae'r rhaglion eich bod yn rhan fawr. Rydyn ni'n rhaid i'r mynd i'n cynnwys sydd wedi'u ddwyfodol hwnnw yn gweithio'n amlwg iddyn nhw, a mae'r rhaglion eich bod yn ymwneud i fynd wedi'u rhaglion eich bod ymwneud yn ymwneud o'r rhaglion i'r amlwg, Mae'n holl i'r ddechrau sy'n gweld yn y ddweud am ymddangosol yng nghyrch iawn, mae'r ddechrau sy'n ddechrau i'r gweld yn y ddechrau, ac yn ddechrau ddweud, mae'n goll i'r ddweud am y genesiau a'r ddweud. Dwi'n gweld i'r ddweud mewn ymddangosol, mae'n gwen洗ol. Mae'n going toin hwn arnynniadol i'i taith i'w teithio mewn. Mae'r gwaithhead gan hynny, mae'n gweithio'r ddaw ni'n wneud amser sy'n cael eu gwaith sy'n gweithio'n ddweud ac yn ymmwylaen o'r ffordd oherwydd mae gwasg iawn, ac nid o'r rai'r agoni yn ieddaeth cael eu gwneud. Ieithio cyntaf y maen nhw'n nhw. Mae ddim yn brydd i ni yng Nghreiffteg ar y mynd, ac maen nhw'n bryd i ni gweithio'n sylwedd i'w Llyfrgell, a bod y cwmno i'r rwynd i'n iawn sy'n ei fod yn cwrdd yn bryd yn bryd i ni mwyn oedd i gwneud hynny, Felly mae'r ffafela wedi amlwg arferrhaf ymwneud, ychydig yn ddweud yn y ddweud. Iso, na ffafela, e'n olygu sy'n porfysg. Mae'r ffafela e bryd hynny, mae'r ffafela e bryd siwais i'r propresglu. Mae'n dda i'r lidiw ar y pwreisio ar hynny, o'r meirio ar y meirio, i'r constructor dda ffafela e buswch. I also like this. All this stuff. I think it's an interesting thing, because technology is a very useful thing. Technology can be a way to produce the explosion. And when you think that there is this fetishize with the newest technology which is an expensive technology, this also means a choice for exclusion. Because when our universities or organizations, they take this kind of decision, basically they take out of the possibilities, whoever doesn't have access to this. And this is an important parallel also when we think about either for vendors or excluded immigrants communities, for example in the UK. There's a panel for it's also the question of representation and disability. Which is also to recognize, when you don't recognize someone as a part of a larger community either a city, either a country, this is a way to exclude. I mean, they're not the feature. This is a way of exclusion. And technology can play the same role. When you have a decision to invest in technology, it's not only the best to invest in and exclude the other technologies but also excluding other people. So when we're talking about working in communities and technologies that are accessible to those communities, we're talking about being able to replicate these things. Which is the same kind of idea of housing. When you provide a housing that people can adapt and transform their houses, you are giving them the possibility to grow to increase. When you give them or when you produce a house that is enclosed in its own technology, you do not allow people to improve. So this question is really a question about being proud or not. I agree but not always. It depends on the society of course. If you go to India, the labour is really cheap. And it depends on how society is organized. The way to make labour work expensive is a kind of decision too. It's a kind of development decision that makes these things happen this way. It's not something which is done but it's actually something that is produced. It's also a kind of decision. It's a kind of decision. I don't know if it's because of the fact that it's in a house with no doubt that sometimes you need to learn or have a partner to help you with the business. First of all, I don't know how the offices that are very well-functioned but I don't know how curious you are about how can you manage your workshops if you need to make commercial value so it's sustainable. People are associated with a mental monthly rent to be able to use it every day or every week. I don't know if you have any kind of... I don't know if you are a social worker. You are a school worker. You have to get to work in a way. You have to get to work in a way. You have to get to work in a way. You have to get to work in a way. No, but if you think about it, if you have a good company or a company you like, if you have a company, you have to get a lawyer to help you. It's important to get to work in that way. I don't see this in the wind. But outside, we're going to have an aid. Next one. Yes, that's the first. Y'n ei ddam o'r mawr mewn gwahanol yw wedi cyfnodol yn y mawr. On oherwydd cyfnodol yn y dda i ddym ni'n amlwyw't ar y rôl. Mae'n amlwytaeth yr oedd gwaith o'r gwaith. Yn ei ddym ni'n meddwl i ddarparu am ysgrifiannol, gydych chi'n meddwl yr oedd y peth, yn y rhaglen ar rydych chi i gwahodd, ac mae'n deill i gafodd jafnol am y baith. I know that this, and as I said, the city has a lot of special houses, and I know that this, and as I said, the city has a lot of special houses, and I know that this is the result of the global policy that has left the city a lot of special houses in various cities. I know that our attempts to try and rescue these houses, and I know that the city has changed a little bit, and that the city has changed in the form of a project that comes with it, because it is coming, and I'm thinking about how there's this kind of intimacy that you've shown, so that the insight of people's houses, and how that has to do with memory and visibility, and just projecting yourself into a space. And I'm thinking about how this project, in the way you have it, in the way you have it, I had the feeling that you were inside the various spaces that I was in, and it was a very different relationship, of course, of giving the name to the streets, and it had an effect that has been recognized on another level, because we are in different places, but on the other hand, there is also a difference in this area, because it also has to do with the memory and the fact that the people who are living there are also part of the city. So, it was incredible, but do you think that if this is your presence, projects that have been going on for a long time, it is a fact that the other people who have been coming, who are doing things on their own, and it is also important to be there, because many times when you do a project, you are going to do this thing of time. I think that, as I was saying earlier, it seems to be part of my life. It is a contingent of 80% of the city of Brasile, in my mother's house, and it is a lot of people, and in fact, I think that after 10 years, there is a lot of teaching, a relationship between work and work, but it is still a lot of work. It is a work that has been done for a year, it has been very slow, it is constantly going to meet people, and I don't know if the experience will be the same, I think that I can see the experiences in the family of the children, because it doesn't have, you know, on Facebook it is very good in that sense, because we are a group that is more and more inclusive, and that was a problem, because I had to put some of the students who are doing the classes, some of the people who are doing the service, some of the people who are participating in the event, so I think that the possibility of finding the knowledge, of participating in the process is very important in the process, because I think that this is more important. But I don't know if you're going to answer correctly, but I think... I think that I've said a few things, I've understood a thing that I've seen, I've just thought about it, is that now, I don't know if it's going to be the last four years here, the houses, it's something that the phenomenon is, I wouldn't be able to do it, and there's always this thing about the education system, and all that, the facade of the house on the table, it's not the houses, it's not the facades, no one wants it, it's not the money, but it's almost the whole week of the facades, there's nothing to do with our environment, the danger with people looking at the implementation of the house, in the lower communities, in the lower communities, but now the phenomenon is opening up to the other, there are several different ways to consider the environment, which is the main one, the new one, the part of the work, and people are going to leave their homes all to the environment, to consider the environment, which is a very beautiful thing, and it's very clear, it's true, it's very consistent, so I think that the environment is starting to be the influence there, but I don't understand why it's doing that. You'll have the idea that it'll be the same thing, but things that I know of you are the tradition, a tradition that Brazilians use in their lives. You know how it is, everybody feels that it's normal, that it's copied, that it's copied, that it's copied, that it's taken away from people, and that's very interesting, that it's taken away from you in a very long time, Ac mae'n ddod o'r rhai o'r cyfrwyr a gyd, o'r cyfrwyr, o'r cyfrwyr o'r cyfrwyr. A oedda'r hyn o'r cyfrwyr newydd ar gyfer ymddiadau, oedda'r cyfrwyr o'r cyfrwyr o'r cyfrwyr. Yn ymddiadau o'r cyfrwyr, oedda'r cyfrwyr o'r cyfrwyr o'r cyfrwyr o'r cyfrwyr.