 Thank you very much, C.R.C. I just want to thank you with the address and everyone who participated in organizing and regulating all these very interesting series of lectures and arguments that we've had. Especially the students who participated not only in the arguments but in class, physically, mentally, intellectually, with a certain plot. And we got to the ultimate arguments lecture and what a wide end. I'm honored to welcome and introduce two very brave and innovative architects from Japan. As C.R.C. mentioned, Mio to see Nayama and for me, Nori Nosaka, I told you that I want to butcher your names. So let us start with Mio. She began her architectural studies at Tokyo University of Science in Japan and followed her passion to complete her master of architecture at the Ecole Polytechnique Fédérale de Luzan in 2008 as a Swiss government international scholarship student. Following her studies, she worked at HHF Architects in Basel before venturing back to Tokyo in 2012 to establish her own practice studio M&M. Studio M&M is a locus in which through extensive travel, research and cultural immersion, Mio and her collaborators offer innovative solutions for an urban living that truly reflect the needs of people and the essence of each location they work in. Among Studio M&M's notable project is the House for Southern People 2013. This outstanding project earned a special mention at the Japanese Pavilion in the 15th Venice Architectural Biennial Biennial. Along with her professional practice, Mio has actively contributed to the academic field and served as an assistant professor and junior associate professor at TUS since 2013 and as a guest professor at EPFL. Now let's turn our attention to Mio's partner in crime and I hope many other fun activities including making holes in the houses. And yeah, Fominoro Nozako holds a bachelor's and master's degree from the Tokyo Institute of Technology and he earned his doctorate in engineering from the same institution in 2012. Throughout his career, he has served as an assistant professor at Tokyo Institute of Technology and an associate professor at Tokyo Genki University before becoming an associate professor at Tokyo Metropolitan University. He is the founder of Fominoro Nozako Architects and architectural firm established in 2010 known for its innovative design and commitment to sustainability but sustainability for him and his studio means different things than steroid understanding that these days we have for that. And I'm sure that he will talk about it in his lecture. His works focus on integrating solar energy, solar regeneration, biodegradable materials and sustainable materials cycles from production to disposal. Fominoro's architectural projects have received international recognition including exhibitions at the Japanese Pavilion in the Venice Architectural Biennale. Notable accolades include the Tokyo Residential Architecture Prize, SD review prizes and the JIA Young Architecture Abort. Apart from his architectural accomplishments, Fominoro is also the published author with books exploring the art and philosophy of architecture and we read one of his books today and discussed very intensively actually our class, the text, the holes in the houses was part of that. Please join me in welcoming Mio and Fominori as they share their insight and experiences in urban-wide ecology. Let's give a warm round of applause for our distinguished guests. Hi, I'm Mio Tunei, I'm from the studio M&M. And I'm Fominori Nozako. Thank you so much Aliega for the introduction and thank you so much Tisa for having us for the last lecture of our comment. So today we are talking about urban-wide ecology coexistence with soil and waste. We have seven topics and a seven project and by the way we are married couple having different offices but working together sometimes working separately sometimes. And like our house called holes in the house it kind of bind us and kind of this is like experimental field to reflect to our work separately on those all together. So today's topic is like urban commons repairing urban waste, material flow, urban-wide ecology, independent foundation, urban soil, soil friendly life and construction. After World War II and the population growth led to massive global urbanization. A side effect of this urbanization has been the ubiquity of the lifestyle defined by mass production, consumption and disposal. Today Tokyo is no exception to this phenomenon and it is known for its accelerated development. It is now starting to deteriorate. So since 2011 to 2012 Japan's population has started to decline, creating an increase in the number of vacant houses throughout the city. The culture of scrap and the build cannot be sustainable thereby necessitating a change. Japan has now been moving towards the use of existing building stock in its architecture. The great earthquake of Japan earthquake and Fukushima nuclear plant, nuclear accident of March 2011 which also shall see mentioned, has a significant impact on Japanese society. Until this disaster occurred I did not know that Tokyo's electric power was supplied by Fukushima. I never thought about it. This revelation made it clear that we live in the world unaware of the origins of inner working of our surroundings. Building in the heart of Tokyo functions as a tool of economic growth. Therefore it is essential that office building, tower condominiums and other commercial facilities are in constant state of redevelopment in order to maintain a new and clear and clean image. On the other hand the perimeter of the city is a residential area with detached individual houses and a small apartment. Due to Japan's declining population and increasing elderly demographic, this area is becoming depopulated and seems to be decaying. In this expired city life continues without replacement of infrastructure and services. Their waste is converted into resources and used to make small updates. The process of recycling begins for example from unoccupied houses, old shopfront, neglecting gardens and abandoned offices. It is like the fungi that grows on expired food. The House of Seven People is an innovation of the vacant two-floor house into shared living for seven unrelated people in the world. After the World War II in Japan 4.2 million households didn't have their own house because of the bomb field and also soldiers came back from the Asian battlefield. Government has no power in the budget to take care of the luck of the houses. So they built three pillars housing policy of loans to promote private companies and individuals can build houses having no budget with low interest. Thanks to it number of the houses had reached to cover the number of households between 1965 and 1968. But the houses are continuously built with same rate since house builder industry had became enormous and promoted building a new house and scrap and build. So in consequence vacant houses rate is still increasing. So Japan's urban structure is also based on the fire protection which is led to the fire wall buildings. It's built by concrete and inside of the blocks is still remaining timber structures which creates so-called urban village which is like surrounded by middle lies the houses along the infrastructure such as river, train, truck and also big street. And the small houses are reminded in the middle of the block. So this house of the House of Seven People is built on one of this urban village. The house is located in the center of Tokyo and surrounded by higher buildings. It is also light along major infrastructure like Montestreet, Redwood and the Meguro River. Tokyo's architectural majority of traditional wooden houses hold serious implication in the event of fire disaster. Therefore the Tokyo Metropolitan Government created the urban strategy which aimed to increase the total floor ratio of fire proof buildings along this major infrastructure in order to create fire preventive bond. This initiative resulted in the rise of urban village, a term coined by Atolle Bauer in the book Tokyo Metabolizing. The house was built in 1975 on the Nalo Alley of the six and a half feet with two separated houses connected by exterior staircase. It was abandoned for several years. Plants started to grow wild and taking their place. The urban funding has been changed and the society became impossible to rebuild new building because of the Nalo Alley. The client who was beginning of 30s bought this house much cheaper than would cost for this location and it was also for the investment. She was paying a high rent for only six feet square studio where it was just enough to sleep and take a shower. She likes cooking and wanted to have a space to invite friends and a space to read a book. She decided to live with other people who shared similar ideas so decided to renovate the abandoned houses. At the time 2012 after the great earthquake in Tolhoku in 2011, people started to rethink their life and what they really wanted to do instead of following the rate that society expected them to be on. Shared living was getting popular among the young people since it's affordable and often they use the second houses which is low value in the market. Long term low growth economy affected to the young people to seek the new way of living. This project is about a new form of family meeting the urban ways and how should the architecture accommodate this phenomenon. So for more comfortable shared living people who are not related by blood, common space are different characters from the normal family and carefully spread it with these buildings regarding all existing elements, creating the bright corridors, short chat on the balcony, barbecues in the large living room that the distance can help build loft and easy relationships by meeting comfortably in the common space. So this corridor led to the each bedrooms using this kind of bay windows which has a deep depth. The original building was like this has a deep depth which I wanted to keep and also this way bay window which has also shoji windows. The separation of the rooms is also reinforcement of the structure carrying the roof directly and concentrating on the middle. It's also like allows us to leave the window as it is without modifying anything. And also keeps this kind of history which tells us that the bathroom, toilet and the kitchen are windows. So like it tells us the story of the building itself so that people feel that this kind of preciousness of this house. So the rooms are finished there, plywood so that the people can pin and screw and build themselves customized while like white space is like a common space to not touch. And balcony is also unused because it's unrelated to the inside so covered by paint and allows them to use a kind of secondary living room. But now for the chatting before like entering the room but now it's for the laundry room to also like the laundry are happy to have a sun and the wind here. Ground floor was like also continuous living earlier but when we are like demolishing the partition we found out the doors which was used for the storage which was the original state of the house. So I decided to create this space original state to tell that this was the storage space without having any insulation. So like people like living with like boots and the jacket in this area but it allows to accommodate a lot of event people and the neighbors to do the barbecue and continuously like to the alley. Also they cut the system to separate a little bit or like completely separate other three rooms. So that the people can open reuse this space as a workshop for their business not only for the working in the company from 9 to 5 but they can they have a possibility to have a own life as a business as well. And also like you can do the yoga class in your house. So second topic is repairing urban waste. Because of the constant legal reform for the seismic resistance of the building each time after the great earthquakes makes the house pre existing in the visibility and it brings difficulty for the client to renovate the house following the actual regulation in terms of the cost. Therefore most of the existing houses tend to demolish and built new. So string brace house is like reinforcement using the strings like double layer. Each original house is also one of the urban village which is more extreme and also in the like original temple site built in 1965. This house is has no access to by the car so there is no value to in the market as well. And the client wanted to make this house as a co-working space and but the original state of the route after the 40 years it's like this. So a lot of renovations means a lot of holes and like a lack of the part of the pillar. So first we lay in force to with the lighter wood part is kind of repairing part so that the wood is made easier to repair by hands. So why not also like a seismic or somtow charge we can repair by themselves which is also difficult in terms of the steel structure also would work. But the strings it's easier to carry and it's easier to cut so the people like a owner or like a friend can do by themselves. So like indent it kind of design the joint which is like a friscible angle also like which we can tie the strings. Also we tested the strengths of the string brace which is like a double 6.5 millimeter string is a 9 millimeter steel rod with the same strengths in terms of stretching. So we'll build with the student of the law property. And like a 12 11 spawns was installed and also like a kids can do it easily using like a small metal bars. So that it allows like a creating one room for the co-working but most at the same time it's reinforcing. And also like allows that this feeling it's not instead of the metal it's kind of fabric which is also more inferior feeling. So next this project is located in Takaoka city. Takaoka is a countryside located in Japan seaside as population of Japan is decreasing. Bacon houses are increasing in rural areas. In this project we use existing materials and reduce the size of the old house. This diagram shows the construction process. In the first phase the kitchen and bathroom are added to the grandmother's residence. In the second phase the roof tiles are removed from the roof and stored inside. The structure of the roof is moved by crane. That the two-story building will be dismantled. In the third phase foundations and walls will be newly built. The roof is moved to the wall. The roof is covered with existing tiles. So I show the video. So there are many houses in Japan countryside with Kawara roof tiles and black tiles. And this is my grandmother. So three generations live here but now she lives alone now. So we keep many things because there are memories in many materials. So for example we keep re-use the shouji and the carved wood. And we introduce the new doma as a floor. So second phase is transferring the roof. So at first we demolish the roof tile and store the roof tile in the garden. And cutting the columns the roof was lifted by crane. So it took 15 minutes to move the roof. It's like kite flying. And then we measure the size of the roof. And then we designed the new small dining room. So we re-use the existing roof. So replacing the rooftop and roofing boards. Japanese countryside area is a lot of snow. But the carpenter did the transfer the roof. So we cover the re-use tile again. So we use the soil from the garden. So this is a view of the three buildings from the courtyard. This is the communal dining room for family and mother's friends. The paper sliding door and wood caving were re-used for grand mother's residents. Life in a modern city depends on infrastructure such as electricity, gas, water and transportation, and the industrial product. While industrialization has improved the convenience of our lives, the original processing process and the disposal destination of the resources of the things are in the energy that support our lives has been became black boxes. Architecture is also built on the premise of its infrastructure and industrial systems. But in this age of climate crisis, infrastructure and services are starting to get exhausted. So we must reconfigure our lives of mass product consumption. As we learned from Fukushima nuclear accident, over-centralized system callous risk and from the war in Ukraine and COVID-19, that global supply chains are not stable. We know that there is a limit to the ecological footprint and that we are exceeding our biocapacity. Covering and utilizing local resources in the city will lead to sustainable modern life. The sun can provide warmth, hot water and even electricity. Micro-organisms in the soil can break down garbage and excrement. Soil can also suppress the heat island effect. A large amount of waste is generated in cities. Dismantled and discarded building materials from construction sites can be reused as resources. Therefore, we can tap into the city's circulation of energy and materials from its buildings. Our architectural practice began with finding resources. We started with garbage rather than something new. We then consider ways to incorporate natural resources such as sun, soil, air and water into buildings at the lowest possible host. This process reflects the reality of living in Tokyo. Our idea of urban-wide ecology, which is the title of the lecture today, is referring to political ecology and deep ecology. We emphasize bottom-up processes from life, quality of life along with ecology. We approach it from the resources around us based on bricolage, chance encounters, handmade and cooperation. Rather than planning, we do not control nature but aim for a state of human and non-human entanglement. This project is our home and office called Holding the House. We bought a 30 years old building, which is still a structure and full of stories. This alia called Nishioi in Tokyo, where it only takes 5 minutes to the center by train, has not been developed due to the topography of the valley. Shinkansen and JR Rokoskala enclosed the alia generator loud noise. So Nishioi is the cheapest land in Shinagawa Ward, Tokyo, because of the topography and low-income workers who work in the factory used to live in this area. So we bought this yellow house and we removed what we don't want to keep, and we moved in and we lived there without windows for a year. So after a year, we had the window on the ground floor and we appreciated a lot of the air tightness and the insulation, because the cold air, also hot air coming in and blowing up through the holes which we made. Yeah, also Mosquito also came. He was suffering to be picked. So as I said, we made also the hole to also bring the light to the dance floor, because this is a very dense situation, and also kind of circulates the air to be kind of efficient heating and also cooling. So we moved in like this, like a cable was hanging and also all the partition was removed, and partially the finishing of the floor is missing. Also like ALC, like a facade element like a paneling is also exposed to the interior. Also like a fireproof lock hole is exposed, which is also very bad for the health. And if you open the window, it's blown down. So this was very difficult to give it. Also ground floor was limboompta tractors, which was also storage of the paper and also exposed this lock hole. And we kept this floor structure to insulate so we couldn't use at the beginning. So we start to coat with like a very cheap paint. So the rock roof one by one and it's very frothy. It's very difficult to paint. So we use the spray, but the spray doesn't really paint. We over paint and over and over. Also we use this like a petrol based insulation at the beginning because we didn't know and we just picked the one of the best, how we say that, but the most efficient one. So and also like during we are living, we organized this way window bring the cold air. So we decided to insulate with the polycarbonate double panels. And we also checked with the thermography too, which you can see it's very cool. And also we started to use the rooftop to cook with the solar cooking. And also after installing the pallet stove on the ground floor for the office, we started to cook like out of the kitchen. And this behavior kind of break down and deconstruct our idea of modern kitchen, which is a concentrate on one place and also the infrastructure energy is used. So this is also the cooking situ on the stove and the solar cooking on the rooftop, which is you can like bake the cookie after 30 minutes if the sun is strong. Also we started to correct the oven waste, which is also demolished, mock up from the museum after two months of the exhibition, like very beautiful, expensive Hinuki and the Scyther wood was tend to throw away. So we collected literally from the garbage space in the museum because it's national museum. They couldn't give anyone. So we collected from the garbage and we installed to the office. So like as we didn't expect it, it became kind of very wooden offices, which is also like this encountering with oven waste at the material, how we design bug is our kind of we're enjoying this. And by time we started to kind of get interested in the soil environment program. So like as we have a smaller space for the parking, which is a probably four square meter, we started to break the concrete and also regenerate using organic materials finding from around us. So we had the one tool and every day from April to July, we broke the concrete one by one and after like working two hours, our like arm was shaking. So like it was very good concrete sealed well. And we also brought to them the level of the concrete to the kind of temporary deposit earlier in near the Edo Kawa river in Tokyo. And this experience made us really promise that we have to reduce the construction material waste. So after like 30 years of covering by a concrete, the soil was dry and the dead. So we started to dig the gutter to the water can penetrate and also like put the humus and bamboo charcoal to activate the microorganisms to live. And we planted nursery tree from the friend. Also from Atelier Bauer we got some earthworm. Also we started to bring back our food waste directly into the soil to neutralize. And after two months suddenly like a fruit of wheat, we didn't plant any like a ground cover plant. We saw also mycelium growing and also like a plant we planted and also like plant somewhere else started to grow. And we really amazed that the power of this soil and also like the surface of the concrete which was 2D suddenly became 3D. So after one year it was not beautiful garden probably but fruit of the plants also like from the oven food waste which we throw away. So one of them is one of the very, how we say, the most of the cover is sweet potatoes from our food waste. So also we started to fill the cycle of the food as I said like a tomato grown naturally from the food waste because I think the seed was there. And also we started to plant and then dry using roof gardens and this food cycle and the soil power we really amazed. Which was I think used to be very normal before. And this soil experience brought us also wider idea to if we have like a very small spot of the soil in the city it's also cooling down the city and also reclaim the water channel underground. Because our well is also like dried up now and we can't use it anymore. And also like other idea is like we can keep like the very fast car lanes which is a bigger street and a smaller street can be bring back to the soil. So our next challenge is to convince the neighbor to bring our street back to the soil. So this is like living and renovating at the same time and this is my pregnancy and also just the day before cutting the cotton for the ceiling cover. And we are living like this during the kind of finalizing the painting before my baby come out. And also by time we started to recognize that the soil is very important and started to use the biodegradable materials because we saw that the private doesn't go back to the soil but the wood does. So like this like a difference is very big for us. So now it's like this and insulating also wood fiber and covering ceiling with cotton which is also left over of construction site and the development of the staircase from the beginning to the now. Also we started to feel that the beauty is changed. The understanding of the beauty is changed like the private became a little bit less beautiful than like a massive wood. So this experience of using this house as experimental site is our kind of basis of practice. So this house there is no completion. The whole is our physical device for the better quality of the space and the life. But at the same time it is a metaphor of punching the whole to the current housing industry which premise of selling a brand new completed and its value goes down quickly by time. So our innovation is still going. We take in coincidence resources such as the people, energy and materials which we can find in the city into this design. The subsoil space beneath our pretty gross food are same water and nutrients plants which in turn produce oxygen to support our lives. We don't usually see the world inside it. In cities most of the ground surface and water ways are covered with concrete and asphalt. The soil underneath is dry and uninhabitable. Concrete covered rivers do not free-fire the water which is cloudy with sludge and give you the bad smell. So without the microorganisms weaken the structure and increases the risk of landslides and other disasters. Restoring water veins and restoring the function of the microorganisms in the soil will create a cycle of production and decomposition in cities. Cities with healthy subsoil space will be resilient to disaster and have purified and green drinking water and will be an attractive living environment for humans. The soil is the hidden commons that will support our future urban life. Through the practice at home in the house we learnt the importance of the subsoil environment. Traditional living environments consist of houses with independent foundations and dry stone masonry retaining walls allowing rainwater to percolate in the soil and coexist with the subsoil environment. Today however most urban spaces are covered with concrete and rainwater is drained into communal ditches. Microorganisms are acidified and soil is in unhealthy state. For example when looking at the foundations of wooden houses the stone foundation was replaced by concrete continuous footing and then by a solid sludge foundation with improved moisture proofing and earthquake resistance. Carbonized pine piles are placed under the stone foundation to prevent substance. In healthy soil that is permeable to fresh air and water mycelia entangles the porous surface of the piles and mycelia binds the soil to the piles. In Akeno raised floor house we adopted an independent foundation so as not to disturb the mycelium and water veins in the soil. So Akeno raised floor house located in Yamanashi, Mount Fuji to the south of the site surrounded by masonry. So an independent foundation is used to allow water and air to circulate through the soil instead of concrete. We propose a foundation made of recyclable steel plates. A high floor will keep the foundation dry even if there is a damage to damage it can be inspected immediately. So about 20 people with an instructor did straw piling and mud wall painting. So we use wheat straw for the wall materials. Carry the straw blocks, tie the rope, pile up the straw blocks. At the top of the pile the straw blocks are pushed into place. Tie the rope to the bamboo to hold. Mix clay and sand, apply the soil by hand. So the wooden structure is placed on an independent foundation. The roof slopes down to the south to gain the sun's energy. This is the detail section. The bamboo and the firing strips are tied together with the sugar rope to keep the soil bail from falling apart. Exterior view from the south. The living room is in the center and the bedrooms are at both ends. The two-meter deep veranda overhangs the house. The steel plates foundation opens up the ground surface allowing air and water to penetrate in the soil. Weaves are growing around the foundation. So this is the living and dining room. On the left is a wall of the store and earth. A pellet stove has been installed. The shoji screens are traditional Japanese architecture elements, biodegradable materials made of wood and paper. We use the shoji screens instead of chemical public curtains. So this is the bedroom surrounded by store and earthen walls. The earthen walls store heat. The windows are very thick with store bail walls. The exterior view on the south side, a series of wooden sashes, connects the veranda to the interior. The light from the shoji screens illuminates the garden. The next I show a small project in Tokyo called piles and pointed roof. The idea was to allow the soil and building to coexist in high density urban environments. First, return all the ground on the side to the soil. A trench is dark where rain falls from the roof and bamboo is placed in the ground. By placing dried leaves, branches, bamboo, charcoal and stones in the trenches, rainwater can easily permeate into the ground. The base beams timber are supported by eight 15-meter steel pipe piles. They have screw at the end which can be reversed to allow them to put out during demolition in the future. This prevents the piles from remaining in the soil, which has become a problem in recent years. Because of the high density of cities, small soil surface accumulations can play a major role in improving urban soils. Most of today's industrial products and buildings are made of non-decomposable materials that continue to pile up on the ground. The ecosystem will never return to biodiversity and never return to productive soil. As we all know, the ecological footprint of developed countries is in deficit relative to their biocapacity. In an era of global population growth and climate crisis, the way of life and the way of building on the planet is in need of change. The soil is on silent crisis, soil doesn't complain. The United Nations declared soil finance and predicted catastrophic loss within 60 years. If we do not protect and improve the soil as our heritage now, we will lose the soil as a living basis. House on classical elements is an off-grid house that uses traditional Japanese construction methods, requires less energy, has a long life, and uses materials that return to the soil. In the past, wooden houses were built by local carpenters and people. Wooded houses have been transformed by regulations and industrialization throughout the 20th century. After each great earthquake, the building standard laws were revised and housing structures were reinforced. Houses could be mass produced to accommodate the post-war population growth. During the period of high economic growth, home builders emerged. The high urban densification led to strict fire protection regulation for housing. Energy conservation standards were established, which improved the insulation and air tightness of houses. As air tightness increased, sick building syndrome increased, and 24 hours ventilation devices became mandatory. So the conventional wood construction method is based on traditional carpentry techniques, but has been modified by modern technology to be more resistant to earthquake and fires and to enable mass production. Conventional construction methods use small section materials, machine dried timber and metal joints. They do not last long and are rebuilt after one generation. Traditional construction methods have large sectional members and allowed for moving with metal joints and braces. If air drying wood and bracing materials are used, it can last for more. So machine dried wood loses the fat and cracks internally. Natural dried wood retains its fat content and is stronger. Natural drying is a way to make wood last longer. So in traditional construction, the joints are not made of metal hardware, but only wood. The life of the structure is the life of the metal hardware, but the traditional construction method can last longer than metal hardware. It is also flexible structure that absorbs the seismic energy. The lumber is purchased directly from the forestry cooperative and cut by the construction company using a sawmill called Woodmizer. Independent foundations are used in consideration of the soil environment. Elevated floors allow air to ventrate under the floor, extending the life of the wooden structure. Independent foundations can reduce the amount of concrete used by 40% compared to typical concrete slabs. The recent highly insulated and airtight houses use many chemical products such as vinyl and plastic, which do not absorb moisture. This house is constructed with cedar wood cellulose fiber made from recycled paper and other materials that absorb moisture. It can breathe. In a normal energy efficient house, energy consumption during operation can be reduced, but a lot of CO2 is used during production disposal. Therefore, we can reduce energy consumption during production and disposal while realizing energy saving during operation. The foundation is shaped to reduce the amount of concrete and footprint in contact with the soil. A traditional wooden structure is placed on an independent foundation. Solid wood is used instead of wood materials such as plywood and laminated wood. Since the traditional construction method does not use metal hardware, the upper and lower wooden beams are joined together in this way. The holes are drilled in the columns at a pitch of 600 mm through which tie beams are inserted. These tie beams join structure systems softly resist earthquakes. This picture is the copyators and the clients held the celebration when the structure was completed. This is a detailed cross section drawing. It integrates the foundation that's considered microorganisms in the soil and water veins. A roof for the sun's energy with the production processes and traditional construction methods. Buildings are made of various materials. Buildings are at the north of the network. We are part of this network and we play the role of mediators in the ecological reassembling of this network. We bring together the knowledge and skills of people, land resources, waste, sound, water, so-called microorganisms and many other actors. Architecture is a complex mesh. Thank you very much for the amazing lecture and providing us with so much material to think and to discuss here. I have so many questions basically to engage with your proposals, but I just relegate the parts that are related to nature through our respondents here. I, as a historian of architecture, engage mostly with the history of architecture. I'll try to understand your project also in connection with the other proposals that we witnessed through the history of architecture in different texts and different contexts. My emphasis is actually where you try to understand architecture as tracing of materials and the architecture not as form-giving but as what you say, the tracing of materials, something like this. It reminded me actually of different thinkers in architecture including Ruskin, John Ruskin, and how he thinks about materials and also labour. Probably the other part that I didn't exclusively actually see in your materials is the role of labour and how it is related to the materiality of the architecture itself. Another architect actually that is obsessed with how material is used as a form-giving object and thing is Louis Kahn, a very famous code from him in which he talks about what a brick wants to be, it wants to be in a barge. So you also think about different kind of cultural, natural materials and how they are used in the building and also more contemporaries. So probably is the one who is talking about the phenomenology of architectural materials and how they are related to giving meaning. At the end of the book also you think and you talk about the Robert Wrencheries language and how we can use understand materials and elements not only as the meaning production tools but also as the relation between the architecture and ecology. So I just want to see how you put your project, if at all you are thinking about this kind of historiographical trajectory of the works of architecture. This is a very big question but so I refer the Robert Wrencheries in the book, The Edifice of the Wilds, because my doctor thesis was rhetoric on spatial, compositional rhetoric in Japanese houses, so I love Venturi a lot. But Venturi and the post-modern era architecture is very focused on the meaning. So now it's, and also after this climate change era, I want to focus on more objects or materials. And also the recent philosophy and anthropology is also focusing on non-human beings. So meaning is the human words thing. So we try to grasp non-human beings by architecture design. My question is how you see your work as a tool, as a vehicle in production of knowledge about architecture and engaging with the previous knowledges. If it resists them or just try to follow the footsteps pushing it to the limits that is possible. Do you see your work also in that way, or it's more coming from the object itself, the material itself, the form itself? I think it's entangled everything and also it's a bit of a shame to say this, but we are still learning. So knowledge is very fastly updating and we have to somehow kind of hit back over time. It's from also object, technology, knowledge, and probably art from different fields. Which is the question you asked. At the beginning we saw our house, we all used petrol-based insulation materials and constantly we updated our knowledge and we kind of became negative to myself in the past. This is kind of a professional behavior, it's not professional, but also very important as an architect to constantly update the knowledge. I see that as a performaturity of architecture and I really appreciate it in a way that your living is part of your engaging with architecture both in kind of theoretical sense and very practical sense. I've kind of seen, especially in your house, as a comparable innocence of this kind of ambitious play, but comparable to the Amino diagram of the corbusier that could be used as a new way of thinking about different architecture while using the same kind of principles. I will just open it up to you. Well, I think along those lines, I think that for me seeing the work and actually just also having the opportunity to have heard the lecture is that it seems like you have introduced a way of thinking that actually kind of removes this kind of way of thinking from the kind of conventional architectural reference, including Mentori or the ones mentioned, which is like this way that you figure out how to clip the binary between autonomous architecture and head of autonomous architecture. And I think it's really refreshing when you kind of see and you call it, I think you guys have named it weakness or weak autonomous, which is just another way of allowing a lot of other things to actually start to permeate the work. And I think maybe like a kind of nuanced version of that, it was in the diagram that you showed where it was about political ecology. On the other hand, it was deep ecology and you kind of placed yourself urban, wild ecology. And so, yeah, I guess the question is, do you understand or are you trying to put forward this idea of weakness or weak economy as a methodology in the spectrum between how an individual, like an architect has more agency over all the other issues that we have to deal with. Is it a spectrum that you are trying to find yourself within these kind of more conventional binaries that we have operated on there? Like two opposite things. But yeah, I think it's interesting question that the wider urban ecology is like we analyzed afterwards naming this urban wild ecology, which was like a 2070 in that kind of subtitles in this whole in the house project, because we wanted to kind of start it to dig the ground front of us without thinking, you know, it's kind of urgent program, the ecological issue, global warming. And we don't have the time probably to wait to kind of collect answer from the politics. And we can't be really goes back to the jungle living into the completely nature. We are like raised as cities and industrialized cities. So, but we saw the program so we start to dig the ground and also finding resources around us. Even it can be probably wrong in the future if you look back, but we saw it's better to do than like waiting. And this like a behavior is kind of taking back our wildness which we might have or we might used to have like a past of the days before the industrialization. And it's kind of searching this whiteness in our nature, which we didn't like, you know, as we didn't probably we are a bit comparing, you know, farmers, other in the wild like permaculture practitioner. We are not super developed in terms of ecological thinking or ecological behavior. We like also like cup, I don't know coffees, you know, from very far from the world. But we don't want to be, you know, force people to be primitive or like going back to the nature completely and like be negative to the cities or urban situation, how to live here. So we want to kind of be comfortable for us and also like do something for the planet. And probably it's not the most efficient way, but yeah, this is like a kind of way of thinking and understanding architecture and the life continuously. Yeah, I think you might have addressed some of my questions, but I just wanted to point out that like, I mean I think that you're focusing on soil is unbelievably fascinating and super like subversive because like our whole profession is defined around like preventing like, so we also marry dynamic system, and it's about controlling it. Everything we do is about trying to make it disappear as much as possible. And so by bringing it back and actually saying this is a super important part of the way that we live is really fascinating. And I just think that there's so much possibilities that can be in that. And I like the way that you're also kind of thinking about the different forms of what you're speaking about it in terms of like wildness as well. Some of these ideas you mentioned, and that's something that we're always trying to kind of struggle with is like how do we introduce wildness into project, whereas the wild what is it exactly how can that kind of interact with the way that we think about materials the way that we design the way that we interact with people. And so I'm on the one hand, I guess, like, I see there's a couple things that are going on in your projects. I see wildness coming about in terms of like existing structures the way that you kind of handle kind of unearthing sort of things that are unexpected and kind of exposing those kind of creating working with that in a DIY kind of method and so that produces sort of these wild situations that and I love the fact that you said that you're always learning so in this process that's also part of it is that there's a sort of like Wildness comes in the process of uncovering and learning about things. And then you're also making space for Wildness to occur in terms of like just getting rid of concrete and just letting compost do what it does. I guess, I'm looking for, are there other sort of strategies that you have established or thinking about in terms of kind of allowing the wild to occur in your projects? Occur? Pardon? Occur. Occur. Yeah. Are there other strategies that you're starting to employ to allow Wildness to occur in your projects? Occur. Yeah. Driving occur. Oh, no, no. Occur. To happen. To happen. Occur. Oh, sorry. Occur. Sorry. Are you? Sorry. Yeah, it's a very difficult question. Well, because it's like you have, there's different things where you're making space for Wildness to occur and it's to happen. Yeah. And then there's also different ways that you're actually organizing your office in a way that that can happen. So like the existing structures covering new structures, you're about elevating above the soil. So something can occur underneath. And so I guess, yeah. Yeah. About the Wildness is it's very interesting topic because I think the Japanese are really kind of raised as, I don't know, no touching to no nature. Because we are, we have no also like a culture of camping in the summer. No, and then my client in house for, for seven people, it's like 10 years ago. The client boyfriend was Lehman Brothers employee who are quite after 2008. And he didn't know how to change the box. Neither. And I was like, of course, like as an architect, we are like more closer to do the hands on like working with soils or working with materials tools. But after like, we started to paint the house because the budget was very limited. And now he is like much more skilled than us. He is like a secondary, like he is doing assistant of carpenter because he bought like a third house in the countryside and he innovated everything by himself. And this changement was like, wow. And like he was always asking to his girlfriend to change the bubble or like. And it was like this is like we can really do a lot of things, like instead of calling to the agency to fix the water, you know, fix the bulbs. So this was, I think, this experience parents brought us like really the hope and then like we followed a bit, like we can do it. Probably we can buy the house, which is crappy and the fixing and leaving together. So this was like kind of origin of the house. And wildness, the idea of wildness is very connected to the concept by registrars. By focusing on concrete science and the brick watch, idea of brick watch. And we try to include the DIY construction. It's kind of brick watch. So we have to find the resources around the house. This is the one part of the sense of wildness. If you have other questions. In the small patch that you guys have now in front of your house, how has it attracted birds, butterflies? Oh, so nice. So this is like the pro. Yeah, I think our next project is like building a compost timber structure, not instead of throwing everything directly to the scrubber. This is like we have to balance in the urban situation. Because in summer the mouse eats the food scrub in the compost. So it's very dangerous. No, but it's very conflicting. Wildness is also probably accepting the mice, but somehow it's very difficult. So this is like fighting like, oh my, but I don't want to have it. Because like the other house that I waited, we were fighting like for one year to like getting them out. And we paid a lot. And also like finding their sound in the house during the night. It's not. But in the history, humans always fight other species. So this is a part of wilderness. I just want the question. Yeah, because I mean part of that question is also in the way in which when we think about all the different, all the different things, living things, and you talk a lot more about microorganisms, which, you know, they're contained there at a different scale. So I guess it's like, I think that once all these other more, more, more things that we're used to interacting with start to push up against the architecture, say the kind of spatial intentions that you had with the house or like this idea of breaking the ground. But now you have to deal with so many other things unwanted things sometimes. I think it's also like that's an opportunity where the wild really starts to become spatial and also starts to push up against the architecture. It's true. Yeah, balancing, like accepting a little bit and like opened up in my mind a little while ago. Yeah, you can change also. As I said in the picture, like understanding of the beauty changed a lot. And like also beauty of the, you know, garden, it's not controlled garden. I'm very happy to have a weed also at the part of the other animals, the butterflies and also bugs. Well, you got to get the right type of vegetation to attract the nice animals. That's true. Yeah, we can a bit control. Yeah, just open up to the audience. Yeah, thank you for your presentation. I noticed that your renovation project combines new materials and original reusable material as well as industrial material and natural materials for building construction. So my question is, how do you consider or balance the use of these two different materials, properties, and how do you consider the co-existence of these two different material properties. Thank you. I think we have a budget and this is very big things. And also like as we are working with, you know, album waste. So sometimes we don't have a choice. It just comes. So like also like a secondary we insulated our walls with poly-steel and insulation and this was from the French architect. And also we use like for our project, not our house, like there is a budget. So we have to balance it. Like we are not against completely industrial materials because we are living in the modern, you know, era and we want to kind of find the best materials which is suitable to the price. So when using industrial materials, it's very easy to make form, reform, but when using natural materials, it's very difficult to manage the materials. And also we have to think about the architecture form very, I would say it's another thing. For example, we have to make big eaves to protect the rains. It's very normal way but contemporary architecture lose this point. So we have to follow the nature of the materials. Yeah, I think this is also connected to our wildness to kind of, you know, take it back because I think architect or like probably before the industrialization, they knew how to control or like read the nature. Rain, the architecture, wind, the humidity, how the environment harmed the house, how to prevent, so how to coexist with the kind of environment weather. But this we lost because of the industrialization and I think we can balance how to use learning from this knowledge, traditional knowledge. And also using technology. Hi. Hi. So my question is about this interesting concept of circular materials that you also describe in detail in your book, Edifice of the Wild, that architecture has to be designed for materials that can return to nature and that the fast growing, quickly decaying seed can be positively perceived as a treasure trove of recyclable materials. However, during your lecture, when you presented the house with a pointed roof, you also mentioned that traditional construction methods can prolong the life of materials, especially the natural ones. So at the end of the day, what's your design attitude towards materials maintenance and material lifespan? Do you believe in material decay or material longevity? Because these two are totally different design approaches. So when I wrote the Edifice of the Wild, the natural materials are very easy to damage, so my idea is short term building is also needed in the city. But now I learned from traditional carpenters, he said that the traditional way of joint and wood materials itself is also last long time. So even if we use natural materials, we can keep the building for a long time. Also, at the end of the slide, we showed the networks and I think if we understand the building or architecture in the network, this complex network, it's not about demolition completely or build completely new. So the short term can be also part of the renovation, right? So the short term, probably the partition can be short term, then going back to the soil, then there is a cycle to reproduce the new materials. So it doesn't need to be completely demolished and goes back to the soil, but we wanted to say it's very important to think there is also the part in the architecture, there is a short term, right? Also like shops goes back really fast, they have to renew, also the offices again, so like the materials goes back to the soil for probably partition tables, it's very important. And probably like high-rise building that has kind of 100 years concrete is used and this is not against, as for us, it's not against to use, so this is the idea of short term and long term buildings. Thank you very much. Sorry, probably not the correct answer. So your design process, these two different design approaches, it's something that you somehow see in the urban fabric and or it's something that you want to intervene. I mean, what's your design approach, design process when you think about these different situations, the decay and the longevity architecture? So decaying and decay of the materials? Different approaches or, you know, for example, urban conditions you use, for example, permanent seed, other sub-air, for example, you use decay approach. So the question is, is it different approach for us? Yeah. So in the different situation, how we react, I think it's same, like it's like probably similar answer, as we said, like we have to balance and we are not against of new buildings and also like concrete buildings. So like, but probably it's not clear answer, so probably not. So our studio, G-sub team is habitability with urban soil. So we selected the site in Kensington, it's blue-green, but we didn't select in Manhattan because Manhattan is so, how to say, very capitalistic city. There is also nice community garden. Green fountains. How to say, it's the highlights building is, I hope it's long term, super long term building, but the Kensington area, it's sub-urban area, it's the cycle of the lifespan is shorter than the Manhattan highlights building. So we selected in Kensington area. So it's lifespan of the building is different from the area. So we sometimes take a different approach depends on the area. Yeah, I just want to add to this discussion because I keep getting asked this question also a lot. So I would like to actually respond also to throw that dimension in. I think the question of saying this either or it's this kind of there are many questions that are very polarized. Often, and this kind of polarizing this or that instead of this and that is very much a result of the over standardized thinking of the industrialized period. I want to bring it there because actually if you look at buildings and humans using them, there is a process of weathering, which is very different. It could be seasonal, it could be daily. There are some materials like our bodies, our cells are shed every day on the skin. And there are the organs that need a different time to regenerate or the nails that you cut can be is no more required. And the hair and but yet it's organic and it gets absorbed. Actually, it's when you just take away the lens of the industrialized way of thinking either or this or that. And if one element is worn out, you have to throw the whole thing. This is the problem is contained, I think, in the way we look at the lens of being shaped by mainstream over standardized way of looking at things which actually weather naturally. I hope that helps. Thank you. Moving on from the duality. Can you hear me? No. You run out of battery maybe. I can hear you. Okay, now I'll speak like this. So my question is more in the frame of the arguments, right? Because we are in a platform called arguments. I love your presentation in a way for many different reasons and maybe I'll try to like outline why. But also it stands in sharp contrast from, for example, you know, she gammy's presentation. That was more like, I do this because I can and I feel like your presentation was pretty much about I do this because we should. So it's a very different approach from the like master centralized author that is trying to make architecture, you know, I can move trees from a forest, you know, put them here. I can submers long build a kilometer building under the water, right? And oftentimes we were wondering why are we doing this right? Like is this the right approach? Is it sensible? Is it ecological? Is it economic? Right. Like, you know, the fact that we can doesn't mean that we have to go to Mars unless we're sending Jeff Bezos and Elon Musk there. And then when I look at your presentation, it was, it was much more about sometimes on building architecture than necessarily constructing it. So there was a lot of removing, peeling off, excavating, kind of revealing. I also really love the approach that you're embodying your practice, right? Like you decided to experiment in your own house. It's not like the typical architect there saying like, you know, I'm going to throw a line here between the wife and the husband's bed, but rather we are trying to discover this team together by us experimenting us with our child. And my question comes maybe more from the angle of the philosophical approach that you have, right? Do you think that this is something that is necessary in a collective approach, right? Other than you two as a practice, you two as your independent practices. And also, how do you see the process? What you called, you know, like the, the, the urban wild, how do you see the process of the revealing the on building as part of your practice in the sense of not only we do this now because our budgets maybe are smaller, but maybe even if at some point we get more visibility and we get the opportunity, maybe this is the approach that we should be doing. Is that something that you are thinking about? Or are you mostly responding to the conditions that are presented to you at the moment? That's a very charged question, of course, but like a bit of a roll. I don't know if it's like 100% I can answer this question. But of course, we, I was very influenced by this Lakaton and the Vassals, plus the Uckock project, which they won the competition to just say, let's clean. And this is like kind of my nature of architect, how to judge collectively without, you know, Yeah, seeing building, built something or like rebuild something or like demolish something, like a judgment of the space in the urban area. And this is very strong impact. It gave very strong impact to us. And of course, it's not like they are saying this is ecological behavior, but it's very ecological in terms of also like for human, for urban condition and also for the planet as well. Because we have to build something we need to build because we, this is kind of our, you know, origin of the architecture, we need a shelter, we have to be protected. But there is a lot, yeah, a lot of spaces we can judge if we need it because we are living kind of more than ever. Probably you want to answer. Well, thank you very much. This, this has been an amazing, I mean, this is an amazing presentation. I'm very happy that it's happening also in the context of arguments. We tend to think often in architecture, there's a perception that there's a divide between practice and theory. There's an idea that basically there's a sort of practice that is actually seen as very complicit with capitalism forms of extractivism and versus theory that can actually match more effectively identify those tensions and confront them. And what I really like about your presentation today is that he's showing that practice in itself is a site for characterization, conceptualization, political positioning, but very, but not just a translation of what is written, but rather a site where there's a specific forms of politics that are emerging and that cannot be translated directly to words or to, and I think this is, it's very important to underline that because this is something of a limit that we understand that is contained in the term arguments, which very directly invites to think that from practice there's a need to extract a theory that can be translated into words where basically we can see in your practice that there's a specific forms of conceptualization that are enacted rather than spoken. And this is what gives the political status I think to to design to design practices. When we look from this perspective your work, there's very particular, let's say, differences from other forms of, let's say, pre ecological paradigms. For instance, the, the notion of there's no ending result in your work, neither it there's a tabula rasa. Whatever design you enact is redesigned. Another one, for instance, is the impossibility to isolate the building activity as an object, right? Like it's, it's really like a deep relational approach where, wherever happens to design, it's entangled with larger systems of relationships. I think the third would be that there's also an ontological, I would say dimension to to architectural facts that are very much also a way to produce knowledge collectively when you were talking for instance about the un-blackboxing and we've written a lot about un-blackboxing processes, but the capacity to reveal, to bring transparency to to allow a different socialization of facts that are discussed more broadly through different players that are then incorporated in the critical capacity to operate in a particular reality, it's something that you're also thinking about. These categories somehow are deep in the, in what ecological thinking is, and not necessarily something that we see as green or as, you know, like it's, it's much more the, the, what makes the ecological paradigm different to for instance, to start with. In a way, the, the, this also means that the, the forms of politics that were thought through modernity are also somehow disturbed, I would say, through your work. For instance, when we think of the, of the term protection, it's actually not very relevant in your work. Your work is not really about production. It's more about reproduction, about recomposition of life by a recomposition. It's, it's a very different way. For instance, when, when we think of class, social class, it's also really fine for your work. There's very different things, but the worms become part of the relationship with the soil because much more important maybe that your position in structures of production. And I think those in non human actors become inseparable intrinsically interconnected with humans. So those forms of modern politics, also both capitalism, but also more system we could say are sort of disturbed by your work. And, and, and one thing that I identify as kind of surprising is the insistence on the term urban, because the distinction between the urban and the rural, for instance, was very much a legacy of modernity. The idea that they would be the wild out there, and then the city and the city is the space of culture politics. I could say that your work is not urban, it's actually making the, the category urban irrelevant. Your soil, it's impossible to say whether it's urban or non urban. I understand that you're doing that as a way to, my impression is that to confront this notion of nature, something that is Christian, non industrial, separated from humans or attached by humans. But I believe that there's sort of a tension there that I'd like to ask you for about. Probably it's not right answer, but we are using term of urban for somehow like something from human. So for us, also forestry is urban, and also like rice fields is urban. So this is kind of a projection we did, yeah, to the terms of the urban. So I don't know. I think we are very interested by theory of Bruno Rattall. So his, after the work theory is he didn't divide the nature and society, it's very interconnected. So the urban rural, it's, it's, we don't divide. So we always think, think, think from the network, the small actors. So it's up on wire is also how to say it's kind of interconnection words. Yeah. There's no way to contain. Yeah, yeah. I like to chime in here and refer to your urban wide ecology that takes to start with this turbine and why it sounds like a contradiction in terms. But for us, the phrase implied this makes a wish that grow naturally in the city. So it seems that urban comes with the word always. It's kind of, as you mentioned, it's a kind of disturbance and reversal of the word urban in itself. Well, you're putting it to urban. I just want to mention the other weeks we had this half Earth socialism, which was the 50% of the world should be rewilded. So here we have, we can start rewinding this, the role in our urban dense conditions without kind of referring back to just removing all the population from some parts. So that's a kind of piecemeal gradual. At least it's my, my, my two cents. Yeah, it's also like urban. It's often we had kind of critical as a critical point because also like some of the project is not in the urban situation. It's like, as we understood, it's kind of also like as an architect we are lazy in urban situation, even he's come from a big countryside, but still like this modern. Other is like probably people from countryside is more, you know, using car, like likes being like, you know, like a roadside restaurant. Sometimes like this kind of, yeah, urban situation is occurring, I think, in everywhere in this world. So this was like our understanding of the problem. Hello, I really said before you start to just have five minutes left so we can put together other questions that we have in the framework. So my question is actually kind of related to the urban things. So I was really fascinated by these urban scale thoughts and were decided mentality and every complex urban situations related to each project. But my question is basically how can these making of small scale residential projects extend to and how you envision it to scale up making changes in urban scale while most of the people are like you said, living in real estate development houses based on efficient serials. So and aren't the decentralized work process of odd delir architecture actually the obstacle in order to change the urban situations and material cycles. Thanks. Thank you very much for the presentation. I was thinking, also following Andres comments that maybe a metaphor to refer to your work, because I was thinking that the importance of a constructive detail in your work, the constructive detail asset, as a particular space of importance in your work. And I was thinking that maybe a way of understanding these importance of a constructive detail in this framework would be understanding this detail as an ecological contract or ecological prescription, not the sense that you're saying what to do or not what it has to be. So this idea of ecological contract. To me it's useful to understand your work because a contract in a way puts different specialties in in contact in relationship. No, it was very clear human and human entanglements are deployed in those very specific contracts so defining those contracts is not only a statical way of drawing, but also is a way of defining political political relationships, right, but not only, not only specialties, not only different spaces are connected and different rights are being negotiated in those contracts, but also different temporalities like so in temporality human temporality plans, concrete legal temporalities no thinking of the insurance of your house for example, the wood industry temporality biomaterial temporality the budget temporality that makes you think of different phases to develop the price for example, the memories the temporality of the memories and the fictions of their myths and other collective needs, etc. So something I found very interesting of this idea of ecological contract is that every contract is always open, so it's always a subject of interpretation, an object of interpretation, and it's always open because it needs to be renewed. Maybe that's why many of your projects are not finished, they are not, they don't have an ending, not a full stop, they are always a process that need to be, so my question would be if these projects, these details are ecological contracts that need to be rethought, renewed, how do you, how do you feel the necessity of incorporating the future generations in those constructed details in those ecological contracts, not only in the sense of recognizing the rights, but also in the sense of leaving them open enough so that this next generation for example your kid or the kids of your kid may have to assume the responsibility, the ecological responsibility of reinterpreting those contracts in your constructed details. And your last question. I'll keep this very brief because I know we're running out of time. Just following on Andrea's comments, I was thinking about how your, your practice is much more about unbuilding than building. And so I was, I'm going to ask the money question. So I'm curious about how your practice, which is much more about unbuilding, it disrupts supply chain, you're not using the material, the way you think about the budget is very different. So how does one run this kind of practice and still keep the lights on, you know, like how do you make money? How do you keep this going? For our project. No, just generally your practice, right, you were in the sense of, you know, your, the kind of work you're doing isn't, for example, using a lot of expensive construction material. You're a lot of the of your projects are retrofitting older structures, right, so it's not, you're not being shiny new buildings. For example, which is, you know, generally from what I understand, I could be wrong, the, you know, the big money comes from in all of the big architecture offices to these big shiny, you know, Hudson Yard projects and that's what keeps the lights on. And this seems to be, you know, not just politically but also economically a very different model of doing things of running an office. So I just kind of wanted your, your thoughts on that. So thank you for the question. I think these two questions, like how you apply the bigger project and how do you make your practice economically going? It's like the major questions we always had. So probably your answer first. So now our approach limits the size of the building. So this approach is sometimes creates size, the size of the building in the modern era. So what, yeah, we have to think about the size of the building, the size of the environment, human environment. So we, yeah, we don't have so much big projects, but yeah, we did small projects a lot. So we, yeah, at the same time, yeah, I have to say, we learned these small projects. Yeah, yeah, what is the, what do you know, suitable size in this climate crisis era. And probably then I answer to your question, which is also quite the basis of our think design approach is kind of the architecture itself contained the message to next generation without explaining anything. So like what's the joint is like reasonable and understandable in terms of materiality, like we can say, like talking to the material understanding, like material, whether you know, environment is very important for us for like a kind of kind of invalid the building to next generation for like architect to also treat this building how to probably disassemble we use the material or like we innovating the buildings, they understand that our kind of philosophy without, you know, explanation. So this is like a construction method and a summary we want to design, and also like not to the architect but also for the users, how to behave in this building is like also like kind of we try to kind of draw the attachment quickly. So design the building like to easily to draw the attachment to them so like they treat kindly to the building so that it lasts longer. Because then they understand how they assemble so how to fix it so it's easy to fix. So this is a kind of message we want to project to the some large of the building and also construction method. So I think that this is a very base of basis of our design. And we never recognized it so thank you. Thank you very much everyone for amazing semester actually and we hope you have a very great end of the semester and a summer break.