putting them back together again, you can really see it in the architecture, thus is i'm, it's a process that triggers creativity. on this openness is initially shocking and radical, but it's also incredibly liberating. he's about mclaughlin for find ah ah ah ah, ah, where there's a jewish resume in berlin, a grounds you're only on there. we're not projects that are abstract done. you know, from some distance. they were right here in the heart. and how lucky that i was able to build, if you're, if is in berlin because it's very closely related to my experience, to me as a person

don't own meta instantly to room with the fallen leaves. installation remains unique. no matter how often you see it is to museum also has these elements that serve as memorials, gilman. so it's a memorial, it's commemorative and a museum at the same time. oh, you just going to sign my leave is cain't is a master of complexity. he tries not to integrate the different aspects into his buildings, but to let them occur there and placed them under tension with dog. and i think this tension between opposites that he always creates is something that will continue to inspire architects with

between the lines to vindicate between the lines combines 2 different kinds of drawing. i drawing that is his own investigation and i space and the drawing that forms the basis for the architecture itself. go makeing that that's how we noticed that he really wanted to work with these drawings. and the way he presented them in an unconventional way, boyd to, oh, you know, i remember in my 1st building i never booked anything before the jewish museum, but when i took one window and just tilted it to alter to view people said, oh my god, this is the end of the world. this is horrible, but you know, it's just people are so bound by convention to break out of it is, is good in the less drawing that you have. i would be just the how you would begin

this. oh i i, i use me ah, when i was thinking of the juices in 1st i thought about the music that is no longer played in berlin as a result of what happened to germany, 933. and i started thinking of shomberg moved as an ira and his amazing opera, where he, you know, himself, an exile from berlin, started to think,

what about god, what does this mean? where is the music coming from now after these events? oh, lot. varg. god, we did have at the create your musical answer in the center of their voice as the reverse on faith that your echoes with the footsteps of the visitors. and i thought, yes, that's the 3rd act of moses in our death answered chalmers was waiting for the echoes of the footsteps across a void. and that's the physician. and the transfiguration of architecture as well. ah,

the mid yorba hot and when you listen to the opera, you noticed that the singing voices of aaron and moses as the 2 main parts are very different aaron sings in, coloratura is with very wavy lines. while moses, almost exclusively speaks, was almost without intonation. mark life. so moses stands for constant speech though uncommon. done is in tucson. now when we look at the building, the interesting thing is that there's an order to the rooms along the length of which at the end there also the museum rooms. while an empty line, the line of the voids seems to cut through the building again and again like a zigzag circle unit emerged out. so schneider chime on and inch turned on and empty places are created vertically at these sponsors throughout the entire building. so if we compare the opera, moses and aaron, we can say one line represents the museum, a kind of aaron line oft, while the line of the voids that penetrates everything could be described as the

moses line. here moses stands to the unspeakable mores. a student here who doesn't give out and about and leave is king, doesn't just build his buildings to make them look unique. he wants to demonstrate something with them, can express something that's very important to him. that reality, as we usually perceive it is only part of what surrounds us and what makes up the world of that beyond these realities, there are principles that have to be called into question and dismantled again and again. so that we don't get too comfortable and believe we are living a truth that we don't actually recognize any of his cognition. oh ha. ah.

do you follow me then god, this is me. the experience with the garden of exile in the jewish museum is always an experience of the boundary. it must in the garden lightroom, decide to proceed very intentionally, to control everything from by to try to keep my balance. for example, math, and then i feel have his space office resistance. i said what the great architects have told us from the beginning of time. the architecture is about culture, it's about what human beings are, where they are going, where they have then what they want to do. it's not about bricks and mortar and, and would own. the military is not the opposite of pity, in many ways to military. and the history of wars tells us that it's one of the ways we can keep our freedom. and so when i built several military museums,

i was very aware of the importance of military and democracy. and what i really mean there a war museum north in manchester, i sort of what about the world is the world's really this emblem that we see on tv or on the screen? no. the world's a real world that has been broken. i took a little english teapot, threw it out of my studio window and went down and picked up the pieces, reassembled them there. and that's really the term war museum in manchester, the shot of air where things strike us from the air. the chart of the earth, the chart of the water. so bringing out all these elements and creating really a space which gives you a sense that you're part of the world ah,

in has been there for twist and desired in the set for tristan and his older ins. brooke, and very clearly takes a fragment from a chamber works drawing and the stage elements develop out of this. this is deanna art on recovery. it's like a vocabulary of space that's 1st designed and then using these fragments is of course, another story altogether. you can see that clearly in the sets for tristan and his older that we took these objects that was created and divided it up again into different segments and then used these segments in very different ways on the stage from her and the premier her on her to the, until i remember the premier welsh, there was thundering applause as well as deafening whistles after a premium party establish. of course, the 1st thing i asked daniel at the after party was what it had been like for him.

and he said it was great. the moment you cause such a reaction, you know that you've sent a message asked by a so he was very satisfied with it. and it was then that i understood just how relaxed and laid back he is in seeking out the radical immigrant worker last night or friday, told me was cans, believe his kins. buildings are designed to inspire us to take us on a journey into the unpredictable will. so when you enter a building, you don't know what's waiting for you. it's also easy to get lost in the buildings . and it's also an allegory, of course. i know it's a symbol for always being open to surprises and questioning what tends to be taken for granted. oh ah.

the message that you actually gave to me is don't forget, look at the history because it's a path that if you don't watch out, can lead you to a dead end helix. no spon took me a big lesson. when i look at a self portrait with the identity card, with that wall behind him with a chimney with smoke up above him. he told me, look at yourself, because what you might see is not what you expect to see. ah . busy to me there is that magic in the crystal, i think at the crystal, not the way the romantics look that the crystal, not the way come for david. frederick looked at the crystal. i look at the chris

and the fallen gray. it has a millions of facets. it's kind of the symbol of democracy because you can see right through it. but there are so many different angles, and there's always this kind of center that to lead you to, of a sort of an infinite dispersal point to hold. the chris focus is in a way to hold the dna, which is a crystal is to hold the stars which are crystal is to hold the world. ah ah ah

ah ah ah ah ah, farming and can without harmful chemical pesticides, not feasible new you don't, you can produce enough of a to be able to with ada cbs farming into bravery become really while the politicians are still debating. the 1st farmers are very successful with discovery

degree. we cannot understand that you are wondering that these no town phone through our cost or mike eco. d w o. the crystal pico, a german tradition. ah we want to discover its origin and follow the sentence roasted almond, black forest, and vine to the christmas market. ah, one of the most beautiful german traditions checking in 60 minutes, dw. ah, ah

listen carefully. don't know how those 2 things you miss today go. ah, feel magic. discover the world around you. subscribe to d w documentary on youtube. a on this show we often meet people with brilliant ideas about how to protect the environment.