ah, just like great poetry or music, great architecture can tell the story of the human soul. it can let us see the world through a completely different lands. ah ah ah, buildings breathe. and just like humans, they have a body and a soul. but how do you design a building that can sing? where do you start?

ah, my parents beginning of are quartier and i became a virtuoso. and of course the played their partner for so many years. it becomes part of your body. but i think that that true connection between the korean and architecture is that is vertical, the keyboard, everything the base is old, vertical, and architecture. also vertical i had, i played the piano which is horizontal. maybe i would have never been an architect . i should take to star architects, world architects have been around for a very long time. but some architects only became star architects when the world of architecture claimed this kind of glow balance. he for it's selfish and unable to say, we build buildings that are primarily photogenic and thus promote not only themselves, but also the architect and the place where this building was created. him to respond back and stop nicera.

ah, daniel, you've asked him to san li biskin tis without doubt, which one of the most interesting and exciting architects of the late 19 ninety's went on give to him and then the studio leap is kent. that leaps kent brand, if you like. that portray the 2nd esthetic is take, take, dashed and then best the star architecture enable and that runs through his entire life work backer i ah ah. busy grounds you're in the working the mini experts, traffic expense, economics, extra experts and plenty. and i suddenly realize, oh my god,

it's not at all about those things. it starts with the memory of those thousands of people who died on that day. ready and it has to really. ready develop out of that memorial place into the towers into an emblem matic and also symbolic space of the power $7076.00, declaration of human rights. first one in america and the world. and of course create a sense of connection to the spectra of liberty. i saw myself and my parents arriving on the boat, you know, across the atlantic entering and looking up at the statue of liberty, which at that time looked so large to me, bigger than, than any empire state building. and i thought about it, liberty, freedom of people, it's buildings. it's not armies. it's not rocket. it's not going through the moon. the biggest thing in the world is the spirit of freedom.

i leave us can't su month athens, i'm hintock. when he'll leave his kins background has enabled him to combine very different mindsets and to have unusually high expectations of all his buildings. he wants us to experience them as sensuous palaces, but in all essential ality also places that makes sense where there's more to than them we can see and believe at 1st glance s martin s and 60 in on cloud oh, i can pull until i was you have yourself it was time of coming of dictatorship semitism and then we were lucky to be able to leave the only place you can go to

that time was israel. and then of course my father who is only surviving sister, survived. it was in america, so he was determined to come to america and that me home is not a piece of real estate. it's really something that is very close to your heart and can be taken away from you. my mother was a very free thinker. she said, become an architect. she gave the right advice. i don't feel that i gave up music and i started architecture. it's a continuum when you played the right note. it's very much like drawing the right lines, building the right ideas on paper, getting them built in space, the both about precise vibrations, vibrations of soul, and the vibrations of space. i

just didn't ins i know fluid in his early theoretical phase lupus kent is very interesting because he said himself that he was obsessed by drawing. ah, it's hard to find and i find his early face. so the 1st half of his life's work very exciting, very inspirational zachary conceptual debt to very theoretical on. that's why he was considered an avant garde architect by experts. back then, i pushed on the asset size, the 1st drawing cds, and not the flooring system built architecture. i get boating, i stick to a, he used the drawings to dissect research and also despite the dog a forced, thus creating a new architectural language, joystick ownership, i. when i came to architecture, i wasn't thinking about building buildings, not at all. i thought, well, architecture is going to combine. oh, my love of all these things,

of numbers of vibrations of music, of the past, of the future. and somehow the mr. you has proven correct. that architecture is kind of a mystery. believe me, no one is an expert in architecture was good huh . oh oh i oh, the. ringback my engine, my looks with the chamber works, i saw the drawings. and the 1st thing i thought was, wow, i had never really thought about architecture before. and it was really something brand new. it was cancelled as

i just went on just you have shapes in classical music, you have shapes. in other music you have shapes too, of course. and there's a structure. and here you have to create a structure, yourself, montana, mostly on tom. ah . the chamber which is very closely related to music because there are many contrapuntal

effects there. few there to cut us there. inversions reversals that different tonalities, different modalities, because architecture is, of course, an acoustical. art it, our sense of balance is not in the eye, but in the inner ear and left the way you're reading the drums. sometimes you read the very figuratively sometimes you read them just as they're almost kind of a test of your own possibility of interpreting them. i think that's kind of was my intention in the drawings for architecture as this kind of stuck auto. 6 home in anderson lines, which i really admire, how you are going about it. i don't you can push meeting of auto. daniel leave is kinda breaks with expectations

when we enter a building, we take for granted that the flow will be absolutely horizontal. we can rely on that as a finesse. this leap is came to always aims to call these certainties into question to disrupt them out and cause his buildings are almost like explosive devices in the way they work with what we perceive to be certain. he's shy and he very deliberately confronts them. perhaps to emphasize the fragility of our way of life wise adults are. oh, you have to be radical. you have to go to the roots, that's what radical means. go back to the roots of the problem. the roots of the house, the roots of the city. any method that takes you beyond the traditions that are habits that have pied you up into a not the more you can break out of it. the more you can discover that their world is far more interesting than you've been taught by your teachers or by the sofa

successes o'rando. ah yeah, hang on his i thought, i think the entry hall is very impressive and it's, it's like you're in a museum to vendor and there are read was the steep stairway leading upwards. does penthouse the penthouse at the top was designed according to the wishes of the client cliff. and if we take a look at the pictures and we see that typically bas kent element into this house there. so the reflection of the fireplace has exactly the same linus as the facade of the building. the owls and foss harder about, and if we look at the built in furniture in the house, it's classically biskin and vivas cond elementary houses, or the paneling in the living room. when we talk about storage space lavender brushed all the corners and etches. if the house were modified, so that inside you can also get this. typically bas kent, feeling,

eva skin to food on a compound. ah, whether it's a san francisco, whether it's dressed and whether it's in berlin, whether it's in denver, there's always something else already there. we already inherit something that it was not ours, but as part of who we are when you build something new. and so just that independent, the city is always already there. so everything you build has to be connected to what is already there by daniel, is that he wasn't good with daniel. the surprising thing is that he rejects more than he creates and oh, and he demands the same from the people who work for him as it is this process of always questioning, always taking things apart, cutting them out and 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 lou . lou ah, ah, where there's a jewish resume in berlin, a grounds you're only off 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 interest is in berlin because it's very closely related to my experience, to me as a person sat

o meter. instantly the room with the fallen leaves installation remains unique. no matter how often you see fit to museum. also has these elements that serve as memorials, gillum, 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 strictly. 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

blue. between the lines have been that between the lines combined 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 altered a 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 last drawing that you have. i would be just the, how you would begin this. oh

i ah, ah ah, ah, when i was thinking of the jerseys 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 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 dot give pay. 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 and our death answered robert was waiting for the echoes of the footsteps across a void. and that's the physician. and the transfiguration of architecture as well. ah,

let me yorba hurt. and when you listened 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 sardina mavita. so schneider, chime and inch turned on and empty places are created vertically at these spots all 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 for the unspeakable country, moore's astute here through the ha ha ha ha bolton barton, 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.

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

i was very aware of the importance of military and democracy and what it really means impair a war museum north in manchester, i thought, what about the world? is the world really this emblem that we see on tv or on the screen? no. the world, the 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 imperial war museum in manchester, the shot of air where things strike us from the air, the shot of the earth, the shard, 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 that's

been built for to some of these items i'm looking at the set for tristan and his older ins are broken 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 not far 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 off to 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 work last night or not. but he told me the skins believe is 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. 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 the wall behind him, with a chimney with smoke up above him. he talked 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 look at the crystal look the way the romantics looked at the crystal. not the way come for david. frederick looked at

the crystal. i look at the chris and the fallen. great. 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 leads you to a sort of an infinite dispersal point to hold. the chris folk is in a way to hold the dna, which is a crystal is to hold the stars, which are the crystal is to hold the world. ah ah i

i ah, with with makes you'll in the co taking in good shape finds out in our genome controls on rehab in your everyday life is not in the sync with your inner clock. it can be

detrimental. she will help new research techniques show how keeping and think with adult we go behind the scenes of a legendary wintertime show. an iconic ice skating spectacle celebrates a big birthday. holiday on ice is turning 80 see world class ice skaters. and their enchanting perform the 60 minutes on d w. o. ah, will you become a criminal pre climate? oh,

really news with about hackers generalizing between your societies? computers than elsewhere you and governments that go crazy for your data. we explain how these technologies work, how they can only go what was in for, and that's how they can also go terribly. watch it now new to day usually starts when our alarm goes off with slaves to the clock. society sees punchout as he as a virtue. we can't afford to miss that train. we have places to be things to do. oh, no wonder with constantly checking the time. but we'd be better off paying more attention to our.