some pretty wacky places, ah, curiosity is required to morrow to day in 60 minutes on d. w. as you've got any issues or thoughts, they will grey you will be with 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 plans are 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 played their corner for so many years it becomes part of your body. but i think that that true connection between our korean and architecture is that is vertical, the keyboard, everything the base, it's old, vertical, and architecture. also vertical had i played a 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 unstable, 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 into a small vac. and stump nicera ah danina skin to san lea. biskin tis without doubt which one of the most interesting and exciting architects of the late 19 ninety's went on gift and then less duty. only bas kent, that leap is kent brand, if you like. i mentioned that portray a 2nd. esthetic is take dash j, then best the star architecture label and that runs through his entire life's work . backer

i ah ah. busy ready grounds you're working many experts, traffic expense, economics experts, experts and plenty. and i suddenly realize, oh my god, it's not at all about those things. it starts with a memory of dose, thousands of people who died on that day. ready and it has to really. ready develop out of that memorial place into the powers, into an emblematic and also symbolic space of the power $7076.00, declaration of human rights. first one in america and in the world. and of course, create a sense of connection to the stature of liberty. i saw myself and my parents arriving

on the boat, you know, across the lawn take 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 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 see 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. here. 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 s and 60 in on cloud and chron.

oh i can pull until i was 11 years old. it was time of communism 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 me 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 straight. oh levy skinned ins. i know fluid in his early theoretical phase lipa 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 deity, very theoretical on there. that's why he was considered an avant garde architect by experts back then pushed on the asset size,

the 1st drawing, cds, and not insurance is built architecture. i negate bout and my stick to a he used the drawings to dissect research and also the spicy does a forced thus creating a new architectural language. julia strickland. uh huh. 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 year has proven correct. that architecture is kind of a mystery. believe me, no one is an expert in architecture was good huh . ah

. ringback i and jim, my books, vasu at 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 at work about scans, toys. ah, jest jazz, you have shapes in classical music, you have shapes. in other music you have shapes to of course, there's a structure and here you have to create a structure yourself as continuously on tom ah,

the chamber most is very closely related to music because there are many contrapuntal effects there. few, there to cut us there in versions reversals that different tonalities different modalities, because architecture is, of course, an acoustical, art, or our sense of balance is not in the eye, but in the inner ear. unless you're really the dry, sometimes you read the very figuratively sometimes you read them just as they're always the kind of a test of your own possibility of interpreting that. i think that's kind of was my

intention to drawing for architecture. festus, kind of stuck auto home in anderson lines, which i really admired how you are going about it. i don't you can push mitten of auto, daniel lee. this 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 is a finesse. this leap is came to always aims to call these certainties into question, to disrupt them out and called his buildings are almost like explosive devices in the way they work with what we perceive to be certainty, society very deliberately confronts them. perhaps to emphasize the fragility of our way of life wise had gotten, ah,

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 tied 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 this. i thought to, i think the entry hall is very impressive, but it's, it's like you're in a museum to vendor and there are read was the steep stairway leading upwards. that's 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, 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 pass harder about. and if we look at the built in furniture in the house, it's classical li, biskin, and leave is 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 best kent feeling, eva skins or food on a comcast. 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 the independent, the city is always already there. so everything you build has to be connected to

what is already there by daniel, is that who often a 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, i'm 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 1 o'clock is for 5. ah ah ah ah ah,

whether is the jewish resume in berlin a ground during the or there were not projects that were 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 don't own meta instantly to 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, 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 have been that is 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, mcintyre, 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, ah, when i was thinking what you're thinking 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 to think. what about god, what does it mean? where is the music coming from now after these events? oh, lot. var off . we get paid at the create your musical answer in the center of the voice as a reverberate space that you know echoed with the footsteps of the visitors. and i

said, yes, that's the 3rd act of moses in our defense or shoulder was waiting for the echoes of the footsteps across the void. and that's the physician and the transfiguration of architecture as well. ah remedy over hers. and when you listened to the opera, you noticed that the singing voices of erin and moses as the 2 main parts are very different. aaron sings in, coloratura is with very wavy lines. while moses almost exclusively speaks almost without internation my life. so moses stands for constant speech though uncommon tongues 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 are 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 in florida. so schleiden, child, 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 off. while the line of the voids that penetrates everything could be described as the moses line. here moses stands for the unspeakable mores astute here. food of mr. martin barton's 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. and filters cognition. oh the ah yes i, when it didn't got to me, the experience with the garden of exile in the jewish museum is always in the boundary in the garden. i can decide to proceed very intentionally, to control everything, to try to keep my balance. for example, mac and then i feel had the space office resistant. that was 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 it really means the 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 know 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 imperium 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 bring out all these elements and creating really a space which give you a sense that you're part of the world has been billed for. it was something designed in appointment 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 is yana art. on recovery. it's like a vocabulary of space. it's 1st designed and then using these fragments is of course another story altogether. ah,

you can see that clearly in the sense that 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 coming in a m d 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 or spanish. 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 by a so he was very satisfied with her and it was then that i understood just how relaxed and laid back he is in seeking out the radical in of work last night or in a study called leave, haskins 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. the message that you actually gave to me ish, don't forget. look at the history because it's a path that if you don't watch out, can lead you to that end. oh tenix, no spon taught me a big lesson when i look at his shaft portrait, with the identity card. with that 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. oh. busy to me there is that magic in the crystal. i look at the crystal look the way the romantics look that the crystal know the way come for david. frederick looked at the crystal 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 read 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. chris folk is in a way to hold the dna, which is a crystal is to hold the stars which are to crystal is to hold the world.

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who a joy ride and through fascinating worlds into uncharted deb, our guides know their way around with a strictly scientific trip to some pretty wacky places,

with curiosity is required to borrow today. in 30 minutes on d. w. germany's world heritage site like you've never seen them before. above. cultural treasures of incredible value tourist attractions of timeless beauty. part one of our aerial dream trip. check in. in 60 minutes on d. w. oh. every journey is full of surprises. we've gone all out. you've used some tips

why they in the footsteps of the rigby home i'm in europe, northern most count please. ah, for a time in the line, but still very much alive. d. w channel, you'll guy to the special with recognizes where exactly. it was fun and i have learned a lot our culture history, all their d. w. travel extremely worth a visit. we've got to understand that globalization works, but he does not reach more than 30 percent of the world population. very simple in the mediterranean, as become a kind of great sarcophagus. if anything he was proud of it was to be a steal walker. this is didn't, this did come with you for that life?

well, the winners and losers. globalization, where do we stand? starts january 5th on d, w ah, ah, ah, this is, do you have any news live from berlin? a christmas break with tradition as the war where it rages on many ukrainians mark christmas earlier than usual to distance themselves from russian orthodox doctrine . our correspondent visits community in boucher here keep putting on their own traditions also coming up.