stage you're up to date here on d. w by going to leave you now with some pitches of christmas evening in ukraine. i'm directing belinda merry christmas. her. 2 2 0 ah ah. 2 a scoring, do we say they were about giving up sports

like every weekend on d w i? oh, discovery stories that can change your mind. just click away. find out best documentary on you to see the world. i cool. i'm ready. it's dr. now t d w documentary. mm hm. oh, 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 lens. 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 it's vertical, the keyboard, everything the base, it's old, vertical, and architecture. also vertical had i play 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 globe ality 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 him to a small vac, and stump nicera. ah oh danny, 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 get in then less duty only bas kent, that leap is kent brand, if you like. i mentioned that portrays et cetera, attackers take dash j vendors will best the star architecture enable and that runs through his entire life's work. backer

i the me. busy ah, 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 those 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 spectrum of liberty. i saw myself and my parents arriving on the boat, you know, across klondike 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 more buildings, it's not armies, it's not rock if it's not going through the moon. the biggest thing in the world is the spirit of freedom 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 as often s and 60 in on cloud i. i lived in paul until i was in years old. it was kind of communism of dictatorship semitism. and then we were lucky to be able to leave the place. you can go to that time was israel. and then of course, my father who is only surviving sister, survived us. 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 space. i just didn't ins i know fluid in his early theoretical phase lupus kent is very interesting because he says himself that he was obsessed by drawing ah, is high to find and i find his early face. so the 1st half of his life's work, very exciting, very inspirational, 0 very conceptual detail, very theoretical on there. 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 bought my stick to a he used the drawings to dissect research and also the spicy dog a forced, thus creating a new architectural language, joystick delicious. 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 .

i. ringback and jim 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 cancer noise. i just went home 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 with as montana asleep on tom. ah

. the chamber which is very closely related to music because there are many contrapuntal effects. there are few to cut off the inversions, reversals, there are different tonalities different modalities, because architecture is, of course, an acoustical art. our sense of balance is not in the eye, but in the inner ear. and like the way you're reading the joint, sometimes you reading the very curative li. sometimes you read them just as their

own was the kind of a test of your own possibility of interpret it. i think that's kind of was my intention to drawings for architecture. they asked us kind of stuck auto who and anderson lines, which i really admire. how you are going about it? i don't you need us conflict met in 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 the mountain and called for 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, god. 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 shop of successes all around 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 i read was the steep stairway leading upwards that penthouse. the penthouse at the was designed according to the wishes of the client cliff. and if

we take a look at the pictures and we see the typical leap is kent element into this house there. so the reflection of the fireplace has exactly the same lines as the facade of the building. he also has harder about and if we look at the built in furniture in the house, it's classical li, biskin, and even cond elementar does houses or the paneling in the living room. when we talk about storage space, lavender brushed all the corners and edges of the house when modified, so that inside you can also get this typical leave is kent feeling, eva skin to food on a conquer. ah, whether it's a san francisco, whether it's drugs 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, it's still just an independent. the city is always already there,

so everything you go 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. 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 radicals, but it's also incredibly liberating. is about 1 o'clock is find lou lou ah

ah ah, whether it's the jewish museum and grounds during the off they were not projects that struck dumb, you know, from some distance they were right here in the heart. and how lucky that i was able to build teachers 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, for someone 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 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 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 i ah, ah ah

ah, 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 schoenberg moved as an hour on 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, bought varg. god, we get paid at the create your musical answer in the center of the

voice as a reverberate space that you're echoed with the footsteps of the visitors. and i thought, yes, that's the 3rd act of most of the ira that's answer. shonda was waiting for the echoes of the footsteps across the void. and that's the transition. and the transfiguration of architecture as well ah, remedy overheard. 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, was almost without intonation. my life. so moses stands for constant speech, bo uncommon tongue and her son. 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 over that. 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. after, while the line of the voids that penetrates everything could be described as the moses line. here moses stands for the unspeakable, moore's astute here through the, from you to see about an important li biskin 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 an exterior . the boundary in the garden, i can decide to proceed very intentionally, to control everything, to try to keep my balance for example. and then i feel have the space office resistant like that towards 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 in democracy and what it really means there are 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 chart of the water, so bring out all these elements and creating really a space which gives you a sense that your part of the world has been billed for twist on these items and putting 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 because 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 and b 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 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 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 immigrant won't last night. oh, and a funny cold you've 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 used. 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 she reaches mom 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, felix no spot taught me a big lesson when i look at his 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 look at the crystal look the way the romantics looked at the crystal. not the way come for david. frederick looked at the crystal look at the kristen, 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 a sort of an infinite dispersal point to hold a chris folk is in a way to hold the dna, which is the crystal, is to hold the star. if we try to crystal is to hold the world

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