ah, architecture is a celebration of democracy and peace. daniel isn't an architect emotions on d w. as he's got his, his thoughts, they will grade, he will be able to be, 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. 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 our quarter and i became a virtual so and of course to play back corner for so many years it becomes part of your body. but i think that that true connection between that korean and architecture is that it's vertical, the keyboard, everything the base, it's old, vertical, and architecture. also vertical header 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 these 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 him to a small vac. and stump nicera. ah, oh daniel, you've asked him to send you lee. biskin is without doubt which one of the most interesting and exciting architects of the late 19 nineties went on. you've been less duty only because kent, that leap is kent. brandon, if you like, that portray the 2nd s packaged tatic dash j, then passed the star architecture enable and that runs through his entire life. its

work backer, i mm hm. ah. busy grounds you're in the, you're working the mini experts, traffic experts, economics experts, experts and plenty. and i suddenly realized, 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 develop out of that memorial place into the towers, 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 that 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 liberty, freedom of people. it's not buildings, it's not armies. it's not rockets, it's not gone to the moon. the biggest thing in the world is this spirit of freedom . leave us can as he monte our phones, i'm hintock one tale lea biskin st. background has enabled him to combine very different mindsets and to have unusually high expectations of all his buildings or destiny that he wants us to experience them as sensuous palaces. but in all their sensuality also places that make sense where there's more to than them we can see

and believe at 1st glance at spartans, s and fixing on clark and crohn. oh ah a lift and poll until i was 11 years old, but it was kind of communism of dictatorship semitism. and then we were lucky to be able to leave down the 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 means 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, i pushed on the asset size,

the 1st drawing cds, and not floorings of built architecture. i negate bout and my stick to a. he used the drawings to dissect research and also the spicy dog a forced, thus creating a new architectural language. julia strickland, shariska. 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 . oh

i oh i. ringback my in jama, 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, guns, noise i just 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 montana's lay on tom. ah,

the chamber horse 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 dr. sometimes you read them 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 to drawing 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 renew. 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 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 certainties are shy and he very deliberately confronted them. perhaps to emphasize the fragility of our way of life

wise adopt. 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 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. success is all roger ah. yeah, hang on his i thought. so. 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. 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,

and we see that typically bas kent element into this house there. so the reflection of the fireplace has exactly the same lines 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 classical li, biskin, and davis, cond elementary houses, or the paneling in the living room. when we talk about storage space, lavender abashed, all the corners and edges of the house when 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, it's still just 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 was in a good with daniel. the surprising thing is that he rejects more than he creates though, 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 mclaughlin, for 5. ah, ah ah,

ah, ah, whether is the jewish resume in berlin? grounds, urine, new york, 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, if you're, if is in berlin because it's very closely related to my experience, to me as a person. saffo meter, 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 served as memorials, gilman. so it's a memorial, it's commemorative, mind

a museum at the same time. oh you decide. malibu is kind 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 his something that will continue to inspire architects with blue. 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. it is good in the last drawing that you have. i would be just a how you would begin this. oh, i i, i use mm hm.

ah. when i was sending 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 and excel from berlin started to think. what about god, what does this mean? where is the music coming from now after these events? oh, vod. var god . we didn't have at the create your musical answer in the center of their voice as the reverberate space. that your echo with the

footsteps of the visitors. and i thought yes, that's the 3rd act of moses and our defense. our trouble was waiting for the echoes of the footsteps across a void. and that's the transition. and the transfiguration of architecture as well . ah, the main 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 as almost without intonation, my 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 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 levied out. so schneider chime and deans 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. often while the line of the voids that penetrates everything could be described as the moses line. here moses stands for the unspeakable size. moore's astute 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. 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 soon. but as cognition the ah yes. 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. and then i feel happy face 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 only the military is not the opposite of peace. 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 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 imperium war museum and match us there. 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 your part of the world has been billed for twist on design. and 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 is yana art on because it's like a capillary 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 for tristan and his older that we took this objects that was created and divided it up again into different segments and then used these segments in very different ways. on the stage. it comes with an a and b premier her on her to it 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 asked by a so he was very satisfied with. 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 friday, cold even 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 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 a dead end. oh felix no spot taught me a big lesson. when i look at his shove 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. a. busy to me there is that magic in the crystal, i think at the crystal, look the way the romantics look that the crystal, not the way confir david frederick looked at the crystal look at the crystal, the following. 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 to the q 2 of 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 stars which are to crystal is to hold the world

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ah ah ah, ah, with who oh the beauty of the mysterious robert wilson is one of the most important figures in theater. worldwide. his productions achieve culture and feature magical, inexplicable,

and haunting imagery. we ask mister wilson to reveal somewhat his artistic secrets . busy in 15 minutes on d, w, into the conflict zone. the conflict in ukraine is only one of the was vladimir putin is fighting chief target. lasha has the alex a, the volley, my guess is week in exile and london is one of the valleys associate lab email. i shook up the group, is made me and shaming thousands of officials supporting more in ukraine for how far will that dent hooton's power conflict zone even 90 minutes on d, w o. c d, w looks back in crisis mode in the corona virus pandemic

or crate the climate crisis reports in the raw and the united kingdom after breaks it our top dishes for 2022 brought to you on all platforms by d w. ah, every journey is full of surprises. we've gone all out. you've used them with. i'm in your northernmost count, please. ah, 3 times long. but still very much alive. d w, travel, you'll go to the central hospital in germany, europe. i recognized where exactly. it was fun and i

learned a lot our culture history, all their d. w. travel extremely worth a visit. mm hm. ah ah, you're watching d. w is alive from berlin. an accident from the liberator, ukrainian city of her song as it faces a blistering onslaught of russian shelley. some people are deciding not to risk but coming to wars next casualties. also on the show, the death toll from north america blizzard of the century.