>>harlie: welcome to our program. tonight the rebuding of groundñr zero with% ááv silverstein,president of sin properties, chris ward, thexd executive director of the port authority of new york and new jersey.

architect,ñr david childsqdesige center. architectberger architect credi. we concludthe designer ofñi the1 memorial. the rebuilding of ground zero when we continue. funding for charlie rose was provided by the following:

addional funding provided by these funders: captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> charlie: the attacks on the world tradeñi center on cept 11, 2001 fobdmanhattan skyline. almostqiconic twin towers fell t tuesday morning the debate over how+fora time creative economicr political conflict stalled significant progress atñi theó[ site. ten years later the building effort continues butqthat a cor.

the september 11 memorial opened to the public on sunday in thevp site central building one world trade center continues to rise to its dominant playersó[ inúuq city skyline. joining me to talk about the statee1 of redevelopment at the world trade center site are larry silverstein, president and ceo of silverstein properties,9d new jersey. davidok childs the designer of e world trade centeré@ and daniel libeskind the see desiren of the master plan and paul golmr qáyi nté@çó to start th you.jf are you satisfied atñib. wheree are now? >> i'mó[w3 sad that it took uss long as0l it did. >> charlie: tható[ would bes7y next question. >> bute1jf i'm thrilled we!u ai we are. and 'e progress that's takingplace ,

exciting a gratifying% >> charlie: you will be pleased th thei]r>> very much s. >> i couldn't be ha60der. i think if you look at where we had been and where weare today, the forward momentum, the sense of the project goin?m forward s injf a vy good place. >> i've always beenxd optimistij d"jit's fantastic. i think we'veçó really seen the results. we're seeing not the rebuilding but the cultural sense of what the state of memory means andym the jnot just the old lifee1 buy a resurgence of america really fr+so i think it's inspiring and something that isfá of course a work in progressjfxd because t#. there's many elements. the memorial is open. tower four isconstruction. the streets are still, the pavilion isw3i] open. soon the museum. but there's a sense of a

momentumfáñi which is changing  whole inó[ the ground intou áco.

the idea of the modern city as muchs7 as they were attacking individuals. so renewingkwabsolutely critica. >> charlie: rçsq sayxd it was ane1 attack on capitalismñi and )÷ +>> renewingñr that wasñiqthe us absolutely right. >> charlie: i remember the story of this man you told mi] you said he's goini to design all the buildings at one time. >> i discussed that with him as añi posskfility. >> charlie: and he said no. >> he said no asú would not rec.

>> charlie: this was the brilliance. >> he said the results will be spectacular because you have diversity. that'si] whatñi we're going to . >> charlie: i] where are we today? >>i] charlie, we've gotzon itstl ornament. hó often hear people sayingok it 102 stories, 1inçó the master ps thinking we should build a tower that's not going to be surpassed because ofthat's 677 feet. i think looking from the bedrock coming up from the memorial site, lookingt( at the skyline d owing that the apeckñi is the

unsurpassed dateñowhich is a do, liberty and equality. that's something ñ thatnb i thinkthe site deserv. and of course it'scpowerf build. but i think we suld not under estimate the symbolic aspects. not just the number ofñiw3 floon a building. it's what the building represents. $q people.and of course, it's sg that people will know about because people will just know that it's an apex to it. >> charlie: it was once fall freedom tower. >> yes.çó >> we went through three and-a-half years agoxd we went throught( añlvery difficult dialogue aboutb. that0l issue. i made the decision that while botí out ofxd the original visin for the projectbuilding and sym( freedom tower was no longer really the right word for it.g we were buildingxd buildings, we were building downtown. if you had two world tradeokc ittradeñidúwere free before 9/1e

free today and i think newçóçó k needed a downtown.r6i it didn't need symbolism, it didn't need that kind of message at this point. it might have been appropriate early onñii]whene1 it was no lo right for the site. not without controversy. >> by the way, ctñ was thew3 nae the goveor gave it. >> charlie: continue where we are, david, where we are today. you're up to 84, is that right? 80. >> i'm on number one. >>r>> actuall i'm sorry,xd we' n the 50thc>> charlie: of wer fo. >> yes. >> charlie: ok okay. and you gotok fourfá very different architects. >> yes, we do. >> ast( it goesçócbut it will bt year at the major portionxdkoocf course the top of the building,1 itw3 will continue on. and soono7o thereafter will beñr filled up with people.

we've beenñr very lucky about te factfáxdi] that it's commandingt and people want to be down there and it will be full of life. >> charlie: some of the best known companies will want to come down. >> yes.ñrlpxd [laughter] >> good for you and good for al. good for new york. >> charlie: because it signals what. >>çó w i thk it signalsxd theqton st. it+financjgl institutions. wexd have a this/7 community don there. there are people that live there today that lived there on 9/11. you have immediateéthat's dynam. it's multipurpose. the peoplelpfá thde nas.lp

i think it's signature transition. >> it's the same thing that happenedé@vó in timesi] square. beganfá timesñr square's revolun into place. >> charlie: if you're willing to make that kind of commitmenpf thefjár(qj you can get are terrific. [lau5h+ ññiokñr>> those aren't exclusiv. >> they take at( while to do. part of theñi piece of the original world trade center, itk was a singular building. one of those great superñi bloc. this is evolving as cities do.fá until i find that very central and reassuring, it will have vaety and over timef:3 it willr take on particular details that will makek it a very special place of its own nature. >> inrtheoriginal twin towers contained 10 minute feet of density. in the master plan there are now five towers distributing the

density making the buildings lower.w3 it's because of streets. to have streetsx#u)u&t( heavy shadows tohift theçó light, there's cultural activities in the central of the site not just a memorial. >> putng>"!ck the streets was a key decision. in theñr end the á&ty is defined at least as much by streets as buildingxdw3fá certainlyth$átuxdt( york is. >> moreñi so. >> manhattan is unique because of its grid. at first you lookqrestrictive gs enormous freedom. before we talk about buildgád which we all tend to do because we can look at them.t( the mostñr powerful place downen space. and the one thinxdxdlp that i ws surprised by you, we tend to knowxd what's goingñi to happenn itñymi] does follow the drawing. and it was different for me, much moreunified a portion offá.

the oldw3i] buildings blocked te city, the downtown fromçó the waterxd from the hudsonw3 river. it certainly blocked the buildings of battery park city.i and now they are reingauged through thisñi wonderfulopen space. that's the geniusñifá of the pl. >> we should nfv#orget iti] wasa block, a mega structure. >> a super block. >>ñ kthr thisxd and that.

but actually we alr] came together and i think that's a story that peoplerthat it didn'y accidentçó that we work togethe. >> charlie: i fact ate1 the end of the day, they say he was a master planner fore1lp the wod tradelpçkoçxd center, you're vey withhat. >> for me it was not jus another project. let's take it away and i'm lucky tolp have many projects. i didn't consider the project,xo didn't think of the towers -- when i first participated and i went down to the bedrock i really thought it's not just a piece of realt( estate.lp it's añi place where people fel. whereñr something ppenedxd that has to be>5(ed as a foundation for somethingñi positive. so it wasn't just design a project nice buildings, nice spaces. what does this place represent. how do you deal with it. there was açó lot ofokîjsilow be

wanted mega towers. how do youfá connect that memory of that dayfáok of what happene. but also make it somethingposit. it's not just, it's perseverance and hope of what that event means for the future of new york, the future of america by the way and the world. >> the onei] thingxd i have tot, when youqso long. i have to sayi] onex4:=fxd thes why it took sow3 long wasqsensee built into this projectñix$$áz p that it had to answerñr so many tktuqáurjju and be sook manylpñy for the port authority, how@d: youx0!it. biggest challenge. how do you take all those hopesr and dreams, all those visions and finally turn it into a construction project and get it built. >> charlie: howcthe political n new york, new jersey, between thee1 city and theq>> i don't t. i thinc trpá therelp were -- >> charlie: aesthetic. >> no.

i think there werei] economic conflicts in terms of where is the port authority's role. [laughter] >> it's always about the money. [laughter]ñi >> no matter what anybody says 'sxd alwa?3e about the money.q it all comesi] together. >> charlie: e're going to talk about where we are today andñr how we've become.çó but this hastxceen a difficult ten years. >> it's báten years, even thougd before, in the future, the ct at it took that long may not matter very much, it's not been an easy automatic smooth time. never has thererstakeholders. i rememberçó saying at one poin, the good news isxdi that everybó cares, everybody's interested. the bad newsçó isjf everybodyw3ñ and democracy is in fact a very difficult way toi] makure. and in thercan't put it to a vo. >> charlie: who is fighting

with whom? t'kkrñ well, i>4ar7i some peopl- >> charlie: t( you too were at odds. >> no. [laughter]r>> charlie: what wet odds with? >> fundamental question.lp it had toñi be resolved in 2008f wasfá the port authority's relatiship. unless there was anfá economic deal that ensured towers four,ly and two got built the site would have been completely stymied. we wouldçó not haveñifát(ñicver(

clear delineation as to who would do what again.." under what circumstances.ñi whwould be responsible.xd soxd it took, it:issue, took av. >> charlie: because itñ5énew dt authority. >> his presence made allqdiffer. c?>> charlie: why? >> well, that's another?;ñi >> charlie: you÷ñ got the 99w3 year lease for this p%w>> back . >> charlie: what month. >> we signedcus title ttcenter.

i think it wasñixd july8diófrnmr day, on september 11, 2001,w3 wt were you thinking. >> the fact iw3 was still here s amazing to me and the fact my children are still here is im"zing because all of us could have been taken that day.ñi it's fate and serendipitous. making your life the unpredictability o-but the truty god at have we got here. the loss of life. the number of people who obvious we list and silverstein properti. the factxdmyçó ixdñi came out d persally. >> charlie: ñr how many people. >> four. thoseñr fourxd men hadxd six ch. >> charlie: aeáthis story has been repeated and repeated.

firemen, peopleñi wo =$coñ in te belling, people who were visiting the building. >> almost 3,000 people lost their lives that day. >> charlie: did you believe0l that day you'd evere4ixdxd see s day?)eqjrrñ you know i wasn't tt about the next day or nextywáwhr offices and stof them walked hos what i finally did. >> i remember you saying to me which impressedçó me that you s. >> some people thought it would take two years to clean the site. the still was two million, $3 million justxd to clear the sitr there wasqabsurdity. >> we have tot( also remember

something else. this site is owned, it's leased. but it's a site of new york. it wasn't justt( about ownershi, ñpctical. it was that every new yorker, every america, i think every person of goodwill around the world feltñi that they were attacked on that day.çó >> charlie: butqthan that, it n the world. >> and thet( ideat( of thejf 21t century. >> we27almost 3,000 people who d is was not just new york or america,çó people fromxd the wo. this is why engage the public and the discussion tooke1 place with everyone, noti] just usevek so caring about r: in

new york. has it turnedñr out toxd be tha. >>qi think on the other hand ixo think some of us may have or some people ma have expectedxd too much ofñi architecture. in the even architecture, can't solveñr every political problem, it can'tñr heal the emotions

fully. itqinspiskng housingfáñr for the things but it can't makeok everything happen by itself.ñi it( hadi hoped that wew3çó woulq most technologicallyqskyscraperi doingñr the most advanced skyscrapers and this would have beenok the perfect moment toñ)hv this is the american building form on this piece of land where america was attacked why don't we respondqadvanced skyscraper e world. we haven't quite done that. on the other hand everything there is so much better than the average building in new york. and given the reality of life that thisxdñr has to beçó econoy viable and there have been so many players and soap forces atd work here, i think it's actualli pretty remarkable that it'sxd ce off as it appears to be. >>ñi i wouldxd add, though, to , i agree with much of whatsay,ñr]

>> what is architecture? is it a building? is it a room? is it a facade of an object or a piecexd of the city? they're just different scalesof the samefá dekind problem. i think weok oeggood that we ade anscale of architecture at the biggest levelñpbuilding.ñpand ts been done in a way that we should feel extremely proud.ñi >> paul, i agree with you fully in terms of the fact knd onee ise

center by day.ñi anybody want to add to any of

these things as we justñi go through. i want the audience to asfá soon as what we're talking about. +!>> yspiral step upwardrwas re. down or up.lplp it doescwlcomeqpone ist( the sid trade center site plan. >> there is. >> charlie: memorial park. >> you also see the travel station, 846 on the north site, 1028 on the southern site. it'scof the day. andñi i don't care. commuters will be busy goingñi o work. but just the notion that this light not just any light falling on you that is a light related to the fight as a whole. it's very moving. that has to be known by many peoplet( but to be known by tse who know bit. thatçó space betweenw3 the statn and tower number twoe1 will be a beautiful entrance from broadway. so many people are coming from

broadway and thexd east part of manhattan. >> charlie: the truth of the matterñi is that design is spectalar and it's togetherto have a majort(ñi impact on peope here. >> we never builte1 a grade modn transportation buildingfá in new york. >> twa terminal and jfk. that's right. you hadi]xd a great plan that dt happen. >> this is for yunderstand one y to see here. you see the twoñi square footprintsñi of the old towers. the factxd thatcof this site.ñr and that the tower one, which is the onexdqthroughout, is not jum thew3çóxd space, but it usesw3 . but not goingx:"ujsense of lossp into the sky, the positiveó[ piece.

that's how that generated that form and you can see it rightlp thereó+>> i just want to say so. when li was designing the master plan, charlie, it( thomi1+ of my parents. they were woers my father was a print at stone streetqmother t industry. andxd i said those areñr not kif the people to ever be in the towers. they will beñrxd in the terminaz the streets. what do people get who arexdot in the towers.wn fáit's aok foot print, it's a se that is createdfor people to enjoy. and i think we should notxdrthat everybody's lucky enoughok to be in those buildings. >> charlie: if you lo carefully at the masterleliminad bringing everything down to grade had on the development of the site. >> it makes all the difference in theorld. >> and youó[qto the rest of th.

you see those going into the old three exactly the opposite wha 9gzóathe world trade center did. >> charlie: let's look at this so it will ok illustrate m. next slide. >> in terms of ahitecture i'll ask paul. i think this pavilion isy15=mq genius because depending where you stand the building was completely different. you stand looking west to east, it looks very naow andvif you le south.okxd it loínu quite large. i like the way it sort of disappears becauseñfñ"qit chqoá. >> yes. i don't know thatfá it ever completely -- >>feelings larger than expected. as i spent more time witness i came to le it better. i think it alsoxd forms a very interesting transition between going down theçó voids of the memorial itself anísñ then going way up to the other buildings in the towers.xd it's an intermediate thing and

connects them wh&ut is also very good. >> i think it's good that it brings something positive because people are looking down sort of footprints into the waterfall. looking up and be able to&xethee again into the museum. we balance it so the experience is interesting, it won't be one-sided in terms of grief and loss. it will be something david said positive rising upwards. >> it's also a park inko a civc square too. >> younb have to notice tower d >> there needs to be a skyline that we lost. and we?; were always interesten doing that, restoring the feeling thatñr?; people thoughu wrote that earlyxd on afterward. whene1 people go and look forñie site asxd jersey or the turn?;y don't knoók where it is. in terms of traditionrthat mark.

you can not only see the response to that other great centerfáó[ of the city midtown, downtownxthe connectionñiñr bete spires butó[jfcthat. that'sw3 unique. that's where the memorial is. so it's the fact that this goes up, )and says thisxde1t( is the. 2ññ and ii]( think itlp bringsluminosinyx bt of open space. towards the densscqstreet. i think it really does create a sense of as7 new neighborhood here. and it's true, so many people have moved to this neighborhood. >> i think it's ant(w3 exquisity designed tower. [laughter]ñi >> i like the taper and sort of tiuç way its7octagonal. >> charlie: what do you think. [laughter]xdt(t!ó

>> symbolism charlie. but the idea of that square being one, the one is comeok up again. i want to h-the old building. but, they didn't workell at the top because the sameeízko e goes up and cut off in the original building. the4between t8elevator bank bect getting smaller like a tree trunk. you waed to taper it somewhat but if you tapered thelike an oe the interpretation'c of a novelist. youxd get not the four flation faces you get these alternatingisosceles triangle t

hopefully catcheso>> many peopl. >> right. >>v >> charlie:ate has (those twe realized. >> that has changed. we au no longer build where people parished. we have to build in a different position and we have toñi give that space toi] people. ixdok think at'sçó why dav's skyscrapers and all the other onesw3." will be very successfl because they don't dominate the space. they are very symbolicf you see them because of their positioning but they're stepping back away from the center ofspae c'j>> c"ap1%of tseñi in swú iñe

alongw3 rather rapidly.ó[ that's the lobby. all rightseven. towerñrgñnymq that. next slide is? >> next slide is the church street side ofandxd tha; wings- >> charlie: you ca9there. >> that's ri .>> yes. >> charlie: what's from the original design, paul. >> those win,uç were to have openednd they now are going to be fixed.t( the cost appeared prohibiti. >> the usefulness wa%9in estion, right. >>cthere.q>> sometimes there ars that are in fact an improvement anyway.?; i think that's one. the memorial whenrwere taken awe

perip0e9e itu

>> at the end of the day all we talk about what's been done on the site what has trulyp+ed new york is a resumption of alld the forces that were thereñi on september the 10th. >> charlie: e1 all of the energies. >> all of the energies, all the stuff that wasqcameñr0l backxd.

>> whenñi seven started coming , you could feel, you could sense a change in>!began to start thin about what downtown was be likee whenupw3 it sell, ground zero wa disaster. it was still horrible and pple looked outqoh my god, who is go. we felt ultimately it was going to make a difference. when peoplplaceñi again with 13t line everything there that had been there beforeym but could e recreated in a much bett way.q>t naturally. i think providing new buildings, 21st century building for fgrade b and c office buildings to become housing. ixd think that's what choked the nature,t( suddenly families or ytu'g peoe could moveó[ intothe theyt( we no longer necessary. i think the revival might be one

of thew3 greatest consequences f rebuilding ground zero because it just brought urban notions to cities tt were deserted, to places which were just office building, and it'sneighborhoodo. and i think that'sujez no -- >> for schools9+++ath0 >> charlie: thank you all.fáxd( >> charlie: ichael arad is÷lqjbr he's?; the archimemorial.xd he was slicked $memorial in 200t more than 5,000 otherñr candidates. he was a young architect, seve&i years has passed and the awe

attacks. the awe moral embodies the tragedy, heroism andñrt( resilie ofrpaul goldberger of thelp new yorker3w magazinexd has writtet people will not come back but the life of the city has to. when you stand in arad and walker'sñrxd park when you lookr the footprints reigned by namesn between these o truths.e1 i'm pleased to have michael arad at tthis memorial. welcome. >> thank you. >> charlie: tell me how you feel now this long struggle to do this is complettime thislp ae opened.w3xde1i]e1ok with the mayor, former mayor,e1 secretary of state and others and more importantly those families who suffered loss on that day. >> i feel3w proud and relievedn many ways. with the mayor, former mayor,e1 secretary of state and others and more importantly those families who suffered loss on that day. >> i feel3w proud and relievedn

many ways. but also i have the curiosity and expectation toçufamilieshe a memorial opens up. tthroughoutñr theçó construction process.ñict but peop&the final ingredient ti bring it to life. everythingctrees, the wallse1 te thesg3 aremy all9this memorialm people to the very edget( of the voyage, that line that separates the living from the dead andli letting them have the moment of deep and hopefully profoundñi contemplation. and that will only happen once we have the public. >> charlie: o as you try to design something tha@ixd would n that place and that separationth betweenñi what hadcthat halloweh the loss of life and the fact people willñiy5ç be comin"jforña

you was what idea. >> there are actually two very clear ideas that drove the design for meçó andxd onew3 of m actually came almost in a dream and i startedñi to sketch an ida of these two voidse1 in the hudn river. iok imagined the river formed oo andñixd two voids and water flog intoatñr these voids. it was an inexapplicable imageit and had a quality thatfjr i felt compelled to investigate and study can somethingt( like thise realized. over the coyear, inñi my spare d at this and eventuallyqsmall foe 12 inches by 12 inches. there was a small pump thatq7úpd formed this f>ak sheet of water was functxdñr should byx÷(]= vs and the water --qtwo voids.

i photographed this from myth building against the skylineqi e river. i spent close to a year on this very private cathartic exercise, going throughxd this andu

feet below street level. and i thought about my own experiences here in new york shortly after the awe fact placeseece like union square and washingtonçó square and how important they were to bring people together that day. qqñithey're not just places tht brought us together physically, they brought us together emotionally, they connected us and gave us opportunity tos comfort othersxdçóñr andok be cd by others. i know that in the wake of that attack for the first fewñr dayst was just the feeling of dread and fearñr and trepidation surroundingi] everything.w3 and i thoughtfá we should haveoa park like washington square andf if you were to suppress it 30o feet below street level it woulw cut it off from the life of thel city. we should bring it up and make the level with the surrounding streets andçó sidewalk and knitt "%!ack into the fabric of theci. and believe wefá can haveqdiffeo this plaza whether it is to

mourn or ether it is to take ao five minute break from their office billing that is acrosst thexd street and have those differentd i] uses side by side actuallyqexn%trq'ce of being ons memorial site forcpurposes youñp >> charlie: didñiwhateverxdfá r >> i got everything that was important, ie1 think.po í)change. irñ charlie: xd from in andoutsd

something very different. it could havet(ñi become a very shrillfá or self pitying memori. it could have be!çxdifferent met remainsxdñr true to its charactr and to its driving force and toi that i'm very grateful. i think theqout offá this proceu expected constraints, unexpecte obstacles actudistilled it downi something thatçóñi upset me wase elimination of the memorial. to the void and taking inok the scale oft( the space that echos j(# size of the towersñrñland seeing that multitude of names around the each pool, 1500 namec around each pool ist( a searing moment ofjf understanding. i wanted to s shelter that momet

to provide some comfortçó thattó very moment of vulnerability,w3f and that's what the memorial galleries were athey had a cloie that ringed the void. we were asked for@ varietyxd ofe reon to bringçó the names up toá plaza level. fill thexd edge of the void butq now up withoutt(ñrñiqceilings. it had took do withok budget anw security andqwere apprehensive r the memorial plaza. it tookwd us two or three yearo find the right way to recapture what was meant to happen in that moment. and we wereñi able to do it"r but that was not foregone conclusion. we had to go throughçó dozens oó design itations. and thisjf process allowed for that to happen. the mayor's leadership onxd t xdandxd peoplew3 like amanda bis

project itjf was thei] allt(ñi t andw3qwe were givenñi the time t consistent with thet( character( >> charlie: let's take a look at some of these things. we want to see them and feel them as we talk about them. the first slide is açói] vhgw oe memorial under construction. there you see. anything to say about this?an other thanñr youqstands within. >> it's hardt(ok to seeñiko ito plaza. i think the boundary of the pla6u is something that's very important. you have to think of this idea for the memorial plaza that didn'tt( exist at the beginning. it's this eight acre expans in the middle of floor manhattan. m if you could panxdxd that view o the left a little bit you could seeçó that dense and crookedan

narrow streetsxdñi of lower manhattan that have been there for centuries andok theseqhavpge narrow urban canyons into this bigñr openñi plain and encounter this forest of 400rremarkable m. you have tow3 think of the memorial i.p the scale of notal just the voids and name around them but the entire memorial plaza. >> charlie: talk about theemi] pools and the river. >>ñi one thing thatt(sort of nar everything here because i think this isñi the kind of place that should be thet( equivalentlp ofa moment of silence open to you tc bring what you wantlpxd6op thin. and but it is very much about creatingó[ a placet( thatñifá s that to happen,xd that brings yu into a space that isbconducive . to sort of setting aside all of

thb1[i concerns.fá &úttingok aside the sites andsoe not completely removingfrom thee water(@ódñr the canopy overhead and t$aj space@ó in front of yo. shouldt( put a filter betweenqad allow you to thinkñr ofe1 whatyo happened that day, to think offg iten years. and to bring thefáfá past into e present. >> charlie: there's anotherq pe mbronze plate sort of folds to form this five-sided sculpture element that seems to float above this waterms table thatxdt starting point forlp the water falls.q and during the day,ó[ the names appear shadows. they're aboutme thatateriale that's beeí3 removed andxd cutó but thislpx:uüujjuz wing-like se isiband you see the names appeat

andxd the thickness of the plate cuts off the lighá/ so that you can only see the names that are in front of you. asw3 you walk around the memoril the name will disappear andxd another one will appear. it's nott( that interaction at some point we really thought if it's something that you see and toucha5 and feel and sensec >>&nsurvivor tree. >> it is. this is another example, things that came to this process. c theyfá weren't there on but hady airough this process and became. and this tree was onxdi=$u$e wod trade center plaza and itñr was almost entirely destroyed.okye and it was nursed back toby they where it got strict by lightening andp, it survived tt and it was brought to the sitexd ")it's doingw3 beautifully. it flowers a month before all the other trees. it's a white cloud that just

appears there atgcof spring. and this is not an idea i can claim anyjf paternity of but i think -- ñ÷k charlie: but you love !(ut >> i love it. i thinkxd there are changes like that that came to the design as a resu of this process.>> charlie: al )u sonb you continue to work.e two quick slides. ona; is 27 times square in chi. take a look at this. >> yes. this is a very different project than the one i'm workingxd onkow but iñrñi think there's some disengagement with cities whichg is something my partners and i p are doing every day with aq social construct. they're not justú p steelokñi and glassccan concrl structures, the kind of future we wantrand this building is atd of the spectrum wmeight story rs got another 20 or 30 office

floors it's axd full city block connected the a futureçó subwaya system under construction. the last time i was there, they were raising the site, buildinga that were on the site and moving forward. >> charlie: the nextt( one is the fifth street project in new york city. >> veryñr different. this is wherene my son went to school a couple years ago. andrwith a roofbuilding. it's 50 years old and it's been a structural challenge to find a way to bring a full set of foil to this roof. but it's3w one of these projects -- >>!ue charlie: you need toñit things. >> we wanted to make thisñint something that could actually be farmed.ly you could use two or three o inches to do an extensive?;rofk

the schools, science and mathol and many other things. >> charlie: thankfá you forie coming michael, john f. kennedy thank you.fámy - - thank you.ñiw3t(5afáó[w3 q 3. yourself, so don't fall.

now he tells us. how far am i off the floor? about twelve inches. twelve whole inches?