it has that sense of doing things precisely, carefully, consideredly. but you could also say that there's something about his architecture which is hard to read. how do you understand a building which is a black glass, curbed screen. you don't quite know what's going on inside, and maybe that's norman, also." >> rose: i am pleased to have lord norman foster at this table for the first time. welcome. and it's about time. tell me about this project. angela is a great friend of mine. it's not where you expect to see norman foster doing something. here it is. roll tape. >> i'm angela westwater in front of the westwater gallery at 257 bauery. more specifically, i'm in norman foster's moving room where there's installed a work, a moving room 12 by 20 feet in size, and it was really conceived of as an exhibition space which is, obviously, what we're using it for now. it's moving between two floors, in this case between two and three, and from the facade of the building is this strong visual kind of beacon. the red, the color, you can see from across the street