Working in Mumbai

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well you know when you are with your you know what are

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all right maybe you

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uh the record that's not what they are and the more i you you know

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are you wanna play the uh um when you you you

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you can you we uh are you know it might look on and um

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or that you know i know it will be you know there are like you

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are there at the e. on it right now

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you know you and you are units that are like oh no no to it

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so i can see you know

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i'm very happy with him you know or or and you are in and out

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right um it's a big presented to her who who's a

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few at e. p. f. l. and around your neck faculty

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before um your introduction let me just so when

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we thank our partner for the evening you know

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you know stands for remote part one and even when you don't have to pick the one

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using or something similar for architects and unions under i'm very pleased to have

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sure of the organisation of for evident with graham each room back to our university

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uh you're failing darkly soon began re for architecture i

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mean things a strong relationship with uh repercussions important building true

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which is important obviously but it's not to move because

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when you're working in us in a research in education

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to introduce you are i will give a pronoun to use presidents is this on purpose if you can somehow them

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yes

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'kay

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but i miss you well ahead that they don't click companies

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you uh_huh with one one you'll likely not doesn't that's to hua

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i'm gonna have new another clone conjuring allow companies to turn

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uh_huh and it's real was that you um news new pupils abandonment when

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you look at it and he still couldn't couldn't oh uh_huh yeah she's them

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i know the fuse your business owners who look up much more

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indians she's more memorable student one honest we'll go locals local to the

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happenings of one president can you do know filament was

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the unions actually take calls the d. v. g. t.

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she didn't know what we'll do design should movies

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or than would be cool uh_huh we see what happens

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sensors sued him going is um can as bad no you know who presumably the ones on

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the to do the most unpleasant you wouldn't you know that actually going to know some people

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let me know who's usually use a you know a form as you want and then you don't win a couple cool huh

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the music was like cool and no one agrees on do not

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bridge to do not gonna sleep on you don't you don't want it

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i used to produce lucas infirmity on every bit instrument do you in

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some some hoops early polluted who knows it's not actually look good no

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mm some movement in more in tune with the u. s. would

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want young people must rule on what he does and you need them

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right now oh mm cousins sample someone engine is

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the window you'll see you know printed woman's and

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who's going to presume who who who was standard with a low would do

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that you join pop is a one of a new mouse though the consensus

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uh_huh bonus you you're a girl you'll still value you know talk about i

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don't know but the if you were you will gain just once it's one who

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resume which we will use your use of comparable you must remember or partners human community

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just the the sun could overlook problems w. wanna present tense moment compelled to do next

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messy room so your room i missed the first are better

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i have tried the room to find it very for your return

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income for use camille exam for at least two you're at least you're very busy ma'am

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um first you have her knocking picture parties

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or maybe zimbabwean bus them your build work include

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or an m. w. corporate confusing going back or do you look back on our computing bangalore

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our room computer probably preparing to to construction for your move into

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the pool and an extension to the prince of world news you remember

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you are currently working on social housing project for anything but my roots in amber

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be so user would be to propose you you know

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i am i am but you're also working on a number to

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be doing for dinner parties can who's who's into your your inbound

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you are also very busy in education you

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teach underground youth group design up howard university

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were you our professor of urban design in the chair will be problem or urban planning design

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and you write on architecture one and bring them one of your most most recent books or

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the school architect you you need you know since nineteen ninety which was a huge last year

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and finally you are important news um juries in committees

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you still remember morgan freeman going school or

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economic cities and in indian institute for human sentiment

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you remember or for the steering committee repressed you'd use that i can work for architecture

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and i will come to make the president for awhile or return everywhere and

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you're a member of the group and your your instant one theme work competition

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speaking of which okay through or hosting this german you for your from expert to graham

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in the reclining simply with the lecture bar you are going to be do france's clearer

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you're all invited uh you are just to register or you can go from

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our website work and okay them but you know that's huge use for next week

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but tonight we're your commitment per customer per shoe remote root sensibility and

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a stronger warmer on the major challenges or you know you take to conclude

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whose regarding the quality of construction and the rumour architects rooms losing sincerity

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n. b. snow to new in your you would come true indium but uh also into work up now

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so i'm very interested we're we're we're interested to find

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out for and and somehow you address or these christians

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with your engine parts are and we look forward to be coming to you

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roman road for expressing our thanks

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thank you thank you for those very very kind words ah i think you made me sound busier than i am

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and so i think it's i'm gonna be in trouble with my wife because she's always saying i'm very busy in

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more so now so while i thank you know i'm going to have to talk about this later

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ah but this is a real pleasure to be here uh it's an on no

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to start with to be even addressing an audience like this and i'm

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really grateful to the institute and to serve for having taken the job

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for me it's also uh i was sharing with some friends uh

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really emotional moment to do this lecture here it was on ah

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when i left in there for the first time i was eighteen years old or through once more that eighteen years old

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the first place i went outside india and i landed wasn't us

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on a so my first gems of the outside world was looks on

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and i went and worked uh office seven months or six months

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of from november to march or april insured they'll send the needs

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and i worked with an architect call eloise bush who'll surprise me back coming here and i've lost

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contact with him for thirty three years so it's a real pleasure and incredibly emotional to make that connection

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uh it was also the first time that i saw so much snow uh when i arrived here

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and it was really it was a very important experience because when as a young person you walk the country

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for the first time you don't know what the french and you live in a place where everyone speaks french

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the only person who spoke english was the schoolteacher insured else and the nice so i had to phone

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him every time i was desperate for translation uh and but it was an amazing experience because it taught me

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many things which i carried away it taught me the kind of rebuff that you

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bring in switzerland to construction without factor sizing things too much is the practicality and pragmatism

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you don't me about democracy and openness to the way ah can't on than communes or organise night

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spend many hundred slides taking photographs of the profile of buildings

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but i put up on construction sites and was very very fascinated by that and of course

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one carries at a young age those impressions in very profound ways i want to thank you all

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for that moment in my life which was very very important to the

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i'm going to transport you to look completely different part of the world

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uh india uh and my daughter just title looking in one by

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really is ah about sharing with you ah want affected place might

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have in the way you think is an architect and you approach building

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uh and i think that kind of look listen that comes from those experiences some of which are very intangible

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is what i'm going to try to capture to you have for you today through some observations

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but also through some projects because lance gets like the one in move by uh

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our um and working in a landscape like that is about negotiating a place where

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global slows which we're all experiencing around the world don't

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the reason remake landscapes as easily as what's happening in china

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what's happened over in the middle east but those global flows off forced to occupied fishes

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the landscape which starts creating the interesting hybrid condition

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and it starts creating very startling adjacency is uh in the built environment and and i think this it

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it's it's mark i think uh is is is is the is unique uh apart replace are like my

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but i think it's these it's it's offline intangible readings

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readings that one often manifest themselves in terms of material

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are i think are the ones that i have engaged it substantially

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uh and i think they had a big impact on the nature of the brackets and our approach out to building

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and so just for clarity in dividing the lecture into two parts the first part i'm going to share with you

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c. d.'s of issues that i think have helped us organise our own thoughts about building in india

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then the second half i'm gonna share with you six projects quite quickly in the first part i'm

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going to into specific projects so you get a sense of our what i'm i'm i'm referring to

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so the first one is research and advocacy or research as advocacy your research advocacy

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oh which has been very important for us and i think for the practised this

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happen quite accidentally receded research became an integral

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part of the practised in this happen because

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when i started working in one but i i responded to the fact that there was no clear position and articulation

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of questions in that city there wasn't very much on the history of the city so wanting a straight and this

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is not really a part of the black this these are all the books we've produced in the last twenty years

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on different aspects of the city of architecture but

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all that as a as an instrument to reflect

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how we might ourselves operate in a landscape like these in one lot of these was self initiated projects

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some of them are not even about scholarship there about advocacy because they became documents

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that became the basis for us to act on an

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issue on open conservation aunt policy matters in the city

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our exact role and so the fallout of this work was very interesting because

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it it it certainly opened up many directions because it not only made me see

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different ways that one can get into the built environment but also manifest and highlighted

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many issues with challenge to us and mean particular but i think that challenges us as a profession

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to also being changed and i think that is really the important aspect of

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this some of the demon spawn institutional structures which i'll show you in a second

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so it let us of course most and actually into documentation

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into looking at what the historical environment meant how it could be captured

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and i think with it with the with the vice of technology and the

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way it sort of taken over our profession completely i think just measuring touching

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feeling scaling buildings uh is very important and we ended up doing many many

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portfolios of measure drawings which led us into historic preservation by default or not

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trained as a preservation is but we began to do a lot of work with the starting presentation

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which was very very interesting because for me the obsession with history was not as important as

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running from it how you intervene in fabric in material in in material fabric how do you understand reading

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what happens in terms of life cycles of materials and so this is a palace in hyderabad which

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we've not converted into museum we used to it you know traditional techniques uh for example that one column

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in line plus still takes about three months to build because

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it's done in many ellison line has its own hardening time

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so it gives you a completely different sense of time to and rhythms

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uh and these different moments sometimes i think is what got appliances india

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because the old collide and exist together which is i think the fascinating thing

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and now it's become amusing on them exams family but it's a

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low cost museum has no air conditioning in unification it's very easily

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done but it's become oh so a public place in the city we also then got in more than a bigger project like this

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this the touch model where we actually wrote a management plan and

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this is the charge but actually that precinct is all of that

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uh which is all been parts that have been discovered indeed would uphold

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plan to manage this which was fascinating and that's a lecture in itself

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but it allowed us to in projects like this bring sensibilities about materials

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to intersect with questions of women design and planning and how do you

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perceive the management of a precinct like this and what is the river meat

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except trend one launch a great deal from this and like i said it's a whole lectures that we're going to it

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but we also then got into restoring areas which we did which

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i'll show you the second to make it a visitors centre some movement

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that that would be easier we did this about five years ago we even used

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a traditional techniques of using the channel to grind the line because

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the the the pace at which it's grounded gives you a completely different texture

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than putting line in a machine so again the sense of time but also discovering

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presence of these incredible grass that already exist in india without thirty sizing it

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but but trying to bring it to the four in projects like this up

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or trying to do these panels where the ability of craftsmen to operate out of an image

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i mean they rejected all the major drawings we didn't they said no we have a different technique

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to gauge what the scale is so one also sort of loans from that and this is how the centre was restored

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uh and now it's the visitor's centre we be resurrected traditional ways of doing it

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laying sizes and proportions of break segment sourcing all of that and and also led like that was the

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intersection of open design and planning we began to get involved

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with what resulted in the forest open conservation legislation and all of

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india this was the first time in nineteen ninety five that we

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hadn't legislation to protect the historic district of why and this was

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taking these ideas to another that's scale and because my training isn't open design

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i began to see that there's a complete low between planning open design

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historic preservation in architecture which i think is something that we as a

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profession and those of us in the academy have to address quite quickly

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because the side note nature of our disciplines is becoming very non for that

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uh and i think for me some of these experiences just died before the engagement would result

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opened up my mind to look at it in completely sort of different ways and so we began to get in ward then

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once the sort of area had been b. k. the historic precinct i saw nothing was happening on the ground so

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then as activists as advocacy plan as we began to getting gauge it on the ground and we began to take

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different areas of this historic district and come up with strategies well could involve people uh

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to restore them and how do you then as annette i i booked planner to that

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uh and so this was the first one and i want to the six of them but to show you this

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which we position doesn't our district and it wasn't an art district historically but it

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was interesting that because i wasn't to train preservation is and i was an open panels

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what all this compared to look at spacial possibilities for the future as opposed to preservation is we're

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trying to freeze a moment in time but colliding those two sensibilities you began to construct signal fig

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for all the content remote and so the question you can ask ourselves was what is the content me engine that can design a that

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can drive the process of preservation as opposed to finding the significance

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of the place in trying to freeze uh because it had no interest

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and in a post colonial situation does becomes critical because men

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that create does offer built environment in a post colonial situation

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and the custodians the people are cultural looks after it

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up two completely different cultures it throws up many complicated

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questions for preservation because an additive cannot be as direct as if you were preserving the same buildings in in

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so we can't do this process of constructing new significance for this place

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and historic area because it had a museum it had some art galleries we began calling it an art history

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and we invented a festival and invented all sorts of mechanisms that well

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used to fund the preservation project uh and to get a new sense of public space up to

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the city and so we invented a festival we got sponsors we did street furniture and sign it which

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in our government's because we have such other crisis isn't housing sanitation

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this falls very low down on that priority so we said as private citizens could be privilege some of those

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things in terms of our priorities and so this district then began to get perceived as a not district and

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the buildings that this great one building got restored completely from money that was raised

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by these instruments of the festival or or parking lot we discovered it became applause ah

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for concerts to raise money lately gardens began to get used people started using the fuss not and the street

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for galleries and so it became also a public space because whenever the polar ice

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societies like ours and i'll discuss this much more of the rich and the plot

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we have to find as architects ways to soften the threshold

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between these disparate groups and had a meeting the public space

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isn't important but those of you don't know india you will want to see

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these things happening in the private realm never in the public realm of so easily

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oh and so these little things which are taken for granted in the west perhaps we did

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but it also led us to projects because what we then that would be initiated a project to say that look this

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is the museum the one being used efficiently let's add things

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which will integrated with the artistic so these are projects then be

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saddam invented in partnership with these institutions because the one thinking about it

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like this and so but point here is that from a part of

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research and a part of documenting the start of city off it leading to open legislation

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uh and then going to smaller micro project allows the

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architect to spend this entire range which is it's incredibly

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exciting and possible only if you don't see the divisions

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between these disciplinary boundaries a moment you see the disciplines

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then you are bound and that threshold become very hot

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they don't become porous minutes landscape architecture planning so this is

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this is the the museum which is the centre of the on this trip that's an historic image and this was the warehouse with

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no windows it was one window here to bring things up remote

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grain and a skylight and it was fifty thousand square feet of space

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that was really used as a damp and so we said that if

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you added a veranda or a gallery here and you opened up these

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openings and you had because the fire regulations ways that you could move

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in and out of it you could use fifty thousand square feet for art

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which means for the ah districts suddenly you added a massive percentage

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of usable space and situated it more formally in the people's imagination

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and so what we did was we have laws that these drawings but we added this one little intervention and we took the

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skylight been made it atrium and suddenly fifty thousand square feet of

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space was added in of course this is a great one building

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was very complicated to then get the permissions to do something more contemporary which was in

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rhythm with all of this and what we came up with through a series of studies

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was to come up with a very contemporary intervention we use the all stolen that came out of the wall

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that we broke for the opening so that you had a memory off that but this was all done in steel

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uh as a contemporary interventions so that the rhythms with the same menu in the building

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the it the skylight was use the the sack circulation of the building was get separate from the

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old with the idea that is another generation disagreed with this they could remove it without hurting the fabric

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so the question of reverse ability in a sense which came from all

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earnings on preservation we began to apply with this sort of contemporary sensibility

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and then later we also suggested to them because an existing building which is quite ugly

00:23:06

we set by making a very low key intervention we can create a visitors centre with the shop

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the bag it security instead of having security everywhere you clear it all

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up and so if we did this uh intervention which was a small kiosk

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for baggage and for security all very invisible so it doesn't alter the

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lines otherwise they have little shapes your of a security it's sort of terrible

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and so this was a little intervention around an existing building but you

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see the it's just the veranda which is made in stainless steel it reflects

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the thing and this is where you take it back and you give your back that's already invisible so you don't see people

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it's abstracts contemporary uh of the time and sort of reflects the

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images around it so in some ways it kind of up disappears

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and that's when people go to security they come out with the kiosk is just a very light pavilion

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and then of course the result is also extended about trying to

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through these uh experiences understand what is the city a bargain at columbine

00:24:05

kinetic city uh and i believe very much that in the urban planning in open design discourse

00:24:11

one of the most non productive aspects has been the fact that we call something

00:24:16

be informal city this so much literature on the informal city and so when you

00:24:21

said taco binary when you say the formal city in the informants that you even

00:24:25

the rich and the port your affiliations as an architect reside in one of the other

00:24:30

so the people why not looking at the informal city sit in informal city

00:24:33

and doing projects in for their laws and slums and all of that kind

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and i think is binary is non productive because it becomes a

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confrontation so i use the product category like the third world idea which

00:24:45

mental politically many decades ago i call it the kinetic city city which has a

00:24:49

completely different response to open isn't too density to the notion of temper at the

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and i think one by in many cities in issue in many cities in europe in particular are really the kinetic set

00:25:00

and so we also been working a lot and we're gonna be putting this together than exhibitions on in the publication of

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this notion of the kinetic city city that is in flux it's reaching orgasm and how do you kind of read it

00:25:12

and and for the kinetic city architect is not also the only spectacle festivals like this

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on the spectacles and this is an amazing festival of damage which gets over over over a couple of days ago

00:25:24

where i'd million people participate in this on the last day of the ten days of worship

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two or three thousand of these large i'd lose i you must in the c. and these idols and made out of clay

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as the ideal dissolves in the water the memory of

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that event and spectacle dissolves and so the kinetic city

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the in courts its memory in interactive processes

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and the festivals become an incredibly powerful instrument

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the challenge even the idea of the static city as architect would be

00:25:54

on the only instrument by which you can or the cities and so

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architecture then place a completely different role and what has happened for

00:26:02

all of us we're all being bullied by what i call impatient capital

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impatient capital has been determining the form of architecture and cities around

00:26:11

the world in the last two decades with the process of global isaac

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impatient capital wants to be realised very quickly and then the architecture that comes out of it is

00:26:21

it's vendor driven it's of a particular kind it's

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about maximising line values at all doing it very quickly

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so the variations then become how much you can priest your building i suppose or how you can clad

00:26:34

and this architecture impatient capital is i think the biggest ask

00:26:38

for us globally and this happens in different measures in different ways

00:26:42

uh in different places but this is i think the project of

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resistance are that i think would resonate across communities of architects professionals

00:26:51

uh across the world and i think this is a important to blink you'll notice

00:26:56

and kinetic city space is made in different ways the kinetic city is about how

00:27:01

you mean the boundaries of the city more elastic how does an imagined

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uses happen temporarily so in this case for the festival you you see cost

00:27:11

but by ten o'clock at night it becomes pedestrian and this becomes the

00:27:14

big auditorium put people together to pray or to sing or to perform and

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it's actually becomes your conference room which is for ten days defined by

00:27:23

these lights of course and that whether you can do it and then many

00:27:26

many examples off this in the same festival entire structures that made in plaster

00:27:31

of paris and they disappear and the these covered just incredible into special spaces

00:27:36

all the most popular example is this one of cricket which is the open

00:27:39

spaces and abide to the my dance and cricket is a very important game

00:27:43

in india as some of you might know i mean in india we say

00:27:45

that it's a lot it's an indian game invented by the british oh and so

00:27:51

it's very very sacred and what happens in the evenings in mobile it is that the same space

00:27:57

by by by seven o'clock in the evening is used for weddings uh

00:28:01

and the only place that is not touch is the pitch because that's sacred

00:28:05

oh and so this is the club members of that it that that club that owns this having high tea

00:28:11

this is the reading this is the kitchen that's making some also was giving it to the members as well as giving it to the reading

00:28:16

so this incredible synergy and by the morning it disappears it touches

00:28:20

the ground very likely it's band to clark's string and by the

00:28:24

morning it disappears completely and this ability of the city to expand

00:28:29

its margin to accommodate use widgets come out of density comes out of

00:28:33

many many reasons some of which are not positive is i think a very particular of form of organism

00:28:39

which relies on temp reality it or that relies on the rhythm of time in very very interesting ways

00:28:46

and so that leads me to the second question which is softening threshold because when you

00:28:50

have a city or particular kind of open isn't like this it also comes out of

00:28:55

oh the fact that these adjustments have to be made to the kinetic settings

00:28:59

not about grand vision it's about trying to imagine grand adjustment because that's the way

00:29:04

the uh the city operates and soap within the city the ways of resolving

00:29:08

does but when this condition of polarity between the rich and the poor like separate

00:29:12

goes to the fringes of the city it becomes highly problematic and so what is happening now with the city if you

00:29:19

had this kind of density and this is very different from say the condition in latin america many other parts of the world

00:29:25

where i thought that allows us long so informal city

00:29:28

exist in spatially defined areas not on the scenes base

00:29:32

in in the case of the indian open isn't because of the democracy which is i think an operating democracy

00:29:38

this whole existence is mind blowing and it's very very adjacent to each other and which

00:29:43

is very particular i think about india because of this kind of synergy that exist in

00:29:48

and the the result to get these extremes in all the world's biggest house which all of you for people

00:29:53

live in that house and the world's smallest sort of more than ten in habitation you get these mind blowing

00:29:59

sort of extremes which begin to pose themselves but when you go to the strange is that what that thirty

00:30:04

plays itself out because it's not challenged by density the

00:30:08

challenge of density allows these urges and sees too well

00:30:11

but in the room or landscape around move by the everyone is building work or farm houses

00:30:16

the ritual really building farm houses and log back this is uh by one

00:30:20

that all young practitioners have to start with that you get a completely different condition

00:30:25

like you get an inversion where what really happens is that you get the palladium but ah patted

00:30:30

down but the essence of symmetry and the image of the building is on the exterior was is

00:30:37

but the indian paradigm where your your image and your symmetry alive from the courtyard within and there's the reversal of

00:30:43

this process and therefore completely different kind of organism and

00:30:46

you begin to get projects like this with walls and fences

00:30:50

uh and you know this was not even done by an architect dammit meant i'm at the contract that going to the on the bottom this is for things

00:30:56

pop stuff it in the end i said was the architect for the project

00:30:59

that you're building any certain and i was the architect and say you designed it

00:31:02

is there no that line just give me an image of the white house from washington and say make it as

00:31:06

close to that as you can and this is what i did so this is our aspiration off off off or phone

00:31:13

of the rich in a sense that that playing out that's fantasies in a suburban location because

00:31:19

they don't have that opportunity in the density off of white but even single family houses don't exist

00:31:24

any longer and so we were challenger doing several houses that like

00:31:28

all the un backed this design over the last twenty years we've

00:31:31

done a number of houses and i just show you a few not to explain the architecture project itself it might be evident but

00:31:37

but few things we were experimenting with so he'll for example this was so young will make up

00:31:42

and i said how do you soften the threshold that means

00:31:45

when you build as open people sophisticated architectural pieces in these locations

00:31:50

what might be the generosity or the gesture that house like this can meet

00:31:56

gauge what surrounded and we came up with the idea of create this is the living room of

00:32:00

the house which is just an open random so when the people go beyond the close the door

00:32:03

this becomes an offering together with the taps that if they didn't do well by the water that's collected on the roof

00:32:09

become an offering to the village the caretaker can use it in this family sit there with his friends that that

00:32:14

i've even seen awaiting happening that of the look of it so it becomes a way that we can make spatial modulations

00:32:21

which become the sort of offerings but they become experiments at least to become gestures

00:32:26

to what hal houses like this can be the material ice for that process uh and so that's

00:32:31

the plan of the house and that's the living room and the house closes the bedrooms face another side

00:32:37

almost a problem it has a lot on the front is left very natural as if it was an extension of the room

00:32:42

landscape that and this becomes of offering a veranda of public space

00:32:47

for the caretaker for his family for his friends of from philly

00:32:51

uh and so another project in and the bought a people building in an

00:32:55

orchard so instead of placing the house at the beginning of the orchard which is

00:32:59

the colonial patter that we decide to put the house in the centre of the

00:33:02

or to the lobby can houses so it's it's in the centre of the orchard

00:33:06

uh it it it's always is like when you go in there is

00:33:09

a pool which is just freshwater folklore emissions it should be charges the well

00:33:14

but it can also be used to watch the fruit in the orchard when the owners are not

00:33:18

there and a cool way every fortnight but they come on the weekend and when the house is closed

00:33:23

and this is open when it's close this bowl which is this poll gives access to the workers in the orchard

00:33:29

then use the pool and the courtyard for their own production so there's a

00:33:33

kind of dual coding which means that you can then potentially by spatial organisation

00:33:38

create different kinds of associations up with the space which becomes interesting as

00:33:43

an idea or in this last project that we've done the bottom bit

00:33:47

by creating a series of plants which attached to the kitchen

00:33:51

the all those can invite the villagers people who work in the phone

00:33:54

book on and said as if they're within the house and also to

00:33:58

except route without really nestle penetrating the privacy of a house which might

00:34:03

have you know want that previously and it's a very simple house even as i type

00:34:07

the way that it's it's then what i like very much uh what i'm very satisfied with is when our houses get referred to

00:34:14

but everything except the fact their house so this is called the school all the religious sell

00:34:19

that house that looks like a school so that's the house of or another house yeah i'll

00:34:23

show you another one which it looks like a factory and this d. with the realisation of

00:34:27

the image of the house is another way of beginning to challenge the type of allergies too

00:34:32

are doomed to blower to soften that polarisation that otherwise begins to exist and to respond

00:34:38

to what might be really great particular conditions are in that situation which is economic cultural social

00:34:45

oh and the inside of the house has the sophistication that open people

00:34:48

might want oh and the previously that it might but because it's it also

00:34:52

has principles up which we use in all these projects i'm not highlighting those

00:34:56

of climates and nothing is more than one room keeps everything is naturally ventilated

00:35:01

the water as a way to cool the air and therefore make it

00:35:04

would up uh in terms of temperature except also that many other climatic principles

00:35:09

oh that i'm not elaborating which also of course embedded in these projects of

00:35:13

this last project which is on the t. gotten oh in cool weather climbed

00:35:18

of course about the garden which is for a cause and they wanted to

00:35:20

remove the t. and have loans and waterfalls and rock reason all the usual stuff

00:35:26

he said look you should leave the t. uh and we came up with you said he's got his brief was i wanted to look like a log cabin

00:35:32

so we said we'll do that what we finally did as a three bedroom that carton board

00:35:37

oh that would sit under the standards the group so those are the three larry

00:35:40

kept calling them log cabins in uh plans are to leave found out that we

00:35:44

really fooling him but then he realised the value of what we were doing and

00:35:48

he accepted it but this is therefore by the villages as the t. exactly house

00:35:52

which is interesting because it's uh what's that sort of association and

00:35:55

that image uh and of course one has touched it as likely

00:35:59

as possible we did very knowing will cost a lot more cops

00:36:04

to see whether column should be how the t. would be useless

00:36:07

just up in terms of drainage because drainage is very important for t. that's what the rules

00:36:12

uh on on slopes of you also sort of use materials that were the local use a

00:36:17

lot of crafts people uh be created you know nice more divisions of lights these of that

00:36:22

not gavin that was referring to the mormons at the entrance which at different ages the political

00:36:28

oh and then these are the three bedrooms which i would the rest is a lot of public space because it's the views

00:36:33

that you really sort of enjoy uh and of course frames wonderful does those uh up from within within the house

00:36:41

and it's it's very comfortably uh in terms of scale when people are walking around the city and it's still

00:36:47

uh but i think it's yeah the response not cause these houses have a h.

00:36:51

people who are into meaning the and the challenge for us how do sauce on it

00:36:56

can argue whether the successful or not but i think even embedding an aspiration and ambition to do that

00:37:01

i think is a useful way to begin to articulate a discussion about succumb to the poet issue

00:37:06

which is building ecology and i think this is important in that just to remind ourselves that building common

00:37:14

scalable design which is not become kind of equal to that it

00:37:18

really is a combination of social ecology the economy as well as physically

00:37:22

and we can't departed from these understandings and that's why i go back to the title looking in one but i

00:37:28

mean for us we're we're running lessons which have to do with the social how can one make some shouldn't you

00:37:34

the me and trying to see how these might inspire us to build your narratives about how you can build and

00:37:39

so this image i like very much because of the sashes that you see here which is something propaganda uh invented

00:37:46

the book that's called the bottom of the purple timit but a lot see

00:37:49

chipper allow lots about how the bottom the printed in terms of markets is

00:37:53

the big one and so let's take shampoo a bottle of shampoo is the

00:37:57

whole the age of the problems working on a building site for a whole month

00:38:01

and they can't buy a bottle of temple because uh someone salary if it's about having the small

00:38:05

sashes that you have it's what you need in a few cents you can get for one box

00:38:10

so therefore they can decide to get the income and this is kind of incremental isn't that a implied here

00:38:16

i mean i'm big banner discussion that begins to get inspiration from

00:38:20

aspects like this in terms of the seat things as finished product

00:38:24

we don't we don't factor time in perhaps add a pretty i'm not saying

00:38:27

everyone doesn't people do but i met an additive that the profession is engaged with

00:38:32

within the did a bit of sustainability as many parts missing which up to incremental isn't

00:38:37

the uh the temp routing question ask or social culture

00:38:41

et cetera and so that's what has really happened is

00:38:45

that the whole debate about sustainability it too i think in my

00:38:49

critique to what we think important things that happened one is that

00:38:52

it has um are it has it has been hijacked by the high kicks so it has

00:39:00

it it at some moment you know through the sixties and

00:39:03

seventies what one had wonderful examples of loading look technology in africa

00:39:08

british architects working back to me that this was the cleansing of their mortality in the post colonial

00:39:13

period they were contributing to do social institutions that what they were great innovations then terms of include

00:39:20

at some moment in the eighties to hide next completely co opted the debate about sustainability and it

00:39:26

became a mechanical and chemical fixed to a problem solve it it i assume that let's make a problem

00:39:33

then it's fine better mechanical and chemical fixes to do it so that the whole debate either not need

00:39:38

it's a part insulation making the blossom anymore they're outputting three more years

00:39:42

of blinds having more efficient fan systems but the point is how do we

00:39:46

get to the root of the problem and of course in different climates it's much easier to do and so the other thing that went out of that

00:39:53

still abilities a social as material the implications of organisational questions like style except for

00:39:59

that and the third thing that went out to the b. b. it was just the

00:40:02

notion of building remove the debate from the question of whether into weather proofing so

00:40:07

everything that is tightening our discussions about dividing driving the industry is really about whether proof

00:40:14

the obsessed it's even send me obsessed with other the sealant is

00:40:17

transparent and how many years of glass but we're not looking at

00:40:21

bettering as we did which means life cycle of materials can be

00:40:25

design a building that's somewhat you lose might have to be replaced

00:40:28

danielle summon thirty has which is what lessons of historic preservation tell us and so

00:40:33

the question is how do you know that back uh in a way that it can actually in rich and inform us and get away for

00:40:39

and of course climate becomes very important in this question in there for example

00:40:44

we don't we don't have such to in most parts of india let's and why they don't have that much

00:40:48

planted radiation the monsoon is the only moment where we feel a sense of thread and

00:40:53

we feel oh a landscape that changes the sky changes the humidity changes otherwise it's quite flat

00:41:00

and so this is become also of course very important for us because the the the the threatening but

00:41:05

this one but the the the landscape exploding the happiness that comes at the joy the optimism the hope

00:41:12

it was so wonderful but also how does one design for that so do

00:41:15

we only for graphite buildings when it's not raining but also all the buildings really

00:41:19

designed for the rain all the elements that we can work with which is i

00:41:23

think these up things and traditions say someone like jeffrey bow and she long car

00:41:27

uh uh uh and uh began to talk about bitches become

00:41:31

very inspirational for us of those become moments and this idea that

00:41:34

the building can be divided and portals in design terms by life cycles of

00:41:39

and so that i think it becomes so that was always i believe we can

00:41:43

enrich the debate of sustainability and that takes me to the question of crafting condition becomes

00:41:49

also because of the high techs that have preempted this whole debate croft

00:41:54

also i mean the best craft is disappeared i mean it it it it exists but it's expensive because it's

00:42:01

mine but there's not enough supply in india it's much more so

00:42:04

continues tradition and so that continued is mind boggling and assured you

00:42:08

projects it exists it's all around you the question is i'll be abusing it this is the

00:42:13

question i'm asking us as architects in india because we seem to be perpetuating the materials like wood

00:42:19

or even still want it would be a bit yeah perpetuating of a mid hello spectrum of materials which are

00:42:26

easy to extend that often but it doesn't begin to address

00:42:30

the question of industry lactation other materials the bigger question is how

00:42:34

the document oscar agricultural construction is the biggest employer

00:42:39

and it's defined as labour not as craft how

00:42:42

can one changed and a bit at a much larger level but it's road building or industrial products

00:42:47

and not celebrating fetish eyes crossed within a very narrow spectrum of materials and so for me i think

00:42:53

uh why we boast of traditions in cost more across men can be doing i don't think we're discussing adequately

00:42:59

how we can extend it uh in the spectrum with you does within the culture of building in contemporary india

00:43:06

and so i asked to use a very small studio oh these are just images which are

00:43:11

this was ninety if no ninety eight also and now you can see that

00:43:16

drawing boards of disappeared but it's very small the i interested in model making be make a lot of things

00:43:22

oh we also in b. also engaged cross people all the different tradition off people who we can

00:43:27

begin to get them to look at them pretty things uh in in associated in collaborative ways up

00:43:33

to our conservation projects of which i sort of showed you a little bit of the part model this in a while

00:43:39

it meant going back to the original quarries to match

00:43:41

the model very rudimentary instruments but i think that engagement

00:43:46

his is an important one to support and of course the question is how

00:43:50

do you extend it a an extended down to the making of concrete or

00:43:55

extending the traditional crafts of stone and that of course it's still the last second last question which is

00:44:00

the question of the local and global you know we used to think about thinking globally and acting locally

00:44:06

and the problem is that in the last few decades because of localisation it's been exactly the opposite because

00:44:12

people who've been thinking locally it had the part to actually uh and so of what was that

00:44:19

the developed in houston is the code in pleasing and all of that was exported

00:44:22

all over the middle east and i think the whole process of localisation as being

00:44:26

emblematic off that and i think that's an important question process

00:44:30

last again because i think the resonance with the idea of

00:44:33

thinking globally but acting locally is an important one but how

00:44:36

it gets textured in the contemporary world is is is very important

00:44:40

oh and i think in the case of in there again the coexistence of these things that's my carpenter's tool box but

00:44:46

it's wonderful how the pantheon of gots coexist with the plates

00:44:49

and the castro heavy duty or in in a very easy relationship

00:44:53

uh and so it slips into lies an in and out of lies very easily and i

00:44:57

think that's what recognising rather than fetish rising and again setting up a binary which becomes non productive

00:45:03

and you know there's been an incredible resurrection of last two in india bitches financially

00:45:08

uh everyone is using it and it's mind boggling and of course the

00:45:12

haven't thought would be of last two nightmare because everything is a different angle

00:45:16

but these are abstract notions they don't it on an

00:45:18

architectural form but they determined location in terms of sacred spaces

00:45:23

and that would regions assign to fit in its does the kitchens you get the

00:45:27

mornings on southwest is where the master bedroom will be so you get the priest

00:45:31

but of course because it got co opted again by the prominence in by the place that got

00:45:36

corrupted in a way out that it became very complex but does exist

00:45:40

and be at least recognise it and and say that all the projects start

00:45:43

about ninety percent the projects actually you you've actually taken this as part of

00:45:47

the climb trees uh because they do believe in it it's a question of fate

00:45:51

oh and so then how do you reconcile this this abstraction of tradition and the resurfacing of the engine within

00:45:57

contemporary agent for make it's very very exciting uh and something that one

00:46:03

sort of looks at it you know this is the inauguration of a building with good weather like cows into the building

00:46:08

to basically crap all over the place but it's sort of way of senate rising public but

00:46:13

you know it's a beliefs and one had to accept it and he's a believes that it is

00:46:17

this is a hostile consultant who he's an engineer with a masters degree but he has also to think it's up the

00:46:23

so that we could see has all these meetings with holy people adjust to endorse the fact that his brushes with holy men

00:46:29

has made and someone with an inside it's a completely different operating on all the rituals that go with the

00:46:34

buildings of this building that i'm going to show you the location of all the major spaces with the domain

00:46:39

by consultation with people who practised in this thing in one

00:46:44

sees that as being legitimate as long as it doesn't impinge

00:46:47

on maybe the integrity of the form and the last thing that i'm

00:46:50

gonna talk about is models of practised before i show you the project

00:46:55

this is a book i just did on architecture in in the in the last twenty years which is the twenty is that going set it up practised

00:47:01

so the the insights from the feel but essentially i broke the book

00:47:05

down by what i called back to says models of engagement because i found

00:47:09

that these modes of englishman who exist in the indian context and what is

00:47:13

different about these modes of thought engagement are not only the values which means

00:47:17

what is what is very interesting for me in the research was the global practised as

00:47:21

which is the expression of a patient capital which is all the plastic the cotton casing

00:47:26

and then the regional practised as which is the extension also modernism

00:47:29

and i think most architects that you would even know about from india

00:47:33

fall in that category of regional manifestations that you have alternate back

00:47:37

this is like people like laurie echo will working for the people

00:47:40

aren't doing things that you know smaller towns and you have counter martin is images of the surface in the what was interesting was

00:47:46

that were images of modernity with the strongest the social transformation agenda was absent

00:47:52

and even in the regional us back to switch we celebrate as the aesthetics that we

00:47:56

all feel comfortable rate and the practised as we feel comfortable actually yes no social trance

00:48:01

that by the time you come to the fact that they're actually tempos being built which are ancient

00:48:06

traditional modes that have massive social transformation agendas and

00:48:10

this information from our understanding of modernism and it's sort

00:48:15

of a result the at is is very important to understand in india because the social transformation is happening

00:48:21

where they on mortality is resurfacing in very strong base and this is the big challenge uh i think

00:48:27

for architects and so i just sort of to these maps and to locate where out what is too

00:48:32

so if you looked at in the are those of you who've followed it to the sixties and seventies

00:48:37

this was the architectural spine of of an s. which started in john they've got new delhi at the bar

00:48:43

borrowed alum by charles korean others working go up

00:48:47

on the cherry had some modernism and this is where

00:48:50

it all sort of lay and everything that we looked at what have you been on this architectural spine right

00:48:56

in the last twenty hours what i studied my bach the economic and this is also the

00:49:00

economic activity except that would have happened in the last twenty years this is where the access

00:49:06

this is where the production of architectures happening it's all be happening and got caught the

00:49:11

hype about jen at that you know the i. t. all the things that you hear about

00:49:15

now what's interesting in this new what's in the these new site so joggers is a production

00:49:20

the map package of modernism doesn't exist because the schools what i really think that project and that

00:49:26

that the the landscape and embrace that project and essentially what even happened

00:49:30

here but i think what you have to realise in india is that

00:49:34

aesthetic modernity right in india before so should we don't yet you have a complete mismatch

00:49:38

so when we despaired about the state of our modern buildings except

00:49:42

it's partially got to do with a static modernity arriving that before source

00:49:46

media like the west weights ocean would on it is that it we're gonna to actually was synergistic really intertwined and this

00:49:53

dislocation is a very critical thing to understand what technical lance

00:49:57

to be able to discern up what's happening in india and so

00:50:01

in addition to this what's interesting is these are all the new cities that are going to explode in india

00:50:08

and that three hundred and ninety two cities which and twenty other towns which in twenty years

00:50:13

be a million people four hundred million people are going to live in places that

00:50:18

i honestly can't even in ten of them i have to look at a book too

00:50:22

it's mind boggling how this whole landscape is leadership now for us the important thing is

00:50:27

modernism a particular set of protocols in ways you

00:50:31

give instructions you pull the images that you engage with

00:50:35

those protocols break down completely here by the time you come

00:50:39

to this landscape the protocol to break down completely and that's why

00:50:43

the proposition in the book is that we have to look at different moods of engagement with building

00:50:47

art with with costs people with clients with the protocols that we set up the feedback loops you create

00:50:53

and i think that's why looking at models of packed this is an important question

00:50:57

not only for us as practitioners to open up our minds but also for academics

00:51:02

to address in pedagogical questions and what you see what inspires you but the protocols

00:51:07

that are embedded in those processes become important and so i'll work has been located

00:51:12

largely well in mobile i put in the parts that i'm referring to we've done work there and i'll show you

00:51:17

but we've got very embed it in working in this place is it the protocols break

00:51:22

and i think in retrospect one wasn't doing this very conscious to even be working in retrospect

00:51:28

one things that because we were engaged preservation viewing get with many gives

00:51:32

advocacy and our clients will cost means and n. g. o.s and private clients

00:51:38

began to i think him by the fact that you needed different kinds of protocols to operate in

00:51:43

different kinds of projects and that then equips you as a as an activist or as a professional

00:51:49

in terms of how you can get to the problem and how you trellis that landscape of the resistance

00:51:55

is that we all deal with when we're working so i'm gonna show it a six projects which will be

00:52:00

oh well i think i will finish and fifteen twenty minutes to make my art but

00:52:04

these are projects that are broken into two categories of four start what i call global

00:52:09

programs because what happens with global programs is

00:52:13

you imagine all the client assumes global image

00:52:16

and the second set of projects is what i'm calling local programs which are programs that

00:52:20

are very much can only happen in india so to speak and what happens with local programs

00:52:26

is the clients often desperation is you can't get

00:52:30

shot the local so you make it like hawks in

00:52:32

really show you do that and i think what we have to do is actually worse that that is what

00:52:37

group will think globally act act locally i think to my my means

00:52:41

that that you can take global programs that come with the force of capital

00:52:45

that are coming with a kind of transformational agenda on a landscape that

00:52:49

perhaps got except that that it would be an intervention that would be disruptive

00:52:53

and you kind of lead you to me you localise it in ways that it operates but also makes it stronger isn't

00:53:00

and in the local programs is how you in what those programs to resonate small group will meaning

00:53:06

in terms of the we use that to size it and i think for me this becomes a comes on and i'm not gonna revisit

00:53:11

this question just please hold at the back of your mind as you see these projects so this was one is a project for india's

00:53:18

because machine tool company collapse me machine works they are in collaboration

00:53:22

with companies invented two of the the you know the cutting it stuff

00:53:27

and in ninety this the building we finished in ninety seven and we were

00:53:31

approached in ninety four my office is only four years old at that point

00:53:34

uh and uh they don't let us publish it because it really very low

00:53:38

key people in quite but or in south india they were just sort of

00:53:41

beginning to give it physical expression and so we went back to doing houses

00:53:45

because no one knew about this but this was the brief that they give us

00:53:48

and they even told us that in ninety four when our economy i just open that you could

00:53:52

not get materials from outside india when they give us the brief and they wanted to do this up

00:53:57

gloss stop with the garden in front of the phone didn't talking behind the said one but

00:54:01

it it was about the license to bring the glass from australia that won't be a problem

00:54:06

so we both got shocked and it took us a long time but we managed to convince them to do that

00:54:11

and to create a building that's it's much more in sync with the

00:54:15

landscape of industry of any hybrid landscape that's around it and that it

00:54:19

that that it the the the the the image of the building isn't internally sort of situated one

00:54:25

and what we came up with that that's an ideal was a series of courts which would model like what it like very beautifully the way the

00:54:32

do it in on the scale of the courts would change the quality of like whatever also allows for ventilation

00:54:38

oh and for the building to operate very naturally and so that's really conceptually what it was and record a water body

00:54:44

they're going to want to frost all the building because this is the rain shadow in south india

00:54:48

so it's a very dry climate and the building is just seven degrees cooler just because of the water

00:54:54

i'm a sequence of spaces that user walk through a in section uh you enter and

00:54:59

it's moderated or hell by this rules but kind of right up cane vocabulary within it with

00:55:06

god knows that up places people can eat and it gets more intimate as you sort of uh go into the building from

00:55:13

the street to it's transparent it's not a big reflecting box that

00:55:17

no one knows what's inside and so this is related to that

00:55:20

question of threshold that even the special access for people who are not part of our corporation like that is the way of

00:55:27

soft mean that threshold was just creating a very hard edge by

00:55:30

having reflective gotten gas which have gone in that case from australia

00:55:35

and within the building we have this waterfall that's used to call

00:55:38

the building oh and a series of courtyards at different levels the green

00:55:42

sort of you know kind of telephoto lens kind of up we it

00:55:46

collapses the green it makes it very tight and makes it very present

00:55:49

uh and on the on different levels we had artist do installations which became places people could meet

00:55:55

of the use the local k. tiles of and as you go into the building it gets

00:56:00

more intimate with a family that owns the building sets it almost feels like a tradition house

00:56:04

traditional house within this sort of a vulcan ten people category and

00:56:08

they had seven or eight indian artists with dodgy city what meeting then

00:56:12

oh to building elements of the said it all on art on the wall but what we'd like is

00:56:17

installations that actually also become a elements in the building someone

00:56:21

g. powers of it as all get out this bit is reeling

00:56:24

for the bridge or be worked with these sort of um it's does the stone companies and we

00:56:30

got large granted it was online the company on which is use right through but the

00:56:34

edges of the grand i can be tested we use those strips to create the waterfall

00:56:38

so we kind of better recycle that material for effect we did installations is a hundred

00:56:43

and four election is which is the goddess of wealth which is the symbol of the company

00:56:47

we didn't installation of this rather than just sort of doing a big sort of bored of which was done in

00:56:52

stainless steel like of slack a fluttering in the wind

00:56:55

uh and these what images of what magic ball usually does

00:56:59

so the first time he also translated is because in this case into kabul and that's what you bought

00:57:04

invite you've city and then we developed a vocabulary of about thirty

00:57:09

oh charlie switches screens which is of a traditional element and what

00:57:12

we did was we use an artist call you'll get trouble and we

00:57:17

this is the inspiration which is the old with charlie and

00:57:21

we created a whole look at reusing scrap metal from the

00:57:25

machine tool company so this is all the metal that comes out of the press and then making the components the machine tools

00:57:30

and that was used an integrated uh as these sort of johnny's and that created a kind of vocabulary and image

00:57:36

which works quite differently at different times of the day for different moods upriver sees in

00:57:40

front of toilets except or and this stack so they can be screwed open to be clean

00:57:45

and things like that they also become large bottles begin to

00:57:48

resonate tribal out that they actually just scrap metal from the

00:57:52

machine tool company which for me was an interesting thing this is definitely not one of our projects but this is what

00:57:59

is built for information technology this is the world trade centre uh a park in july poor

00:58:06

enjoy i put in some of the temperature is about forty

00:58:08

five degrees centigrade you can sometimes fried egg on the road

00:58:12

but this is one brand new building which is yet being finished as you can see

00:58:16

and information technology and this is what i mean when you have global programs they're associated

00:58:21

global images that go with it which i highly problematic so we were asked to design

00:58:25

oh oh oh oh information technology software pop for h. p. u. what back out

00:58:31

the american company and this is electronic city in in in bangalore and you can see

00:58:36

this is electronic city i mean this is a striking in the us economy that is the campus of influences

00:58:43

you can see the disparate moments here you can see the lawns up please

00:58:47

the american clients that is it it's all quite nonsensical so this is that campus

00:58:52

twenty it cause they had only don't get it cause using and

00:58:54

other indian architect who i won't name because i'm in criticising add up

00:58:59

what they had done was that really what you see in yellow is software which needs air conditioning all of this is

00:59:06

in all pantry is a photocopying toilets up places to sit except for

00:59:11

but these are class boxes that attract exactly like what

00:59:14

i showed you that's the image that actually new image because

00:59:18

you know it was real good uh uh so so so we studied

00:59:22

this still relies that you could actually this aggregated and what we did was

00:59:26

based on the street is so we may just retail and we put

00:59:29

all the programs we believe that didn't need eh conditioning along that introduce water

00:59:34

we put the software process modules that plot along with green courtyards between

00:59:38

them and put the generate doesn't mechanic 'cause the back a very simple diagram

00:59:42

for courts of the two and now what was interesting and that's the plan so what you see is this is

00:59:48

all air conditioned yeah this is not this is the condition that you use and that's those are study models but

00:59:55

talking about he needs and all of that up to one it's wesley what time

00:59:59

of the air conditioning is what we were told is business as usual a consultant

01:00:03

doesn't it yeah together you need certification they said you have to go up

01:00:06

to two ninety eight would be expensive and actually ridiculous because people do code precinct

01:00:11

then this clear on the computer so they buy expensive recognise blinds this happens all over the well and it's

01:00:17

sort of a contradictory thing but you made a problem is solving it with a mechanic look at the text

01:00:22

but what we did was we said forget to nineteen we don't want to lead certificate the client degree

01:00:27

and we took it up to seven hundred and five square c.

01:00:30

put down which was like three times what he even wanted for

01:00:33

a platinum but we can do this by what we did was me basically convinced that line to be need to a condition seventy percent

01:00:40

so it wasn't locked tech solution but it changed that back the diagram of that discussion company

01:00:45

and i think and back no is a very good climate it's eh condition climate almost

01:00:50

but what are also that was a good was the location to create architectural

01:00:53

spaces which the software things don't have because you're trapped in a glass box

01:00:58

and so that was the challenger these are some conference rooms the

01:01:02

spec is design copper which will become the colour of what you see

01:01:05

oh you can walk along the building a and within the conference rooms the greens of frame

01:01:11

these other streak areas which are double height spaces so people can call out

01:01:14

to the friends and they can talk of places that it's it it made

01:01:18

and they come out of what adolescent isolated in one block yukon

01:01:21

meet each other uh except f. unless you make around the whole point

01:01:25

uh and then you know so it becomes a completely different atmosphere in terms of the materials you can use the colour

01:01:31

oh you know the spaces you can model it them these are the full courts that

01:01:35

arctic conditions company can actually ventilated they have different scales of spaces where you can sit

01:01:41

uh and communicate with people bush between the software blocks we put very minimal placing so from the high level

01:01:47

when you're sitting on a desk you see the band oh but it doesn't affect your computer screens you don't need

01:01:51

you have very large lines you can headlines a good communicator pogo dot and greens it also become what gets people can sit it

01:01:58

it's actually a low tech solution but it's not the image that's software wants but it's very efficient

01:02:04

and so then extending that idea we were aspen infrastructure company

01:02:08

oh to do a building for them in hyper about which is become the new tech area it's called cyber bought them

01:02:14

again it's all these gas boxes oh out which are all class this is the

01:02:18

only bob box that's not glass it's clad in brick and it's designed by mario bottle

01:02:23

lucille swiss architect so it's not lost seventy usability class that it's a very sensible

01:02:27

building but these are all glass boxes and this was the site you would get it

01:02:31

and so it was interesting we began to study hyped about it and

01:02:36

these are the two things that we do that this is a typical glass building the

01:02:40

and what's interesting is a lots of rights and hype about because they want to divide the state now

01:02:45

and when you live in a glass house you don't so stones about those of course everyone throw stones at

01:02:49

so now when you order the code and gazing from the went doesn't the contractors when they get to

01:02:54

the shop drawings they also get your shop drawings to attach an extra talks to the next these fish nets

01:03:00

they come with the class so that every building that has fish net so

01:03:04

that you can have the glass but no one can break the glass better things

01:03:07

so it's another aesthetic that's sort of developing which is

01:03:10

almost totally ridiculous but it's perpetuated because the power of association

01:03:16

through the way global capital perpetuates itself also comes from somewhere else it's pretty determines

01:03:21

what has to be built and some drawings colour window comes in the builder got

01:03:26

then we look at this little heart just outside unless it this is oh what a cool

01:03:30

it's a natural water cooler in july poor actually which is similar climate that that document what's up

01:03:36

and they put it up in the summertime it's not actually cool when you see little cattle there and that's where you get anybody can go it's

01:03:42

free you go there and you put your hand out and somebody posted what

01:03:45

the cold water you drink it and you can go on your way so

01:03:51

it's just sort of look at that for a second so we began to document didn't study because i was just so

01:03:56

fascinated by it and that's a minute just come to work you so i'm going to work and now you put the kettle

01:04:02

so he is open for business it's the water cooler and people come and they drink

01:04:07

uh huh and uh it's it's cool water it's clean water

01:04:11

people stop on motorbikes and then once in a while the man comes out

01:04:16

of the small if top of water any sprays water on the

01:04:19

reeds which is by evaporation cooling the hunt and then within the heart

01:04:25

when he goes back there you close it again size air moves draw it very very low cost

01:04:30

oh you begin to get this and then the parks in which the water's kept

01:04:33

also made it ought which means they porous which means to read operation the cool

01:04:37

the or what colour you which everyone uses uh and so you get very cool water

01:04:42

in the process people enjoy it and we talk could be sort of be inspired but

01:04:48

for this infrastructure company hype about we took this as a

01:04:50

starting point and researched it a little bit measured some temperature

01:04:54

oh and talk let's experiment again even if it's a gesture it might be

01:04:59

what so what we came up with was an idea of the green wall

01:05:03

again starting green was that i see all over your upper just talk on buildings which is not the

01:05:08

intention here this is the veil this is the double wall it's a double skin what happens to be green

01:05:13

and what it has is it has a nice thing system in the green so every now and then you can missed it

01:05:19

oh and the air was through it again through that creative cooling and the inside of

01:05:23

the building is suspect reading but what you can then do is three different kinds of gotten

01:05:28

and so we just start that's some of these principles of the screen of the really of

01:05:33

the evaporated calling they come from muslim traditions which exists in high regard is largely a muslim landscape

01:05:39

and so looking at these traditions more deeply one relies because we've done the palace restoration

01:05:44

exams family we began to understand how these devices will being

01:05:47

used and so we began to get confident about extending it

01:05:51

and so every first start then has a different pattern because it can be a changing facade you come back

01:05:56

and been tough you don't recognise the building hopefully this is just being finished yet that's why so hopefully oh

01:06:03

and then basically they studied many species we set up an l. c. d.

01:06:07

we saw fossil plants grow and then we came up with the first start

01:06:10

it's essentially a spec building and reinforced concrete which is the vernacular of india

01:06:14

today and a little village they can do it's it's interesting how that's been appropriated

01:06:19

and then we said let's put our energy in designing a trellis

01:06:22

so that even if the plants don't exist the trellis has some beauty

01:06:26

and how do you design the stratus so this is what we came up with the prices for so you have a lovely area for parties

01:06:32

and at the podium individual the parking goes and water that becomes places for people to

01:06:36

sit in the parking disappears under the podium and so that's the photoshop image of course

01:06:41

uh and it's really what would happen if you made nicer scaffolding and then didn't take the scaffolding

01:06:46

often these are the important conference rooms with sort of jumped out in the parking is all below

01:06:51

uh and and so we concentrated on making this palace

01:06:55

which i said again if he can take new material like out minimum handcrafted because i mean it

01:07:00

was usually excluded by the town and no one bothers but we said let's get people involved and

01:07:05

the man would make the grills for us in the l. m. w. project we involve him

01:07:10

and he set up the small factory outside hype about just to do

01:07:14

this and he employed twenty people so it was very very handy it

01:07:18

uh it was it was sort of yes there's a textual it was hand ground because

01:07:23

profiled in a way that we could have them listing system a sort of fit into it

01:07:27

and that's what the palace look like it was really this beautiful scaffolding that

01:07:30

stays on and this is before of course the plan sort of grew on it

01:07:34

and the section wasn't just the simple one it also had a modulation to define spaces with courtyard

01:07:40

so you got beautiful light also got a escape their pocket so there's a kind of logic even in the way

01:07:46

the section is developed and of course then it gives you a spectrum of spaces to define different departments the entrance area

01:07:52

oh the upper areas of uh with the skylights materials that defined the circulation goals

01:07:59

uh and then that's what happens with the green beginning to grow

01:08:02

this is the podium but much while grass which is local and native

01:08:05

bottles and stainless steel defined ones that you can entail visa

01:08:09

hydroponic trays of that up that need just drip irrigation so the

01:08:13

mistake is only to cool it when you want to the plants grew with this thing so you don't you know expend too much

01:08:19

oh what about it in in the process and then these become

01:08:22

the important rooms where you don't interrupt the view as you would do

01:08:26

in a place like that now what is interesting is that you're beginning to

01:08:30

see the patterns develop object to do the red flaws of beginning to come

01:08:34

this is the hydroponic straight which is a catwalk which means that for five slows the got notes

01:08:40

can go anywhere they want in the building no and they can't into the building

01:08:43

and for me again when go back just for a minute to the social special

01:08:47

in our corporate office like this in a place like

01:08:49

hyper bother just border lies not only religiously but also economically

01:08:54

you would have twenty gardeners would've been working in the garden have no access to the building also the

01:08:59

glass facade that we see the reflection didn't even know what's within it and that becomes a false exclusion

01:09:06

now of course architects cancel the social problems but i think we can create the mormons the spaces

01:09:11

the softening of trash was where even accidentally these moments of contact begin

01:09:17

to a cop and for me this really becomes the moment where that happens

01:09:21

and so with the conference rooms as executives are talking about infrastructure projects in

01:09:26

some other part of india or the was the actually see that god knows what

01:09:30

but the gardeners also have equal penetration of what is within and so the what if that's i

01:09:35

contact that this becomes also i believe a mode of top softening the threshold of creating this penetration

01:09:42

but also it is within buildings with sometimes other kinds of materials exclude

01:09:47

and that's what the building so it looks like when you missed it that's what happens and you can set them this thing at any

01:09:52

level they had starting that we haven't perfected it up but this is

01:09:55

just a short trip which gives you a sense of how this up

01:09:59

travis was made at this little factory which was all sort of hand made these twenty people

01:10:04

how old was created a which was profile uh so to integrate the listing system

01:10:10

oh and uh you know the other medium was of course aborted

01:10:13

melted and up and cost into place well and then molded fixed

01:10:18

finished up by hand uh uh to be sort of use in the

01:10:22

building so again it becomes hand made it becomes an involvement of people more

01:10:25

in the locality maybe it'll be copied in use for other things of

01:10:29

which would be a i think for me at least up the very very

01:10:33

oh and it's on the fringes of the city where it's possible to have lander you ought to do this kind of thing but i

01:10:39

think it also takes the involvement and that's when the listing systems

01:10:42

on other plans haven't yet grown up in the process of tracking it

01:10:47

uh we also have a young scientists not starting temperature difference at different times

01:10:50

to see whether it's it's just a static kind of thing or does it actually

01:10:54

uh make a difference it definitely is great i was feeling yeah they're hot somewhat data fields rating

01:11:00

how long do is is is very very beautiful in the whole beating sort of gets him goes in this but it's three or

01:11:06

four feet away from the mean facade so it doesn't sort of effect that in all the different plans are beginning to grow now

01:11:11

uh and it gives you the sense of moisture the sense of blackness which in a dry climate

01:11:16

as you all know is very very welcome but it also lets the texture of the element in state

01:11:22

uh i'm gonna run to this very quickly because we're running out of time to

01:11:25

get to los project but we also have tried to look at these local project

01:11:29

so the topic is give social sciences of any remote location that

01:11:32

we use passive methods we were inspired by the vernacular house expanded that

01:11:37

i got this is about a fifteen year old project using been scripts and

01:11:41

coding but trying to develop an aesthetic from it but also experimenting with ferro cement

01:11:45

to train local people to create a prefabricated method of construction but

01:11:50

which also gave us a good insulation because when you fill this with

01:11:54

a lot a lot grow wheat material you got very good

01:11:57

insulation but you going about their for the regular offer them

01:12:01

available course construction and batting small pavilions you added the number of spaces of

01:12:06

a low cost housing for them but you created another kind of a steady

01:12:10

about passive cooling and similarly in go up in our think tank which was meant

01:12:14

for a ten people to meet their uh and meditate and contemplated discuss what we

01:12:20

did was allowed to prove under which they were a series of meeting rooms but

01:12:23

the roof of the meeting rooms became places for more informal discussion for you all got

01:12:28

awful group meetings and developed a kind of a static of passive cooling from that

01:12:32

using the local actor right but the material which of it doesn't very beautiful ways

01:12:37

talk to create fantastic textures these last two projects all these are about very local

01:12:43

programs and it's amazing the slums of will bite even have a boy smiling like

01:12:47

us that magic boss which is in in geo that works with um a straight children and some children and

01:12:53

they create oh oh uh campus outside will buy with

01:12:57

these kids that they can on the weekends or recreation for

01:13:00

health nutrition related stuff and magic bus because it's it's you know this vet boston

01:13:06

magic bus because they get to a different band and so we decided to

01:13:09

do it as a series of put billions of we just sat on the landscape

01:13:13

but what was really interesting for us about this project is because we were also in involved with n. g. o.s

01:13:19

i said how do we make this research project how do we use this opportunity

01:13:23

evolves something which can go back to the slums and the street

01:13:27

kids who come here for education as an architect in terms of

01:13:30

the built environment in terms of textual material ways of putting things

01:13:33

together so that the the the constraint that we set ourselves was

01:13:37

we would use only material that you see in slums and began to develop a

01:13:41

panic of materials which often medusa recycle but idea was that it the same kids

01:13:47

so all these materials used in sophisticated ways oh that when they began

01:13:52

preparing their own houses and of course this is talking founded on the

01:13:55

assumptions that's lines are not gonna go to for two decades and like the way my government believes that didn't go over in the next few years

01:14:01

oh i think these kids could dramatically all tell the way their own houses on the eight

01:14:07

and situated and then for the only looked at the mess type biology so for example the dining

01:14:12

room is an open veranda with the kitchen but it also could be a public toilet with an education

01:14:17

and we used to as we would designing this before the shopping them into existing slums to see one of those

01:14:22

a static equipment and so these are the qualities in that project very simple materials cement

01:14:27

oh oh modules the dining which is essentially an open brand of the cement

01:14:31

voice yeah the put in all materials from that ballot that i described to you

01:14:36

well that that's in the directory the module the windows i mean there's a simple principles

01:14:41

any light construction this is all gathered i signed it's not stay in this to you

01:14:46

this is a big rules but we didn't need the cat isn't the program with the

01:14:49

adding of dallas you added another space but just listing the rooms are slightly higher up

01:14:54

this area and you gotta get your interesting moderation as a result

01:14:58

and also thinking about how you in bed these back and then how can they

01:15:02

make a difference so loadings on the project we began to work with n. g. o.s

01:15:06

and i think it's it's amazing to see a child like that would be all white socks coming

01:15:10

out of that to go to school and if you look at the average us point it's in

01:15:14

shocking i mean we were talking earlier about doing workshops and out of the and things but this is

01:15:18

the big problem where the un human development report says it's one toilet for thousand four hundred forty people

01:15:25

the bombay municipal corporations as as hundred and forty hit and the aspiration our

01:15:29

target is one is two fifty which is also in passing and shocking because

01:15:34

should be one to six it could see at least one whole family uses it but that means even the aspiration is not to

01:15:39

solve the problem so we started working with spock which isn't in geo that believe that one is do it on their sort of up

01:15:46

uh and we said they were doing three hundred products at the world bank was sponsoring

01:15:50

and they were doing them all over the place of the solo you'd probably know these we said we've done

01:15:55

research let's work with you it was we didn't charge for this it was just all human human that during project

01:16:01

and what we do that with the story it's this is what happens they don't get use basically in a

01:16:05

couple of years no one uses it women and children can't even go and you know that it's highly problematic

01:16:10

and so what we did was we came up with the prototype of an idea what we said we'd use the same

01:16:16

green principle we're developing the pot it's would be stacked the women and children deal up so that they will say fall

01:16:21

we would have the caretakers house there with the community centre on top of that body so that can take up who is

01:16:27

the lowest cost usually because he's cleaning the toilets now gets the penthouse in the building and so he's really on the top

01:16:34

oh and so he gets the best view sort this is gonna social engineering to mention that and children can use it

01:16:40

and then i went to one of my clients and i designed the house for which isn't there in those beautiful images

01:16:45

and i told him the story i made him feel so guilty that he gave me the money for the sort of that

01:16:50

well which uh is not in their specs because what the solar panel does is it takes it off the great

01:16:55

which means children and women can use it at night because the contractor other ways to save money doesn't let the electricity

01:17:01

so this was a very big move and of course we couldn't build maybe try so we did many photoshop images

01:17:06

this one was built up to the blame them to stop the work this

01:17:09

that you can't go for the off uh because they imagine this long will go

01:17:13

uh uh but we know from reality it won't and my argument was even for twenty years

01:17:17

of p. one generation's lights can be more high to make it was important to get fighting this

01:17:22

and so we did number of sites another them got built one we managed would be to go very remotes long

01:17:27

but even felt the government people won't go so we did that that no one sided got done we put the solar panels

01:17:32

to become a space that people are using the government is trying to move people into that housing the one goes that

01:17:38

and it's become a community space this is just bamboo which they can you the solar panels in place and it worked

01:17:45

i mean a lot of problems i want i'm not proud of this is an architectural piece we were limited by the

01:17:50

specs we wandered which fast and we have now been researching and into the competition that you won the first

01:17:56

prize in the open to take for the maybe at that to see how this kind of institution can be indebted

01:18:02

much more into location and how in different location different local materials

01:18:07

can be studied to create different vocabularies which would engage local cops

01:18:11

so that's where we're at and i'm gonna end with this project only because it will put it on the poster i send this

01:18:16

as a joke but he thought this was the best post up this is a project that we've done for elephants and that models

01:18:23

uh this these are our clients they're also among the poorest people

01:18:27

and chapel uh most of the models and the elephant on those on

01:18:31

as an accident of history that given elephants are in jeopardy because

01:18:35

the moguls bottom bit of four seven money and all of that

01:18:39

uh and the state because he's a tropical beans is no reason they should be

01:18:42

in the desert and so this became a bit of a project of advocacy because

01:18:48

the public works department i'm sorry there's a pain to do this because

01:18:52

you know why would they doing this and they did a competition the document

01:18:55

and i think for five architects were uh invited and i think most of

01:18:59

the response i think we want this because our response was one of the

01:19:03

i mean i just set the fundamental problem use water if you don't salt water forget the architecture we could spend time

01:19:08

on the architecture but i knew that was a losing battle it it was a losing battle so we concentrated on the landscape

01:19:15

in five years with governments falling corruption ascending to tighten to resign but it's moving along and i

01:19:20

just quickly share this with you so these anderson's working number depicts to uh the uh of tourists up

01:19:26

they painted in this toxic colours and that's the reason why you see that they have a discovering of this

01:19:32

can which is very sad because it doesn't get like watched it not because they don't have to walk up

01:19:37

and this is the site but got mean give us which was actually a site that sign or

01:19:41

a people had used to take out all the set and so it was really a lot of holes

01:19:47

we saw that is an advantage this is where they live right now really want top the elephants at

01:19:51

the bottom it's terrible because the bonding between the model

01:19:54

and the elephants is a very complex and critical relationship

01:19:58

that to control the elephant it's almost impossible so we

01:20:02

made a landscape project and look at the existing holes and

01:20:05

what we could do with that that was the side when we got it so we focused on where the depressions will

01:20:10

oh and then came up with the site plan and put the

01:20:13

housing on areas that would non consequential it's it became a landscape plan

01:20:17

the added other institutions which wasn't part of the brief but now the government is thinking

01:20:21

of leaving them and then we focused on trying to design what the house might be

01:20:26

it's four hundred square feet per family because it's low cost housing so the challenge was

01:20:30

how do you expand that and so instead of making row housing we created these clusters

01:20:35

uh using to the local school and it was also done with the minimal because it's low cost housing before

01:20:40

let people change these and that bound to change if we don't have the control so the focus really became landscape

01:20:46

and essentially instead of doing houses in the rule we made them back last

01:20:50

as you have a hierarchy of courtyard so you basically make elastic can use

01:20:54

create more shared space so therefore the house actually

01:20:57

doubles by adding all these possibilities away they can add

01:21:01

space and that's what still was excited about using it but that's what site was it is about

01:21:06

and this was an interesting as an image because ever since god likes fact they have to lie on the mound

01:21:11

that's what i always lie down on the market is it can't get up

01:21:14

and so for the small medium large an extra large we had to actually judge

01:21:20

what would be the right levels of the slope for them to be able to comfortable in terms of getting yeah

01:21:25

uh and so what happened was they built all the houses because the public works department is interested in

01:21:31

the architecture that's where you get all the profits of the speaker density back and so they built nothing and

01:21:37

the document itself so they can do anything with the housing it was just like that there was no water but

01:21:42

what when and get no budget for the landscape borders when i talk to the local cost people they told me that

01:21:48

but don't worry just go ahead and make that whole probably costs

01:21:51

nothing because the k. compositions such that in one monsoon it'll harden

01:21:56

you don't need aligning you don't need the budget for it just doesn't happen and we went by doesn't stink

01:22:01

and within them on soon be captured water the elephant started coming from

01:22:05

five kilometres away where they were living to be it there it began to change the topography and so that

01:22:11

was march two thousand and seven that hill and this is what it looks like in two thousand and ten

01:22:16

just the presence of the water that has transformed complete landscape and

01:22:20

the presence of water that has actually uh created not only in ecology

01:22:25

it's created species we've done replanting uh it's changing the atmosphere but this is

01:22:30

the critical thing the bonding between the model can be elephant this social condition

01:22:35

gets talking exaggerated as a result of that because the amount of time they can spend

01:22:40

with the animals in the walk up is what makes that relationship uh actually work

01:22:46

so these up and they come back from what they actually have to walk in

01:22:49

these situations because this is not a drop it to fly but with their indigenous animals

01:22:54

uh and this is what they do a full work of at the on their ballots

01:22:59

so to this weekend the inspiration for number of architects and i'm not

01:23:02

that a number of schemes or about taking the architecture of this which

01:23:06

unless you address the what it was a problem and this was just when the

01:23:09

houses it been built the water oh and now you're beginning to get this and

01:23:14

it's it's evolving in interesting ways because now the cup and sees the possibility so

01:23:18

it actually supporting us uh in the process for the first time in five years

01:23:23

uh i mean should have resigned on this project long ago i don't know what

01:23:26

drove us interest again i think just the goods on four of the oppression in

01:23:30

this in a way that people were using this will uh sort of facing a

01:23:34

and and that's what you see on there which is where they go to work

01:23:38

uh and and of course is the whole landscape that is evolving which we're trying to convince them to behave as is because

01:23:44

i think it would be region itself and just the fact the elephant gun lot lots like that

01:23:48

uh is is is is just a very interesting and not the beginning to occupy these houses are beginning to live here

01:23:55

and what's what's interesting is that again each cluster is evolving differently

01:24:00

uh these little bit rules designed to take all the fall for the elephants to be stored

01:24:05

on top like u. c. l. which also give installations at a low cost way of doing that

01:24:09

but every community is thinking of the cluster differently these guys wanted along

01:24:14

uh and you know different families of doing different things and it'll it'll evolve automatically and

01:24:19

now we're taking that to try to make a visitors centre to bring more attention to it

01:24:23

the government is giving us money not to do the pitching for the next water bodies and the designing it

01:24:28

as wraps so that the elephants can what actually to the water quite easy and so this is the project itself

01:24:34

a bunch of different more stability and will hold the water for much longer but you can

01:24:38

see the amazing consummation oh that's occurring as a result of it and just when you was

01:24:43

exactly two minutes to summarise i'm sorry have gone over

01:24:47

over time but really i i think i'm working in this

01:24:51

condition if one has to learn i think i think that concerns we should not even use the global sought than not

01:24:56

the concern is really the majority was this with a separate set of

01:25:00

issues that as architects i don't think we have enough of an additive about

01:25:03

i think the idea of thinking globally and acting locally obviate many inspirations for this

01:25:09

number of says architects yeah itself but uh uh of how this can be done much more rigorously and i think this

01:25:15

idea of the grand vision was is that and adjustment is

01:25:18

a critical question because i think as the world becomes increasingly global

01:25:22

we have to really be cautious and careful about accepting that

01:25:26

things are growing more like because it begin to look more alike

01:25:31

because when we engage with the deeper excavation of the site on which we operate the locality in which we operate

01:25:37

uh and then we engage an understanding that draws on both the objective realities as well as that

01:25:42

subjective perceptions of the site that there's actually a much more strikingly then before

01:25:49

but differences were actually a short when things look different so this is something that

01:25:54

really be cautious about because even though they're looking the same it's actually getting more if

01:25:58

so i think architects obviously then have to find a more rigorous way of defining the complex emerging

01:26:04

cultural fabric of multiple aspirations especially in places like india which is a mutinous democracy

01:26:11

and more importantly to see this cultural fabric uh something that's ever evolving like i i think one of the other

01:26:18

big sort of red herrings in our discussions of the question of identity identity is not static it's about what we could

01:26:24

about what we've all been architecture plays a big role in evolving this uh in fact in

01:26:28

the words of large end up with the right answer body set culture the dialogue between aspirations

01:26:33

hence sedimentary traditions which i believe you have the ability

01:26:37

to excavate to us productively and to notice what we're doing

01:26:41

and i think that's a decent oppression interpretations is designed as as what helps us make

01:26:47

a a a place which are uh it helps us not h. nourish the place somewhat ideas the future

01:26:53

as much as those ideas about the lost art that we

01:26:56

sort of otherwise obsessed and this highly pluralistic environment especially in the

01:27:00

case of india or my experiences working in in yeah and by

01:27:04

acting requires a planning and design can isn't what is what happened

01:27:09

so that's what excites me that continually negotiate between the difference is

01:27:13

and actually dissipate the binary set the other way setup

01:27:17

i believe there's non productive design instruments so i think that

01:27:22

it is it is it is architecture then can't become the sole instrumental

01:27:26

peacemaking it's a very important instrument but has to embed itself in other process

01:27:31

uh and so then you it becomes a form of resisting the facts that

01:27:36

our one entity can remake and make it really

01:27:40

make an prevail in the making of an environment in

01:27:43

its own image and i think that's what makes working in move by the landscape in the i. e.

01:27:47

and i think once the architects sees these various distances as being

01:27:51

simultaneously valid the simultaneous validity of this is i think we should

01:27:56

the challenge then of course for us if you're setting up a sales up or challenge because how do we go beyond the polar ice bob binder

01:28:02

and i think that's if you can crack that anything can get excited about that if we can develop might and additives around that

01:28:08

i think that's the space that in which we've linkage architecture and

01:28:12

society more generally much more meaningfully thank you very much for attention

01:28:35

uh huh if you agree and we can take some time for questions

01:28:42

somebody has a question in in french could translate it with her and her so

01:28:53

it was very inspirational inmates yeah really strong inspiration um

01:29:00

i i one again think i'm a bit translator a a complete new

01:29:07

for two reasons posts because the like would ingenue speak very very fast

01:29:13

but you speak with a lot of patients so yeah last bastion press bastions sorry

01:29:19

and uh so sink you most phones for your question put

01:29:22

to transmit and therefore the performance of for some tragic translation

01:29:28

and now i welcome you owe or uh to share drink together uh

01:29:33

in front of for um you accuse whom exhibition space i worked a

01:29:37

cushion uses to lupin as well if you want to visit and uh

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Conference Program

01:09:02

Vernissage de l'exposition Las Vegas Studio
Sept. 21, 2011 · 6:09 p.m.

01:18:36

Quand l'architecture et le cinéma transforment les territoires délaissés
Sept. 22, 2011 · 6:36 p.m.

49:22

Suburbia does not exist. Strategies for dense city growth
March 14, 2012 · 6:38 p.m.

01:18:44

CONSTRUCTIVE REACTIONS. The Architecture of Kurtogpi
March 27, 2012 · 6:32 p.m.

01:03:21

Les coulisses de Malley
March 28, 2012 · 6:38 p.m.

59:33

Débat critique - Projets de première année
April 3, 2012 · 5:15 p.m.

01:28:31

Ensamble studio
April 16, 2012 · 6:36 p.m.

01:17:40

Le travail d'ingénieur et le projet de modernité
April 18, 2012 · 6:35 p.m.

01:27:50

RUR: PROJECTS
April 24, 2012 · 6:20 p.m.

02:12:27

Conférence du cycle 'Pièces à conviction
May 8, 2012 · 6:34 p.m.

255 views

01:07:50

Paysages intérieurs
May 15, 2012 · 6:35 p.m.

01:32:29

Yona Friedman, Genesis of a vision
Sept. 19, 2012 · 6:13 p.m.

01:29:51

Working in Mumbai
Oct. 4, 2012 · 6:40 p.m.

01:10:23

Yona Friedman and the Gost of Utopia
Oct. 10, 2012 · 6:13 p.m.

44:35

Global Holcim Awards 2012 Gold
Oct. 12, 2012 · 6:06 p.m.

01:53:35

Just what is it that makes Friedman so appealing ? hier et aujourd'hui
Oct. 17, 2012 · 6:07 p.m.

01:11:39

Pour une histoire culturelle de la construction
Nov. 12, 2012 · 6:35 p.m.

01:26:29

Partage d'expérience
Nov. 21, 2012 · 2:17 p.m.

01:02:27

Hall Of Mirrors
Feb. 20, 2013 · 6:09 p.m.

01:05:11

Happy Street
March 13, 2013 · 6:29 p.m.

01:19:27

Pier Luigi Nervi : l'architecture comme défi
April 17, 2013 · 6:09 p.m.

47:47

Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images: Part 1
April 24, 2013 · 6:34 p.m.

109 views

35:06

Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images : Part 2
April 24, 2013 · 7:22 p.m.

01:35:11

Présentation de Riccardo Morandi
May 1, 2013 · 6:30 p.m.

02:15

Présentation des conférenciers, MM. Aurelio Muttoni & Mario Alberto Chiorino
May 8, 2013 · 6:31 p.m.

01:48:35

Présentation de Robert Maillart
May 8, 2013 · 6:33 p.m.

129 views

59:55

A dispute of the ephemeral and permanent in architecture
May 21, 2013 · 12:04 p.m.

01:35:30

Peter Cook
May 27, 2013 · 6:12 p.m.

01:31:50

Radical Pedagogy: a collaborative projec
Oct. 29, 2013 · 6:32 p.m.

01:24:39

L'exploration du possible
Nov. 26, 2013 · 6:39 p.m.

01:36:37

Power of Place
Dec. 6, 2013 · 6:06 p.m.

Recommended talks

39:30

Transforming the chinese countryside
RUF - Rural Urban Framework
Dec. 16, 2014 · 5:11 p.m.

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Working in Mumbai

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Transcriptions

Conference Program

Vernissage de l'exposition Las Vegas Studio Sept. 21, 2011 · 6:09 p.m.

Quand l'architecture et le cinéma transforment les territoires délaissés Sept. 22, 2011 · 6:36 p.m.

PechaKucha 'Lumière Sept. 24, 2011 · 8:22 p.m.

Las Vegas, Film, and the Mobilized Gaze Oct. 19, 2011 · 6:33 p.m.

Metaphors We Live In Oct. 26, 2011 · 6:33 p.m.

Craftsmanship Nov. 8, 2011 · 6:34 p.m.

L'épaisseur des lignes Nov. 9, 2011 · 6:32 p.m.

La controverse Learning from Las Vegas Nov. 16, 2011 · 6:46 p.m.

Dans le paysage urbain Nov. 22, 2011 · 6:38 p.m.

An Aggregate Body Nov. 23, 2011 · 6:46 p.m.

Curating Postmodernism Nov. 30, 2011 · 6:41 p.m.

Pièces à conviction – Une périphérie prend forme Feb. 22, 2012 · 6:05 p.m.

Pechakucha 20x20 Feb. 23, 2012 · 7:03 p.m.

Espace, Lumière, Structure. 7 Concepts Feb. 28, 2012 · 6:32 p.m.

Suburbia does not exist. Strategies for dense city growth March 14, 2012 · 6:38 p.m.

CONSTRUCTIVE REACTIONS. The Architecture of Kurtogpi March 27, 2012 · 6:32 p.m.

Les coulisses de Malley March 28, 2012 · 6:38 p.m.

Débat critique - Projets de première année April 3, 2012 · 5:15 p.m.

Ensamble studio April 16, 2012 · 6:36 p.m.

Le travail d'ingénieur et le projet de modernité April 18, 2012 · 6:35 p.m.

RUR: PROJECTS April 24, 2012 · 6:20 p.m.

Conférence du cycle 'Pièces à conviction May 8, 2012 · 6:34 p.m.

Paysages intérieurs May 15, 2012 · 6:35 p.m.

Yona Friedman, Genesis of a vision Sept. 19, 2012 · 6:13 p.m.

Working in Mumbai Oct. 4, 2012 · 6:40 p.m.

Yona Friedman and the Gost of Utopia Oct. 10, 2012 · 6:13 p.m.

Global Holcim Awards 2012 Gold Oct. 12, 2012 · 6:06 p.m.

Just what is it that makes Friedman so appealing ? hier et aujourd'hui Oct. 17, 2012 · 6:07 p.m.

Pour une histoire culturelle de la construction Nov. 12, 2012 · 6:35 p.m.

Partage d'expérience Nov. 21, 2012 · 2:17 p.m.

Hall Of Mirrors Feb. 20, 2013 · 6:09 p.m.

Happy Street March 13, 2013 · 6:29 p.m.

Pier Luigi Nervi : l'architecture comme défi April 17, 2013 · 6:09 p.m.

Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images: Part 1 April 24, 2013 · 6:34 p.m.

Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images : Part 2 April 24, 2013 · 7:22 p.m.

Présentation de Riccardo Morandi May 1, 2013 · 6:30 p.m.

Présentation des conférenciers, MM. Aurelio Muttoni & Mario Alberto Chiorino May 8, 2013 · 6:31 p.m.

Présentation de Robert Maillart May 8, 2013 · 6:33 p.m.

A dispute of the ephemeral and permanent in architecture May 21, 2013 · 12:04 p.m.

Peter Cook May 27, 2013 · 6:12 p.m.

Radical Pedagogy: a collaborative projec Oct. 29, 2013 · 6:32 p.m.

L'exploration du possible Nov. 26, 2013 · 6:39 p.m.

Power of Place Dec. 6, 2013 · 6:06 p.m.

Recommended talks

Transforming the chinese countryside RUF - Rural Urban Framework Dec. 16, 2014 · 5:11 p.m.

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