Bernard Tschumi Interview
Summary
TLDRIn this interview at the 2014 Venice Biennale, architect Bernard Tschumi discusses his journey into architecture, which began with a lack of interest due to his father's profession but was ignited by a transformative experience in Chicago. Tschumi details his architectural education, his shift towards urban design, and his innovative approach to 'notation' in architecture, which involves choreographing movement within space. He critiques the current state of urbanization, lamenting the lack of creativity and experimentation in city design. Tschumi also shares his thoughts on the role of architects in shaping the cities of tomorrow, emphasizing the importance of questioning and challenging the status quo.
Takeaways
- 🏛️ Bernard Tschumi's initial disinterest in architecture stemmed from his father's profession, but his experience in the US, particularly Chicago, sparked his passion for the field.
- 🌆 Tschumi was deeply influenced by the urban landscape of Chicago in the early 1960s, appreciating its density and the way light was integrated into the city's design.
- 🏫 His architectural education at the ETH in Zurich was traditional, but he was inspired by urban history professor Paul Hofer to think more critically about cities.
- 🤝 Tschumi's desire to work with Cedric Price was thwarted by his professors, who did not consider Price's work as architecture, which only increased Tschumi's interest in Price's ideas.
- 🏙️ Tschumi's shift towards questioning architecture's relationship with power, money, and societal norms led him to England, where he began teaching and exploring the margins of architecture.
- 🎨 In New York, Tschumi rekindled his interest in drawing, focusing on experimental designs that combined elements of choreography and movement within the city, culminating in 'The Manhattan Transcripts'.
- 🏗️ It took Tschumi 12 years post-graduation to apply his theoretical ideas to a real project, beginning with the Parc de la Villette competition, which he won unexpectedly.
- 📈 Tschumi's approach to architecture involves creating a 'game board' with rules and pieces, allowing users to interact and develop the space dynamically, rather than a static design.
- 🌐 Tschumi criticizes contemporary architects for failing to innovate in urban design, particularly in rapidly urbanizing regions like the Middle East and China.
- 👥 He believes architects should engage more with the ethical and moral challenges of their profession, and that a period of transition and critique may be necessary to stimulate new thinking.
- 👨🏫 As a teacher, Tschumi finds energy and invention in young architecture students, who are preparing the future of architecture and city planning, with a renewed interest in both small-scale fabrication and large-scale urban issues.
Q & A
What initially sparked Bernard Tschumi's interest in architecture?
-Bernard Tschumi's interest in architecture was initially sparked by his visit to Chicago at the age of 17. Coming from a small Swiss town, the city's architecture and urban environment had a profound impact on him, leading him to decide to become an architect.
How did Bernard Tschumi's architectural education at ETH Zurich differ from his expectations?
-Bernard Tschumi found that ETH Zurich, while being one of the best traditional schools, was not particularly interested in cities. He had a good urban history professor, Paul Hofer, but the context was very much Swiss architecture, which was not what he was looking for at the time.
What was the significance of Cedric Price in Bernard Tschumi's architectural journey?
-Cedric Price played a significant role in Bernard Tschumi's journey as an architect. Tschumi was intrigued by Price's work and wanted to work for him. Despite his professors' disapproval, Tschumi found Price's ideas compelling, which led to a long story and a shift in Tschumi's architectural perspective.
What was the 'Manhattan Transcripts' project about and how did it influence Tschumi's work?
-The 'Manhattan Transcripts' was a project where Bernard Tschumi experimented with drawing and developing a mode of expression he called 'notation'. It was about showing not only plans, sections, and elevations, but also the movements of bodies in space. This project was exhibited in art galleries and significantly influenced Tschumi's later work.
How did Bernard Tschumi approach the Parc de la Villette competition?
-Bernard Tschumi approached the Parc de la Villette competition with an unconventional proposition about the city and architectural thinking. He was not expecting to win but was driven by a desire to apply his ideas into a real project. His approach was characterized by a sense of innocence and ignorance that helped him overcome various obstacles.
What was Bernard Tschumi's experience like working with Cedric Price on the La Villette project?
-Bernard Tschumi had asked Cedric Price to design a pavilion for the La Villette project. Price worked on a substantial greenhouse design, but it was never realized due to budget constraints and the lack of private funding. However, Tschumi later paid homage to Price's design in the New Paris Zoo's greenhouse.
How does Bernard Tschumi view the role of architects in the design of contemporary cities?
-Bernard Tschumi believes that architects have largely failed in their mission to design cities for today or tomorrow. He criticizes the lack of experimentation and the homogeneity of cities being built, especially in countries like China, and calls for a return to critical thinking and theory in architectural practice.
What is Bernard Tschumi's perspective on the importance of teaching and its impact on the future of architecture?
-Bernard Tschumi sees teaching as a crucial part of shaping the future of architecture. He believes that schools are where the 'brew' of what architecture will become is prepared, and that engaging with young, inventive minds is essential for developing the architecture and cities of the next generation.
What advice would Bernard Tschumi give to young architects starting their practice?
-Bernard Tschumi advises young architects to never take anything for granted, to always question, and to start with a question rather than accepting received ideas. He emphasizes the importance of maintaining a critical and questioning approach in their work.
How does Bernard Tschumi describe his approach to master planning and urban design?
-Bernard Tschumi views master planning and urban design as a game, where the architect establishes the game board, a few pieces, and some rules, and then allows users to play and develop the city as a dynamic process, rather than a static, frozen image.
What is Bernard Tschumi's view on the current state of architectural thinking in relation to the digital world?
-Bernard Tschumi believes that architects are still finding their way in the digital world and that there is a need for a new way of working that is not just an echo of analog methods. He suggests that the interaction between software, hardware, and invisible media, including social media, with architectural 'hard stuff' is an area that will inevitably develop.
Outlines
🏛️ Architectural Inspiration and Education
Bernard Tschumi shares his journey into architecture, which was initially sparked by a desire to differentiate himself from his father, a renowned architect. His interest in architecture was reignited during a transformative visit to Chicago at the age of 17, where the city's urban landscape deeply influenced him. Tschumi's architectural education at the Swiss Federal Institute of Technology (ETH Zurich) was traditional, but he found himself drawn to urban history under Professor Paul Hofer. His interest in cities led him to work with Cedric Price, a radical architect whose ideas were not widely accepted in his academic environment. Tschumi's early career was marked by a critical perspective on architecture's relationship with power and money, and a move to England where he began teaching and questioning the nature of architecture itself.
🏙️ The Evolution of Architectural Design and Notation
Tschumi discusses his transition from teaching to designing buildings, highlighting his critical approach to architecture and its relationship with power and money. He moved to England to explore the essence of architecture, leading to his involvement with the Architectural Association (AA) and exposure to various art and literary scenes. His work, 'The Manhattan Transcripts,' showcased a new mode of architectural expression that included the movement of bodies in space. Twelve years after graduation, Tschumi applied his experimental ideas to real projects, beginning with the Paris La Villette competition, which he won unexpectedly. His approach to architecture involved questioning and challenging traditional norms, leading to innovative designs that considered the city as a whole.
🌐 The Role of Notation in Architectural Design
Bernard Tschumi elaborates on his concept of 'notation' in architecture, which involves a choreographic approach to design, considering the movement of people within spaces. His early work was literal, with arrows and drawings representing movement, but over time, this notation became internalized, allowing him to conceptualize movement within his architectural plans. Tschumi sees urban projects as dynamic games, where architects set the rules and pieces, but the city's users actively engage and develop the space. This perspective emphasizes the importance of interaction and adaptability in urban design, rather than a static, fixed outcome.
🌏 Critique of Contemporary Urbanization and Architectural Practice
Tschumi expresses concern over the current state of urbanization, criticizing architects for failing to design cities that meet the needs of today or the future. He points out the lack of experimentation and the homogeneity of cities, particularly in regions like the Middle East and China. Tschumi also laments the timidity in the design of historical Western cities, suggesting that there is a need for a return to critical thinking and theoretical exploration. He hopes for a period of transition that will lead to a resurgence of innovative city design.
🤝 Internationalism in Architecture and the Role of UIA
The conversation turns to the international aspect of architecture, with Tschumi reflecting on his father's involvement in the founding of the International Union of Architects (UIA). The UIA was established to foster dialogue among architects beyond nationalistic and political differences, in the wake of the devastation of two world wars. However, Tschumi questions whether the current globalized state of architecture still encourages meaningful dialogue and whether architects are focusing more on individual interests rather than the common good.
🏢 Public and Institutional Projects in Architectural Practice
Tschumi discusses his architectural practice, noting that most of his significant projects have been for public or institutional clients, often resulting from competitions. He attributes this to his history with large public projects like the Paris La Villette and his success in winning public competitions. While private clients do approach him, the majority of his work comes from public entities. Tschumi also highlights his role as a teacher, emphasizing the importance of architecture schools in shaping the future of the field.
🏫 Architectural Education and the Future of Cities
As a teacher, Tschumi finds architecture students to be a source of inspiration and innovation. He sees schools as the crucible where the future of architecture is being prepared. Tschumi observes that students are interested in both the very small scale of fabrication and the very large scale of city planning. He notes a resurgence of interest in cities and urban planning among students, likely due to their global experiences and the pressing need for creative solutions in city design.
🔗 The Impact of Digital Technology on Architectural Design
Tschumi considers the impact of digital technology on architecture, suggesting that architects are still adapting to a digital world. He recalls a project called 'Do-It-Yourself City,' which was influenced by ideas of mass communication and the potential for integrating media into urban environments. Tschumi believes that architects will eventually integrate digital tools and social media with physical architecture, although this integration is still in its early stages.
📚 Advice for Young Architects
In offering advice to young architects, Tschumi emphasizes the importance of questioning and not taking anything for granted. He encourages young professionals to start with questions and to challenge conventional wisdom. Tschumi's advice reflects his own approach to architecture, which has been marked by a critical and experimental mindset.
Mindmap
Keywords
💡Architecture
💡Cultural Context
💡Urban History
💡Architectural Education
💡Cedric Price
💡Critical Generation
💡Notation
💡Master Planning
💡Contemporary City
💡International Union of Architects (UIA)
💡Public and Institutional Clients
💡Teaching
💡Digital Environment
Highlights
Bernard Tschumi discusses his initial disinterest in architecture due to his father's profession.
Tschumi's interest in architecture was sparked during a visit to Chicago at age 17.
Chicago's urban environment in the 1960s greatly influenced Tschumi's architectural perspective.
Tschumi's architectural education at ETH Zurich was traditional but included urban history.
Meeting Cedric Price was a pivotal moment for Tschumi's architectural interests.
Tschumi's time in Paris at Candilis-Josic-Woods influenced his critical view of architecture.
Tschumi's move to England was driven by a desire to question the nature of architecture.
Tschumi's early work focused on developing a mode of expression he called 'notation'.
The Manhattan Transcripts project combined Tschumi's interest in art, literature, and the city.
Tschumi's first competition win with the Parc de la Villette was unexpected and transformative.
Tschumi's approach to architecture involves setting up 'rules' for users to engage with spaces.
Tschumi criticizes contemporary architects for failing to innovate in urban design.
Tschumi expresses concern over the homogenization of cities, particularly in Asia.
Tschumi reflects on the internationalist spirit of architecture and its current state of globalization.
Tschumi's architectural practice tends to focus on public or institutional projects.
Tschumi sees a renewed interest in cities and urban thinking among current architecture students.
Tschumi advises young architects to question everything and never take anything for granted.
Transcripts
[Music]
we're at the 2014 Venice banali in the
wine Suite of the hotel danielli and
we're talking to Bernard
shumi Bernard what was it that got you
interested in architecture and I suppose
to some extent it must been the fact
that your father was a was a world
famous architect
himself well maybe that's what at first
got me not interested in architecture is
I felt I knew everything before I even
began and so I was at the time as a as a
teenager I was certainly more interested
in literature in film in philosophy in
in in other things and probably would
have gone this way if I
hadn't had the opportunity to spend some
month in the US at age
17 and uh in a different cultural
context and visiting
Chicago I suddenly discovered what a
city could be coming from a all smallish
Swiss town uh I knew Paris sure because
my mother was from there but visiting a
great American city just changed my view
of the world and it is in Chicago that I
decided to become an architect it was
the weight the
sheer uh Gravity the strength the
density uh Chicago was very different
then we're talking about uh we're
talking about the 1961
62 before the Loop and that whole area
had been developed interestingly enough
you didn't have the perception of
individual objects you had the the
feeling of a mass a mass which was
uniformly 12 stories high in in between
sort of shafts had been carved to let
some light pass and of course you had
the elevated
Subway just it looked like one huge
block of Rock in which one had cved some
opening now Chicago is very something
else it's a series of individual Towers
the Misan model I love M but the Misan
model has not been so good for Chicago
and how did you find your architectural
education um was it interested in cities
in the way that you were interested or
was it a kind of more traditional model
I went probably to one of the best
traditional schools in other words the
eth in surich uh they were not terribly
interested in cities except I had a very
good Urban history Professor Paul Paulo
Paul Hofer and uh yes I was interested
but within a context which was really of
Swiss
architecture very much as we knew it at
the time and that we still know it today
and I obviously uh went through the
motions uh did reasonably well uh but by
the end of my four four and a half years
was already looking quite distinctly
elsewhere and where was the elsewhere
what happened next uh I had met Cedric
price and I wanted to work for him and
uh I uh well let me tell you the story
uh
I wanted him to be invited to give a
lecture at at the school and as a
student representative I normally I
would have had my way but I was told by
my distinguished professors that Cedric
was not architecture and therefore we
should not invite him uh which made him
even more interesting for me and uh
that's then another long story and at
what point um did you start to make
designs for competitions and and to make
buildings I was in Paris doing my what
they call you know my practice
here sort of being an intern in an
office and I spend that time as it
happens by chance in Paris at candelis
Jos and
woods and
um that made us a what I would would
describe as a vag critical generation in
other words quite wary of the strange
relationship of architecture with power
money
and a whole lot of received ideas a lot
of the modern movement had lost its
originality and its rubbing you know
power it was
formulas so uh during a few years and
that's probably what brought me to
England I decided to rather spend my
time asking questions about what
architecture was so that was first my
interest for
cedc but also uh I ended up teaching at
da and in a context which was
encouraging people to ask
questions uh tutors would not give
programs they would ask the students to
invent a program this is actually
difficult so that set up a uh situation
which uh really
requested uh not looking not only at
architecture but at things which were
happening in the margins in other words
the art scene the literary scene etc etc
I was quite close to people at in London
at St Martin's or at the Royal College
of Art and there was quite an
interesting exchange to such an extent
that it made me feel I had to go even
further into it my interest for cities
that had gone from Paris to London now
was moving towards New York there was an
incredibly you know exciting intense uh
art scene in in New York and there I
started to draw again I had stopped
drawing for five or six years after
68 and by this time the drawings were
substantially more experimental they had
a relatively little with actual
designing building but a lot to do with
the city namely trying to find a way to
develop a mode of expression I used to
call it
notation uh that would show not only
plan sections and elevation
but also the movements of bodies in
space and this led to what was called
The Manhattan transcripts it was
exhibited in art galleries and all the
sort of thing and um so it's only
another six years later in other words
literally 12 years after I had
graduated that I said well let
now so far so good let's see if I can
use some of these
ER thoughts ER ideas or experiments into
a real project and that's the first time
with the p laet that I did a competition
and this this competition when was
Sensational because here was an entirely
different sort of proposition about the
city about a park um and a a a way of
architectural thinking um were you
shocked when you won or did you assume
that actually that's what
Paris would
respect I'm tempting to tell you
both the the real truth I was really uh
I did not expect it at all uh however
the first note that I wrote you know on
I used S 8 and a half by 11 Ines you
know I A4 paper and there was a little
note that was pinned up and it said do
we do this competition uh for history or
just because we want to win it I had to
in the way to learn everything because
frankly I didn't know very much and it
was probably my ignorance my innocence
which helped me lifting political
mountains and other you know economic
and and and functional
difficulties uh because uh in in many
ways the project was
unusual also in the manner one organizes
a site one organizes users and so on and
uh I was extraordin lucky it worked and
actually there was an intriguing moment
where it looked as though Cedric price
might actually do some sort of Pavilion
um AB laet it was designed with Frank
Nub's engineer absolutely quite a
substantial um job but I got the
impression that um that the the budgets
were starting to be trimmed and it was
never realized this is exactly what
happened ER I had asked
him being not only the architect but
this Chief Architect of the whole
operation I had asked a few people
including Cedric to design something uh
and Ina in the case of Cedric it was
quite a substantial
greenhouse and he had worked quite
seriously on it but it had to be
financed not only by state public money
but also by private money and the
private money never came it was never
done but you might be amused to know
that I just completed we you probably
know I just completed the uh the New
Paris zoo and the greenhouse that uh I
built there is a sort of Silent homage
to that very design by
Cedric can I ask you about um your idea
about notation uh and and architecture
and the extent to which um that impulse
almost to combine formal architectural
description with something more to do
with choreography perhaps than than
architecture has that line of thinking
in your work being consistent or has it
adjusted and
changed I would say it's it's it's
amusing because of the exhibition that
we just opened just very recently at the
s pompo in Paris which covers in a
period that starts with the notation
project the drawings of you know
movement of bodies in
space and ends with the current work
it's interesting to see how coherent the
work is and how many devices that were
invented at the time are being now you
know applied the difference is that uh
the the way they were applied in the
early work in the drawings was very L
literal you'd see arrows in you know
drawn on a piece of paper now I don't
have to do it it's in my head I just can
immediately sort of materialize it in
terms of a set of of
of of plans that are part of a concept
that
includes such uh notation and is it
possible to apply that technique if one
could call it that in thinking about
master planning large areas of of a city
rather than a single building or even a
single complex project but thinking
about the city as a whole not only do I
think of course of course you can
considering that a lot of the the
workings of a city have to do with
exchange and
movement but also the fact that it
brings a certain level of
uncertainty in a house you might
determine everything in a city you
cannot and you should
not so the way I see it when we do Urban
project or design projects I see it very
much as a game imagine a form of chess
game or Monopoly or whatever where the
various pieces can be moved around and
all the architect does is to establish
the game
board a few pieces a few rules and then
let the user or whoever H start to play
and and develop it as a dynamic process
and not as a Frozen
image there a kind of um theory of
endless interaction or interactions to
inter reactions I would say so yeah and
how do you see the condition of the
Contemporary city um well first in the
west and then perhaps in the emerging
cities of of uh of Asia and the Far East
do you do you draw comfort from the
architectural thinking that's going into
them here my answer is not going to be
very very happy and not very
optimistic I do think that architects in
the last 15 years last 20 years at a
time of Maximum urbanization in the
whole history of mankind have completely
failed in their missions to design the
city of today or tomorrow and this is a
I think we all responsible I probably I
as much as my whole
generation something has happened that
instead of giving the proper guidelines
and among those hundreds of cities that
are being built hardly any of them is
done with some sort of an objective
sense of experimentation of testing
certain hypotheses and seeing how they
can be demonstrated at the moment they
are mostly all alike especially when we
talk about countries like the Middle
East or especially of course China and
there uh there is a very very serious
problem we are learning absolutely we
are learning very little from what is
being built at the moment I could also
extend your question to the uh the
cities in you know in the call it
historical West London Paris Munich and
so
on where uh
somehow an
incredible
timidity as as we placed the
extraordinary thought and thinking
processes that were taking place
throughout the 20th century in the 20s
the 30s the 40s the 50s the 60s we have
seen quite including the 70s and I may
totally disagree with Leon ker and his
propos proposal at least there was a
thinking going on ER so
somehow ER
I'm I hope that we can call it a period
of
transition that uh by historically I
know when the uh when the work is too
banel or when the work is very much a re
so-called dictionary of received
ideas then irritation sets
in and critique and possibly Theory
comes back so this is my hope as far as
the city of Tomorrow there's a there's
an interesting way in
which your father as a founder of the
international Union of Architects the
UIA yes was engaged in it as it were the
moral and ethical challenges that faced
the profession and by definition it was
internationalist in Outlook and I wonder
whether you think that that attitude
somehow is sort of transmuted into
something which is sort of super
internationalist globalized yet somehow
the interests of Architects have become
much more individual much less concerned
um for the most part with a kind of with
the common good or with the generality
about what is happening to everybody as
opposed to what is happening for their
individual
clients uh if we try to look back at
what was happening in the late
40s when Architects got together and
decided to put together a sort of
international uh
dialogue uh it is clearly due to the
fact that Europe and the world had been
hurt tremendously by two world wars and
the intense as far as I'm aware of it
was really to reestablish a
dialogue uh among Architects that would
go above and beyond those nationalistic
differences and political differences so
that was the starting point now the uh
the
evolution to the situation today is of
course that uh save for manifestation or
events like the Olympics which are you
know highly uh nationalistic everything
has become quite Global and Architects
do travel everywhere H they have plenty
of opportunity including at such place
like this Venice Bale where we are at
the
moment where a dialogue is possible but
is there such a dialogue is the question
in other words are we really setting up
uh some questions some goals some
hypotheses or are we simply uh sort of
bathing into a you know a bath of
self-indulgence and and an
icon for the general Mass
consumption you have um practices in uh
New York and Paris my impression is that
uh most of the significant projects you
do tend to be either for public clients
or institutional clients rather than um
you know individual commercial property
developers uh is that from choice or is
it just the way the practi is developed
probably both probably both uh on one
hand it's the the history of of of of my
activity comes with a large public
project as you know with the p
laet therefore I have been quite
attracted to enter a number of
competitions we do reasonably well we
win probably one out of four they are
public competition
I'm able to choose these so that's
that's probably the the primary reason
and it gives quite the possibility of a
range an international range of of of
possibilities we have in between some
private clients will come to us and we
do certain projects uh currently uh I'm
completing two buildings near Geneva one
for the second watch Factory after the
first one I had done a few years back
and uh for a large concert hall for a
private educational institution but a
very serious philarmonic hall for th000
fet and both are private so the two and
in New York when we did the blue Tower H
that was also private people who
generally would approach us I have to
say say almost out of the
blue but nevertheless as you said
correctly the majority of the the
project you know the uh various concert
halls or the new Acropolis Museum and so
on uh do come from public competitions
the other aspect of um your life as an
architect which is also public or qu
public is is as a
teacher what do you see in today's
architecture students at Colombia that
reminds you of when you were a student
or are they quite
different I you know I think
architecture is something quite
extraordinary because it's still in the
making uh there's in no way uh the
feeling that it's not still in front of
us and so the places places like schools
are quite extraordinary because they are
really the places is that prepare the
Brew of what architecture will become
tomorrow the young faculty generally
that has more energy and invention than
actual work are fantastic people to work
with and indeed to develop what will
become you know by necessity uh the
architecture and the cities of the Next
Generation and do you find that there's
an interest which obviously you would
share um with cities of the future or is
there more interest in as it were the
kind of individual concerns and
psychological considerations to do with
space and time well amusingly enough I I
would say but that's that's an immediate
answer I me an answer which has to do
with literally the last few years
looking around H what what is happening
around me I would say h there are two
extremes
um very few actual building to be
designed and you know the buildings that
are published in the magazines are not
necessarily what seem to
interest the people in the school what
interests them is at the two ends of the
spectrum either the very small or the
very large the very small could be
described as fabrication how does one
uses a number of extraordinary softwares
to build up components and and even to
build you know apps for this that will
allow you know new way to perceive space
a on the other hand ER the discussion
about cities is indeed coming back I
don't know where it's going at this
stage but it is there there is really an
awareness probably because of the fact
that people travel a lot H will do at
Colombia they will do project you know
in Doha or in in Istanbul or in outside
Tokyo and so on and they will think
quite seriously about that very problem
that I mentioned you know a few minutes
ago about the fact that we are
unfortunately in a rather you
know not terribly creative period about
City thinking do you think that in a
sense the collapse of space and time
because communication and travel are so
much faster if indeed they're they're
necessary at all in the case of travel
um that Architects actually have yet to
find a way of working in a digital world
which isn't a kind of echo of of working
in an analog way uh if you like I mean I
ask this because I'm just think I've
I've been thinking about your your point
about notation and in a way what you
were doing with that um Lillet
proposition I mean does have to do with
how do you represent a world in which
space and time can vanish or be be
caleidoscope or be expanded and actually
it's not so far off what we are now
experiencing in in in in a kind of
digital environment
I'm going to amuse you before just
before that time when I came to London
and then to New York I did with a friend
of mine a project called doit yourself
City it's a project which is heavily
influenced by Cedric and by his second
Fun Palace the one that traveled
around and uh where uh the role of the
internet the internet had not been
invented yet but the role of mass
communication and ability for people to
simultaneously live in real space but
communicate in you know in through
through media was the starting point or
even the whole organization of uh
something that could be integrated to
the into the existing City or the New
Towns or whatever so that aware Wess was
there I think it is still uh possible
and
uh it will inevitably come so Architects
are always a little slow sometime
they're faster than others sometime they
take a while right but I think your
question is ex is is absolutely correct
there's a moment when the two will
interact in other words the the the
software and the hardware or the uh um
in a way the uh the invisible media
including the social media and the
architectural you know hard
stuff a final question if you were
giving advice and you may well give
advice to uh young architects who are
about to start practice or try to start
practice what advice would you give them
based on your own experience of
competion i s buildings
exhibitions never take anything for
granted H never accept what people tell
you the solution is always start with a
question but Shi thank you very much
thank
[Music]
you
[Music]
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Steven Holl Interview: Spaces Like Music
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Mehr als Pfeile und Kästen: Architekturdiagramme mit Ralf D. Müller und Lisa Moritz
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Norman Foster: Striving for Simplicity | Louisiana Channel
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Beyond the Books - Ryan Pettey
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There's something about phi - Chapter 20 - Le Corbusier and the Modulor
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