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Prada Frames - Lecture by Jacques Herzog, Herzog & de Meuron — Transcript

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0:00[Music]
0:07thank you
0:09good evening everyone
0:11my name is Terry Ryan I'm the lead
0:14Trader of learning at M plus and it is
0:17my great pleasure to welcome you all to
0:19the Grand stair this evening as we
0:21launch product
0:23friends was conceived by Andrea terimaki
0:26and Simone Ferguson of the Italian
0:28design studio for my phantasma it is a
0:32yearly Symposium that investigates the
0:34complex and nuanced relationship between
0:37the environment Art and Design
0:40this year's theme is materials and flux
0:43the theme investigates the Dynamics that
0:46govern waste infrastructures and their
0:48value systems aiming to unpack the
0:51complex relationship between matter and
0:53ecosystems I believe sincerely that the
0:57idea of the museum is a forum and it is
1:00a place of dialogue and exchange which
1:03is why we are thrilled to be co-curating
1:05with addition my thanks to my co-curator
1:08Nico yokoyama and The Sensational
1:11support team of M plus and to Prada for
1:16making this event possible
1:18today product frames and M plus launches
1:21as a lecture by Jacques hertzel tomorrow
1:24we will host two panels that bring
1:26together Architects artists designers
1:29and thinkers to focus on the global
1:32ambition of sustainability from their
1:34practices
1:36the first one see
1:38tackles the rule
1:41second panel reconceiving material
1:44circulation examines how waste becomes
1:47part of the circulation of goods across
1:49economies geographies and different
1:52experience
1:54and plus open to the public in November
1:562021 due to the pandemic we are unable
2:00to welcome our Museum of Architects for
2:02southern demaran to join us for the
2:03opening some celebrations so tonight is
2:06particularly special as we welcome
2:08Jacques Herzog to reflect on building M
2:11plus and the rule of architecture in
2:13Civil Society
2:14before I turn the panel over to suhana
2:17to introduce Jacques I'd just like to
2:19point out if you have school that I want
2:21you all to be aware of so please make
2:24sure no eating and drinking take place
2:25in the green stair no video or audio
2:28recording photo taking it is
2:32flash please make sure to switch off any
2:34multiple
2:35finally we will have a few chances for
2:39questions at the end we're using a
2:41mobile app for you to ask your questions
2:42the QR code is on the police card that
2:45was on your chair so if you want to ask
2:47questions simply
2:48um and put them through the QR code at
2:51any time during the session and the
2:53panel will come have a conversation with
2:55chef at the end and raise some of your
2:57questions
2:58I now like very much to invite M plus
3:01director see Hunter Raphael to introduce
3:04chapter
3:06[Applause]
3:15welcome welcome I think I can be some
3:18Australians in the
3:20in our audience there
3:22but
3:23um actually more than Australians the
3:26world is here and we are so happy to
3:29welcome you to n plus and to our other
3:32week it's phenomenal for us to be at
3:35this moment
3:37to celebrate something really important
3:39for a museum world but also for
3:43cultural world and there's the opponents
3:47to have a
3:48and the studio is clear the entire team
3:54so it is really a delight to welcome
3:57Jacques Herzog who is of course founding
4:01partner of hotel and the and one
4:06of the key architects of this project
4:09he really doesn't need much introduction
4:12but outside is led by the two Founders
4:17Stratford song and play tomorrow
4:19together with the current partners and
4:21seeing you
4:23the cactus was established in Basel in
4:261978.
4:28and today an international team of over
4:32600 collaborators are engaged in a wide
4:36range of projects across Europe the
4:38Americas
4:40and Asia
4:42the main office in Basel Works in tandem
4:45with studios in Berlin and Munich Paris
4:48London Hong Kong New York San Francisco
4:52and the site and the site offices in
4:55Copenhagen and Jerusalem
4:58a truly Global Farm parts of an Imran
5:02has received Awards including the
5:04principal architecture surprises in
5:062001.
5:081 the riba Royals gold medal
5:101007 the premium in Imperial
5:142007 and the bees Crown pool America's
5:18prize 2014.
5:2110 years ago Herzog enter was
5:24selected to design
5:27what a Visionary decision that was
5:31and finally
5:33this week this this weekend yesterday we
5:37were able to Welcome All of departments
5:40from Basel to see
5:45the completion
5:46of this Museum
5:48from their eyes
5:50of course it is filled with art programs
5:54and audiences
5:56just yesterday we had what is our second
6:00opening for our International guests and
6:04we had an amazing party to celebrate
6:07it has been an extraordinary Journey
6:10that we have all gone through together
6:12many of us
6:14to deliver this
6:16one of a kind and truly 21st century
6:19Museum of visual culture
6:22and it was our privilege to work with
6:24the founding Partners Jordan Pierre as
6:27well as senior partners
6:33Studio director Hong Kong Edmond Choi
6:35and their teams a truly collaborative
6:39project
6:40to make a bus happen
6:44I think
6:46we have welcomed over just coming up to
6:49three million visitors to the museum
6:51since we opened in November 2021
6:54and I think it's when
6:57the people
6:58occupy this building that you really
7:01understand the genius of design and the
7:05design that is almost
7:08a magic
7:11that hope that it happens
7:14so many Minds
7:17to to think through and make this such a
7:21creative project
7:23but it is almost intangible the beauty
7:28of what cultural institutions mean in
7:31society and as we open during a pandemic
7:35the institution became a place of
7:38respite a place of reflection as much as
7:42a place of Celebration
7:45so we have had
7:47our first first celebration in terms of
7:51the international week now and I'm
7:53thrilled that Jacques is here and agreed
7:55to give this lecture when the when this
7:58house is as we had imagined it to be
8:03with all with horses goes from Hong Kong
8:06and Beyond
8:07also I must express my sincere thanks to
8:12Prada who invited us to co-host Asia's
8:16premiere of Prada frames and the team's
8:19excellent execution
8:21and thoughtful collaboration
8:24the event brings up urgent issues of
8:27sustainability and demonstrates how the
8:29museum can be the container for this
8:33stimulation for this discussion for what
8:36is actually a very serious and important
8:39conversation around environments Arts
8:42architecture and Design
8:45aftershock's lecture I will come back
8:47together with equal European I will
8:50leave curator of design and architecture
8:52to have a further conversation with him
8:55so without further Ado I invite sharp to
8:58come on
9:00[Applause]
9:17comfortable
9:20good evening
9:22thank you for coming and for listening
9:26to
9:27[Music]
9:27um
9:29found is the title of that presentation
9:33that you lecture as I call it at around
9:37and 4m plus here in Hong Kong
9:42found this
9:44the name of that lecture because I would
9:48like to put it in the foreground and
9:50present some projects around that
9:55words that turn
9:57from very early beginnings
10:01to a much later projects
10:04all of those projects are very different
10:06but have something that connects them
10:08like a kind of a hidden underground that
10:12connects these
10:14um different projects
10:17found is also a term that
10:21in those early years we didn't use
10:24consciously but unconsciously we're
10:28looking for something that could be
10:32our approach
10:34in 79 just a year after we started our
10:40office here myself without employees
10:44Without Partners at that time
10:46later yes many projects I presented yes
10:51of course with partners and teams
10:54but in those early days in the 70s that
10:59was a time with beginning
11:02postmodernism with deconstructivism all
11:07things that we
11:09didn't like at all we hated and we
11:14needed to find our own approach to what
11:18architecture could be to create a kind
11:21of a path on which we could enter this
11:25world of architecture
11:27and um
11:30so we started also doing competitions
11:33and the first competition that maybe not
11:37the very first but one of the first was
11:39marked bloods in Basel
11:42that is um
11:45a project that we did in 79 and we
11:49surprisingly won that competition as
11:52totally unknown young team and reworked
11:56the project several times but it was
11:58never realized
12:00the mark plot is a Public Square in the
12:04center of Basel in the inner city in the
12:06historic City
12:07as the name says
12:09features Market stands almost daily and
12:16in those years in the 70s that is as it
12:20was a trend there was a trend to
12:23unnecessarily decorated public squares
12:26with chandeliers with
12:30benches with all kinds of Pavilion and
12:34as I said unnecessary stuff
12:37and we
12:39um being pupils of Alder Rossi who has
12:44trained Us in learning from the city
12:46from the historic city were looking
12:50into what
12:52what is around us and this fragment here
12:56shows you anyway
12:59maybe in addition to what I said about
13:02found
13:04finding something is a strategy which is
13:10based on
13:12looking based on
13:15perceiving based on
13:19looking in a creative way in a way that
13:24discovers something and in fact is an
13:28artistic practice that wasn't very
13:30common in architecture
13:33finding is related to the Here and Now
13:39and to discover something that allows
13:45you as a Creator as a architect or as an
13:49artist
13:50to use what is there what is in a given
13:55context in a given ground and especially
13:59when it comes to architecture you can
14:01understand that when someone says well
14:04this architecture is made for this or
14:06that place many people say that but very
14:09rarely this is the case because many
14:11things are very ubiquitous and finding
14:15means that you identify given structures
14:20around or in the ground as we will see
14:24that literally make a piece an
14:28architectural piece
14:30specific for a place the term of
14:33specificity which we also introduced at
14:36that time is tightly connected to the
14:40term of found
14:42The Market Square as you can see here
14:46is in the center of Basel and when you
14:51look at the center is a typically
14:55medieval city center which has these
14:59strangely seemingly organic forms
15:03which is not because a designer has
15:08designed it accordingly but because
15:11people were forced into this form into
15:13this shape which of course is a result
15:17of a former River that was flowing there
15:22as you could see on a plan that we
15:25found in the archives and redesigned
15:29where you can see that till the early
15:3120th century part of that River were
15:35still openly flowing through the city in
15:38the very old times that River was used
15:40as a kind of a cloak where people would
15:43throw everything in so necessarily they
15:46covered it in the course of the
15:48centuries especially also in that part
15:51of the marketplace
15:53this River was tunneled and was hidden
15:57away in the Consciousness and awareness
16:00of people but we found something
16:03interesting in that very River so
16:06instead of Designing something we went
16:10to discover we went down in that tunnel
16:14some of it can be seen here that was
16:17built in various fragments in the course
16:20of the centuries much of that tunnel is
16:24still a medieval structure you can see
16:27here Pierre and myself in that tunnel
16:31around the year 1979 quite a funny
16:34picture
16:37the plan we did the first one was just a
16:41fountain a fountain that as you can see
16:45in the center was having a kind of a
16:49waterfall so the water was being pumped
16:51up into the fountain and would go down
16:55onto the river so it was just a kind of
16:58reminding people of the existing
17:01existence of that River later we
17:05reworked the project and made it even
17:08more
17:10discreet we saw these rosettes of pavers
17:16from the 19th century and we found it
17:19very interesting to take one of those
17:23the central one and punch a hole in that
17:27surface
17:28take away some pavers and create a kind
17:31of a space like an ear connecting the
17:35surface of the square with the tunnel
17:39with the tunneled river underground and
17:42would use that in between space as a
17:45kind of an acoustic sculpture so that
17:48passersby would hear the noise of the
17:52Hidden River as
17:54as a kind of a sculpture for those who
17:59would be interested in that hidden piece
18:03of nature
18:04that was like a very early
18:07um and very early example of a different
18:13attitude towards architecture towards
18:16the city and towards the current trends
18:19in architecture against
18:21decoration against
18:25Furnishing the public space
18:29not much later
18:31three years later we were commissioned
18:33to do a house in Italy near the coast in
18:39liguria in a Mediterranean Coast not far
18:42away
18:44in that landscape that as you can see
18:48almost doesn't have any buildings it's
18:51almost like
18:53um Jungle
18:55um because it is a kind of a abandoned
18:59agricultural
19:01site
19:02with lots of ruins of
19:07former Stables or
19:10abandoned Olive and wine Groves
19:14we found that very interesting because
19:16the material to do something was lying
19:20around was literally to be found and
19:22collected gathered piled up to create a
19:26new building
19:28as a form we did not really want to do a
19:34form we very often do not want to do a
19:36form but to find a form we said we take
19:39this Cartesian grid a kind of a saluting
19:42structure
19:44this cross which is dividing into four
19:48pieces or you could also say four pieces
19:51are coming together to form a hole so
19:54it's also kind of almost philosophical
19:56question is it the division or is it a
19:58sum of different forms in a way it
20:01doesn't have corridors it doesn't have
20:03serving spaces it just have Spurs spaces
20:07which are
20:10um identities in themselves and together
20:13make for the building this is the naked
20:18structure the pure structure which we
20:21then filled in with the before mentioned
20:24stones that we collected and we piled
20:27them up and filled them into this this
20:31Cartesian grid without mortar we wanted
20:34even the stones not to be altered we
20:38wanted to just shell them like you
20:42Shelf books into a bookshelf
20:47this produced a rather beautiful
20:50structure that was
20:52very successful with the architectural
20:54media so that was a very important step
20:57for ourselves to be seen as young
21:02architects
21:06mainly it has a one floor with these
21:10four rooms and above it has an attic
21:12with views across the landscape that I
21:15presented before
21:19um
21:19and astonishing the building is still
21:21there and
21:23um
21:24is still um
21:26being
21:27um
21:28used as a as a
21:32private house
21:34much later actually
21:37Ricola with whom we collaborated
21:41over years over many years was offering
21:45us a new project we've done certainly
21:49about five or six buildings with them
21:52and since they are amazing clients
21:57because they trusted us and they came
21:59back many times
22:01we became also friendly with them very
22:06much so and we knew that doing a project
22:09for them a herb Factory a herb Center I
22:14mean a building where producing dried
22:18herbs and store up dried herbs dried
22:21dried herbs for their products
22:25would be interesting in the context of
22:28the landscape in the context of new
22:32construction methods new technologies
22:34that would benefit
22:37both the client because it's making
22:41their product more naturally it enhances
22:44their
22:45original brand and also their ambition
22:48and on the other side it helps us to
22:52continue our experimental path with
22:55materials with giving materials matter
23:00serious role not just a decorative role
23:04a serious role in that
23:07um
23:08the landscape again where we do the
23:11building in not far from Basel Southwest
23:14of Basel in the Jura mountains as you
23:19could see on that quarry the jurora
23:21mountains is a parallel mountain chain
23:23to the Alps
23:25the two mountain chains the Alps and the
23:29Jura are basically defining the shape of
23:31Switzerland and the Jura mountains as
23:35you can see in that image is basically
23:37geologically shaped by Limestone clay
23:40Lewis
23:42a fantastic materials to produce
23:46Ceramics and you all may have heard of
23:50laoven the brand name for a company
23:53which is producing
23:55um
23:56state-of-the-art porcelain for sanitary
23:59objects worldwidely
24:02the building that you see in the middle
24:04of the image is can hardly be seen why
24:08because the material we use is from that
24:12very ground is Earth is kind of Earth
24:15and clay in a very interesting
24:17combination which is reflecting of
24:21course the color the landscape itself
24:23has
24:25when you look at it from a certain
24:27distance
24:29from closer you can see that what we've
24:32done resulted in a very simple structure
24:36has a normal archaic expression
24:40and a certain Elegance even if it's so
24:44um
24:46Elementary I would say in how we did it
24:49you can see on a few images
24:51we the process in itself was very
24:54interesting because we were looking for
24:57a existing storage building nearby where
25:01all the materials could come in all the
25:03ingredients like for cooking gravels and
25:05Pebbles of different sizes
25:07and where we could mix together those
25:11products we were working together with
25:14Martin Rauch with the best expert
25:17worldwidely to produce
25:21um
25:21Earth walls of all kinds all kind of
25:26Technologies
25:27and we also developed something
25:29especially for this building in that we
25:33didn't pour those walls we didn't press
25:37it but we did a kind of prefabrication
25:40with slabs
25:43in those storage buildings that would
25:47later be manually operated and prepared
25:50for the site the construction site where
25:54they would be piled up like a kind of a
25:57huge Masonry
26:00where then the joints would be filled
26:04with Earth again to make this very
26:08smooth
26:09wonderfully haptic very very nice
26:13tactile surface everybody who goes visit
26:17the building wants to touch the building
26:20is like a material you could almost eat
26:25also from inside of course it's the same
26:28materially it has a very interesting
26:30permeability but also a very great
26:33stability it's a great material a great
26:36inertia to keep the material the
26:39products in a stable climatic condition
26:44outside as I showed before and another
26:47slide
26:49the building is quite elegant you see
26:52those horizontal lines which are very
26:55thin cement lines
26:57which are introduced in order to prevent
27:00the wall from Rapid erosion
27:03so they are like barriers
27:06and at the same time they lent the
27:10building a kind of a horizontal
27:13um
27:14topography which is remindful almost of
27:18old Italian
27:21Palazzo
27:24the shaolager also a project which came
27:28later but now is more than 25 years ago
27:31that we could do this super important
27:34building for our career demonstration
27:40um from the client Maya Urie who
27:43invented that typology that was
27:46radically new then in the art World
27:50um as show storage which combines which
27:53is a kind of a hybrid between the museum
27:56with a public face and a storage with an
28:01unpublic space which is very opaque
28:04almost hidden away and I think this
28:06image expresses this double function
28:09quite a bit
28:12um a show storage is made in order to
28:17present works of art
28:19openly
28:21not in crates like in all other museums
28:25at that time in crates where you cannot
28:27control how artworks behave when you
28:30don't look at them where can can degrade
28:32and can
28:33be damaged and the interesting thing is
28:37to present them openly but in a more
28:40condensed way is that you don't need to
28:42build so much expansion unnecessary
28:44Museum expansions all over the world but
28:47you can compress it condense it more and
28:50can nevertheless leave it the building
28:52open for Scholars and other visitors
28:56which are asking for
29:00getting admission which is
29:03very often the case and which works very
29:07well over the years
29:10you can also see that in that wall which
29:14we will speak about a bit later that the
29:18solidity and the permanence
29:23the inertia the stability of the walls
29:28of the whole building is key to reach
29:31the goals of a show storage where these
29:35very valuable very precious artworks are
29:39being stored away very fragile artworks
29:41so the building necessarily has few
29:45Windows doesn't have much daylight just
29:47the necessary daylight for people
29:50working there researchers Etc
29:53and of course the public phase as you
29:56come in which allows people to get an
30:00overview where am I where is the artwork
30:03I want to see it has some
30:05semi-permanent art installations it has
30:09some occasionally it has exhibitions and
30:13in the upper floors in these condensed
30:17in this condensed way that I described
30:20before it has a kind of cells for each
30:24artist or each artwork where artworks
30:28are presented like in the museum like
30:32they are to be seen But much closer so
30:36you would
30:38um you would not need to expand as I
30:42said unnecessarily museums
30:46in that case here unlike uh the Ricola
30:51building where the material came from a
30:54quarry uh nearby
30:58as we dug a hole in the Charlotte site
31:02shalak is at the southern periphery of
31:05Basel
31:07you dig a hole and you find this
31:09unbelievable deposit of gravel and
31:12Pebbles that the Rhine River was
31:16bringing there in the course of millions
31:18of years that's super valuable treasure
31:24almost hidden in the Earth
31:26and
31:27in that respect the Sherlock could be a
31:31demonstration or an ideal example of how
31:34we could build in the future in the
31:37future an ideal construction is wherever
31:40you build a building wherever even on
31:43the moon you can dig a hole and what you
31:46dig out can be used to do the building
31:49in that case
31:51really that's what happened we dug out
31:54the ground and took the gravel and the
31:57Pebbles away piled it up and did the
32:00concrete for the entire construction out
32:03of those of this material originally we
32:07wanted to do earth walls but the
32:09building was too high and it was too
32:11dangerous to just use Earth without
32:16cement so it is a kind of a concrete but
32:21the material all the heavy loads that
32:24normally will be brought onto a
32:27construction site from far away with
32:29tons of canyons and lorries could be
32:33saved
32:35later
32:36the concrete walls the Pebbles were
32:40brought to the four Again by manual
32:44manipulation of the surface
32:50surface which then
32:52um
32:53brought to the Fort the original quality
32:56the original also Beauty and size of the
33:00material that we used
33:02for this building
33:06quite later
33:08another project where where we could
33:12work with the underground in a again
33:16different way is a certain time Pavilion
33:18a project we did in collaboration with
33:22our artist friend AI weiwei
33:25we also dug out the ground but
33:29in contrast to the shaolago we didn't
33:33use the material that we dug out we were
33:36looking for something different we were
33:37looking for what was left from the
33:40previous Pavilions we knew that I think
33:4411 Architects had done the Pavilion
33:47before
33:49all of which
33:51somehow interesting with their own
33:53beauty or their own narrative their own
33:56whatever history
33:58and again without
34:00inventing something we were trying to
34:04find something and of course finding
34:07something uh
34:09is more easily set than done but here
34:13the idea was to find traces of previous
34:16Pavilions and we overlaid them as you
34:18can see on some of these sketches we
34:21overload laid them and created a very
34:24complex
34:25mixer of traces of the foundations of
34:30previous Pavilions some of that of those
34:32foundations were still physically in the
34:34ground but we were more interested in
34:37the uh in the theory in the virtual rest
34:41of those Pavilions that we overlaid and
34:45in the intersection of those overlaid
34:47plans we could identify connections
34:53that we then extruded
34:55and created very strange freaks
34:59sculptural freaks that would make for
35:02the shape of columns and create a
35:06landscape
35:07that were of steps and benches that
35:12people could use like in a kind of a
35:14fantasy garden with areas where you
35:17could walk through with areas which were
35:19more intimate and some were more public
35:22as you know the the Pavilion is always
35:26used for public discussions for
35:29presentations to just hang around to
35:32meet friends and we
35:35used cork to cover those traces that
35:40were left in the ground or that we
35:42discovered in the ground and cork is a
35:46material that is nice because it's very
35:49beautiful
35:50feels very good when you touch it quite
35:53warm
35:54and it can be reused it can be
35:57reassembled and be reused in a different
35:59place all elements that are increasingly
36:03important and nevertheless created a
36:07very specific very unique atmosphere
36:10as you can see here we also developed
36:12this Corker this kind of stool that you
36:16can still find on our website as a
36:20leftover of this Pavilion
36:24as I said I think it worked very well it
36:27was very successful in in uh in its few
36:31months that existed in the summer
36:342011 I think or 2012 in London
36:39um we covered it with this simple thin
36:43roof uh thin in the literally a thin
36:47roof a thin layer of water which would
36:49reflect the sky
36:52and offer an interesting pool for the
36:57birds who you which you who used it
37:01very frequently
37:03I quite like this image because it
37:05reflects the sky it also reflects the
37:08trees it has something very ephemeral
37:11very detached from the earth and in
37:15contrast to the cork landscape to the
37:19Unearthed
37:21um
37:23Unearthed traces we found in the ground
37:27an image which is in a kind of a special
37:31way also
37:33remindful of what we have here at M plus
37:36as we will see we also have this kind of
37:38figure of the earth and the sky together
37:43like something a figure a human figure
37:45which is opening up
37:50I cannot
37:52speak about all these things that we
37:55found without talking about Tate modern
37:58and Tate modern in itself the fact that
38:02Tate modern exists
38:05was discovered as a site by Nicholas
38:08Sirota already in itself is a
38:11super example of finding something
38:14because to identify this totally hidden
38:17away Castle
38:19in the south of London was very
38:23important nobody actually knew this site
38:26and especially it was totally I wouldn't
38:29say abandoned it was never really news
38:31it was never really a part of the city
38:34I like the summit because it juxtaposes
38:37the Tower of Tate modern with the Dome
38:40of Saint Paul's the still today most
38:43important building in London most
38:45beautiful building in London
38:47a Monumental building
38:49that the architect such as got of Tate
38:55of bankside Power Station was very
38:57consciously positioning
39:00against each other
39:02so that's an example of finding but of
39:06course we were very consciously
39:08continuing this narrative in that this
39:11juxtaposition was continued in how we
39:16developed the project with the light
39:17beam above across uh Saint Paul's
39:21Cathedral
39:22this image of the opening of the
39:25bankside power station in the early 60s
39:28also highlights the importance of that
39:30Tower as a symbol of an industrial
39:34World in London in a I would almost say
39:40pre-modern time even if it was already
39:42post-war
39:44but indeed if you look at how the
39:46building was constructed in the late 50s
39:49you can see that this building is really
39:52heavily heavily anchoring itself in the
39:55ground in the ground in the southern
39:58shore of the River Thames
40:01and why because the boats had to bring
40:06the oil to fuel the bankside power
40:08station which was going to produce
40:10electricity for decades in London brings
40:13together earth and water
40:16and it heavily anchors itself deep into
40:19the ground of that site
40:23please look also around the bankside
40:25passage that is about only 60 years ago
40:29when now this whole site as a result of
40:33the success of Tate modern is surrounded
40:35by an ugly ocean of high rises of towers
40:39all as a result of this radical
40:42transformation of this site
40:47that's how we found Tate modern bankside
40:50Power Station when we all visited the
40:53building all competitors for the
40:55competition and we immediately saw uh
41:00you know again the intention of the
41:02architect with this big window in the in
41:05the back you can see easily the connect
41:06the context or the kind of Association
41:09to Basilica to church to Cathedral to
41:12something public something important
41:15and we wanted to further tell that story
41:19to to enhance that narrative make that
41:23turbine Hall into a real tall public
41:27space make the unpublic the most public
41:31space at all in London and so we dug out
41:36the entire turbine hole to the lowest
41:39point that you saw before on that early
41:42image when bankside power station was
41:46constructed we literally take a while
41:48away every every part that down to the
41:54foundations inside and outside so we
41:57could bring in
41:59the ramp into Tate modern
42:03so that finally the queen in the middle
42:06could open it in the year 2000 and this
42:10image is
42:11funny because it shows the queen walking
42:14down and opening Tate modern in the year
42:182000 the same Queen who in the early 60s
42:23was opening bankside Power Station as a
42:27power station
42:28you can also see on that image I mean
42:31you all may have been at Tate modern
42:33that it really works as a public space
42:37it became suddenly the most visited
42:40public space in London certainly within
42:44inside the museum and also the olafu
42:47Eliason installation on the right hand
42:50side maybe on the left-hand side from
42:52you no on the right hand side
42:54is one of the successful art
42:57installations which were made possible
43:00with the creation of that space that as
43:03a space in that Dimension has not been
43:06available before for contemporary
43:08artists
43:10but after having opened that building we
43:14continued we knew that there was more we
43:18knew that there were these oil tanks in
43:22the ground that had a huge potential
43:26to
43:27offer
43:29unexpected and unlikely spaces unlikely
43:33Gallery spaces for
43:34Contemporary Art but also for even even
43:37traditional art you can also show
43:39paintings in these
43:42impossible conditions
43:45that of course have become now familiar
43:49to everybody but were not at all 20
43:52years ago
43:54and these spaces were then of course
43:58adopted by artists for video
44:01installations for performance art for
44:03projections for all kinds of also
44:07acoustic sculptures music
44:10Etc and public gatherings
44:14um on that image you can see that the
44:17existing structures of the oil tanks
44:19these existing raw concrete structures
44:22were
44:24added
44:25by our own structure those inclined
44:30pillars which were the foundations the
44:33tanks were the foundations from where
44:36the new building shoots up towards the
44:40sky shoots up
44:42like this spiraling stare from those
44:46underground spaces or all tanks which
44:50are now the roots of Tate modern into
44:54the tower which hosts public spaces for
44:59members for children for Education
45:02etc etc
45:04till it um
45:06shows it
45:08exterior
45:10cladding which
45:13lends the same physical expression from
45:16the existing building this brick
45:18cladding which brings these two
45:20buildings together both of which are
45:24rooted deeply in the London Underground
45:28finally
45:30M plus I think would not have been
45:33possible without this whole history this
45:36whole narrative even if there was not a
45:39never a conscious
45:41reference or relationship when we worked
45:45on this project and the competition
45:48indeed
45:50that we were offered and invited to do
45:54described the tunnel that runs through
45:58the site as a kind of a
46:01hindering the project and everybody
46:03would need to be careful to
46:07um to somehow not stumble over it and
46:12literally we wanted to stumble over it
46:15and um these three images describe a
46:20little bit the transformation of that
46:23part of Kowloon in that it's reclaimed
46:28land as we can see it's built with
46:30material that comes from the
46:32construction of many Towers in Hong Kong
46:34so it's literally the material from the
46:37building from from excavation was
46:39deposited there
46:42and
46:43build a kind of an island
46:46and that tunnel that you can see was in
46:50fact of course like a kind of a body of
46:53a huge animal that we wanted to discover
46:58we didn't want to hide it we wanted to
47:01bring it to the fore because it was
47:04there and you cannot
47:07live with a dead body in the ground
47:10without giving it a certain life a
47:13certain presence a certain importance
47:16especially since a tunnel a trained
47:19tunnel is so much Hong Kong this kind of
47:23element of dynamics of expression of
47:26Vitality of speed
47:29the the
47:33um proximity of the train of the airport
47:37and Hong Kong was too seductive not to
47:43be used and it's also interesting as
47:46this slide shows that
47:48we adopted the Cartesian order of the
47:53master plan and to a very strict in this
47:55Cartesian order very strict in this
47:58linearity and accepted the dynamic and
48:01the diagonal organization of the tunnel
48:04as an element of surprise so we didn't
48:08need to invent form but we were given
48:11that form we excavated the tunnel but we
48:14covered it again with concrete so we
48:18would create spaces that were raw we
48:21didn't discover a space like in Tate but
48:23we discovered an object and turned it
48:26into a space so it's like a different
48:29sculptural method almost but it's a
48:33similar
48:34similar mental or intellectual operation
48:38I think this image is quite telling
48:41because it also
48:43reveals this kind of strange combination
48:46of something
48:49almost scary it is like an abyss but
48:52also something seductive
48:56the plan reveals this kind of paradox or
49:00this kind of um congestion you know this
49:04kind of clash of geometries the
49:06orthogonal one on the top where you can
49:09see all these dark rectangles which are
49:12like different buildings even if it's
49:14cores of different activities like in a
49:17city where you have Cinemas you have
49:19exhibition spaces you have public spaces
49:22you have restaurants you have the
49:24auditorium you have all these different
49:26functions that come together and welcome
49:28people as they come into the building
49:29unfortunately it still doesn't have
49:31enough art but that will change as I
49:34have been told by suhani and her team
49:36and you can see down into this Abyss
49:40onto insulations and activities that
49:44normally you wouldn't have in a in a
49:46museum
49:49and this kind of combination of this
49:51kind of in-depth look into the building
49:54as you come in is certainly one of the
49:57key things we wanted this Museum of the
50:0021st century to have more than any other
50:02building because this is a museum where
50:05Visual Arts not just High art in the
50:09traditional sense but all kinds of
50:10literally spoken diversity is
50:15um being presented immediately when you
50:18come in
50:21it's also very important as I showed in
50:23the case of the Sherlock as you come in
50:25you see down but you also see up and the
50:30M plus is
50:32like a human figure
50:35we excavate the ground it's roots in the
50:38ground like a human fig you stand on the
50:40feet if you cannot stand on your feet in
50:43the morning and you start to
50:46stumble and you are not you're not on
50:48your feet you cannot really stand up and
50:51lift your head and lift your head
50:53towards the sky in the vertical
50:55Direction that's What Happens here as
50:57you watch through this slit you can see
51:00the slab that goes up
51:03above that Abyss
51:08that diagram reveals that more and also
51:13shows why the building is what it is it
51:17has this kind of excavated
51:19underground like a kind of a
51:22contemporary archeology and then
51:25naturally even the child would do this
51:27you build a cover like a roof you just
51:31cover it so logically it's it's
51:34horizontal and horizontality is
51:37what you don't find in in
51:40Hong Kong
51:41horizontality is a luxury somehow so
51:44it's important to have that moment of
51:48Tranquility of calm of something that
51:52covers you know and covers really people
51:56and artworks and this kind of cover this
51:59kind of Podium as we called it then is
52:02the place where
52:04more traditional galleries this whole
52:06floor
52:07is are arranged galleries of a huge
52:13diversity as we will see later but this
52:15is the place of the of the actually the
52:18collection and the exhibitions where all
52:20the other parts are more public are more
52:23unexpected are more Wild and the birth
52:26we have this slab that we will talk
52:30about a bit later again
52:32logically when you have such a slab
52:34hovering it has to behold to be held in
52:38in in place and that happens with these
52:43huge spans spanning across like a bridge
52:46above this archaeological site and
52:50that's why these trusses are as they are
52:52you could find them when you walk in the
52:55podium
52:57you can see them it they express the
53:01um strength the forces that are required
53:04to span across that archaeological site
53:09so that again is important because this
53:13kind of
53:14structural forces are expressed because
53:18it needs to have this kind of effort to
53:23cover this entire site so that again
53:26this kind of architectural forum is a
53:28logical meta wanted consequence it's not
53:31a technical form it's not high-tech
53:34architecture it's to do immediately with
53:38this idea of something found
53:43this area that you see is the foyer in
53:48that slab in that hovering slab around
53:50which then are arranged all the
53:53galleries that seem to be hovering
53:56effortless from outside as effortless as
54:01the slab is erected above it
54:07on that slide you can see all the
54:11diversity all the different galleries
54:14wrapping around as you when you walk
54:17through the sick galleries when you walk
54:19through the reconfigurable spaces to all
54:22other spaces even the focus Gallery
54:24under the slab you could see how large
54:28how big this museum is and how many and
54:33that's very key opportunities there are
54:36for curators and artists
54:39to develop their own thinking to develop
54:43their own
54:44diverse concept of looking at the world
54:48because that's ultimate ultimately what
54:51art is doing
54:53that more traditional and very
54:56unconventional forms of art can be
54:59presented in different light conditions
55:02like here with natural daylight from the
55:04top and here from the side
55:07with views
55:09or more concentrated with opaque
55:12ceilings different kinds of artificial
55:15light and different floor conditions
55:17different wall conditions and Views into
55:20courtyards
55:21and even this bamboo Gallery which was
55:23conceived origin as the ink galleries
55:26have a very more delicate more intimate
55:29spatial quality
55:33and breakout spaces with views with
55:38benches to meet to chat to just
55:43hang around
55:45and finally the auditorium the cinema
55:48where we sit now is part of that slab
55:52cutting through the slab reaching the
55:55floor below
55:57and I like also this Gallery under the
56:00slab the focus Gallery because the walls
56:03you see on both sides is part of this
56:04great this girder that you saw with the
56:07diagonals which are expressing the free
56:09shift forces so these sheer forces
56:12structural forces are part of the
56:14aesthetic of the gallery
56:17and this Focus card is right beneath
56:21right below this slab which sits on the
56:25podium which as you could see perhaps
56:28yesterday evening has
56:31really nice Gardens
56:33that invite people to hang out
56:39to meet to talk
56:42to hang around to be together
56:47slab itself is very thin
56:51I said mention the podium is a very
56:54modernistic element almost like the
56:571960s horizontal as opposed to the
57:00vertical City
57:03a paradox in Hong Kong
57:05and enhances also the slab so both work
57:10together very well the slab is very thin
57:12so it's very transparent also very
57:15modernistic in its concept like a
57:16skeleton rather than a fat volume that
57:19surrounds this very slab it works very
57:24well in itself
57:26during the day it's quite beautiful
57:28because of this transparency so it has a
57:31very uncommercial
57:34Dimension developers would hate that
57:36kind of volume because they couldn't
57:39have enough program in it but it's in
57:42fact interesting
57:43of course for the bar for the restaurant
57:46for offices but also you could bring art
57:48up there originally that was the plan to
57:52have art also in the tower because why
57:55is a tower interesting in Hong Kong
57:59obviously because that's the city of
58:03millions of towers and interestingly in
58:07Hong Kong everybody can live in the
58:10tower it's not privileged people you can
58:12also have and that we've seen we've
58:14visited artist studios in towers that
58:16was very surprising to see you know
58:20graphic designers photographers
58:22fashion labels in towers and that was
58:27one motivation for us to develop to
58:31conceive a tower for M plus
58:34it was also of course interesting to
58:38conceive a tower for M plus which is
58:40more than a tower it's also a screen
58:43because the LED
58:46technology is inserted in those ceramic
58:50blades that run around the slab you
58:55could see that immediately when the
58:57light is on the physical the physical
59:01condition of the slab vanishes and it
59:05transforms itself in a kind of a screen
59:07in a screen that is like a Troian horse
59:12as I like to call it a troying horse in
59:16the commercial backdrop of
59:19of Hong Kong
59:21the commercial backdrop this kind of
59:23thousands and millions of lights and
59:28the M plus could that compete in size
59:31but can compete in the message the
59:33message is Artistic the message is not
59:37commercial the message is
59:40is like a pirate you know sailing into
59:44the landscape of of Hong Kong and many
59:50artists in the meantime have conceived
59:53site-specific work for the M plus so
59:57videos are not ubiquitous commercial
1:00:00advertisements but they are very poetic
1:00:04messages
1:00:05I especially love this piece by Ellen
1:00:07Powell because it has this poetic almost
1:00:10spiritual quality and it expresses and
1:00:13enhances what I called the erected human
1:00:18figure it's like the feet in the ground
1:00:20and the head above Towards the Sky
1:00:26thank you for your attention
1:00:28[Applause]
1:00:39thank you very much Jack so now there's
1:00:41a honey and I joined the conversation
1:00:47thank you so much
1:00:50um I know we don't have huge amount of
1:00:52time so I just want to begin by saying
1:00:55it's it's fabulous to hear the arc that
1:01:00you constructed for us around the term
1:01:02found
1:01:04um and thinking about archeologies and
1:01:07especially in a place like Hong Kong
1:01:09which is under construction continually
1:01:12we always see building sites as part of
1:01:16the urban environment of of this city
1:01:19and then to think of the whole of Wiz
1:01:22khalun which was
1:01:24sea for so long he gave us a very
1:01:27beautiful photograph
1:01:28of a hundred years ago and to to know
1:01:32that that Harbor itself has
1:01:35become much less generous on one hand
1:01:39but very generous in terms of providing
1:01:43housing for the city
1:01:46from industry for the city but this
1:01:50thought of the MTR lines being what you
1:01:55found as being the basis of making
1:01:58architecture
1:02:00so I I just wanted to ask when you
1:02:03always are invited to make
1:02:06a project
1:02:08do you seek that kind of archeology in
1:02:13your site
1:02:15no actually
1:02:17um I personally don't seek but you find
1:02:21them sometimes
1:02:23um
1:02:24but I think it's a paradox again
1:02:29um you cannot find something
1:02:31um
1:02:32if you're not having this kind of open
1:02:35Ness and this open mind but
1:02:38it's not that we um
1:02:43we feel obliged or we seek like you know
1:02:46because it can have something
1:02:49um a bit um forced or forceful in it and
1:02:54those examples which I showed don't have
1:02:56this kind of forcefulness they are
1:02:59rather relaxed and um
1:03:03and there I could also you know have
1:03:05presented projects where we had to
1:03:07invent everything you know but you try I
1:03:11think as an artist also you try to avoid
1:03:14form if it's not necessary because
1:03:18um many are especially as in
1:03:21architecture you can see works of
1:03:23architecture where you can see there is
1:03:25an effort of the architect to create you
1:03:28know
1:03:30and I always somehow dislike this effort
1:03:34to create
1:03:35so the effort to look before you do
1:03:39something is also I think ecologically
1:03:43more interesting I mean I don't want to
1:03:46abuse this term of
1:03:48ecology but somehow much of what I
1:03:52showed has a kind of a character of
1:03:55ecology
1:03:59yeah totally
1:04:00um because once you started the lecture
1:04:02because I almost wanted to ask when you
1:04:04started the late 70s about postmodernism
1:04:07deconstructions and you said you didn't
1:04:09like that and then you already responded
1:04:12in the beginning of the lecture and then
1:04:14also so that was also very much the art
1:04:16the context but it's also very as a
1:04:19young Architects and then also studied
1:04:21but how did you come to like what what
1:04:24made you you didn't like it you know
1:04:26this kind of drawing you know surface
1:04:27it's actually you know more you
1:04:29open-minded maybe it will lead to some
1:04:31time these findings maybe I'm surprising
1:04:34results and then also collaborative
1:04:37manner that was pretty unusual in the
1:04:3970s I was personally more involved in
1:04:42art and piano then were in the art scene
1:04:45of locality I was myself
1:04:48you know I tried to work as an artist I
1:04:51did also but I then you know understood
1:04:54that architecture would be more my tool
1:04:57to express myself and as I said we have
1:05:01grown up in Basel which is very
1:05:04much a city of Art and so somehow that
1:05:08was tracing
1:05:10our way to some degree you know
1:05:14um but I think it was more unconscious
1:05:17I think to not like what surrounds you
1:05:20as a young person is quite common you
1:05:24know but the question is how can you
1:05:26find out of this and how can you find a
1:05:28way which um is natural and which opens
1:05:31up a path you can also dislike something
1:05:34and then you're getting more and more
1:05:36complicated then you get lost totally
1:05:38it's not so easy to dislike things and
1:05:41to find your own path
1:05:42but you have to do this you know and
1:05:45today I think it's again a very
1:05:47different situation for people who begin
1:05:49now it's again different but to
1:05:52something you have to kill your
1:05:53ancestors to do
1:05:55this and um and um as you know
1:05:59post-modernism and deconstructivism they
1:06:02were recipes that is a recipe and this
1:06:06is
1:06:07you know leading in the disaster you
1:06:10know all the people who worked on that
1:06:12got stuck in their own
1:06:14idiosyncratic prison you know that's so
1:06:18it's um it's you know
1:06:21a sheer question of surviving
1:06:24yeah that you do
1:06:26you do I mean that's how I feel at least
1:06:29yeah and also the ecological the the
1:06:31word you said you didn't want to
1:06:33emphasize it but in long line from 70s
1:06:35to today it's totally
1:06:38you know not been thinking about it but
1:06:40it's also actually finding contest
1:06:42reusing and also materiality and then
1:06:45the way often the very significant your
1:06:48mini project in our case is also time
1:06:51but it's a craftsmanship by you
1:06:53challenging them quite a simple material
1:06:55but you continue to challenge the
1:06:57Craftsman or Artisan to make it simple
1:07:00but something they never tried that also
1:07:02leads to something preserving the
1:07:05materiality and the craftsmanship to the
1:07:07Future so which is also very very
1:07:09amazing I think yeah I think there's
1:07:12another aspect of ecology which is being
1:07:14careful I think
1:07:16whatever you do you should do it with
1:07:18care uh that's what we like so much
1:07:22about Asian culture you know I mean
1:07:25Chinese and Japanese and also Korean
1:07:30Traditions art traditions have that even
1:07:34more let's say at least
1:07:37at First Sight you know carefulness and
1:07:41fragility are very
1:07:44amazing and surprising
1:07:47um I would say aesthetic moments you can
1:07:50you can and when you have when you
1:07:53understand that then you go this way
1:07:55then very logically you don't waste so
1:07:58much unnecessarily
1:08:00just for
1:08:02um for audience to realize that when Eco
1:08:05and you were talking about crafts it's
1:08:08also referring in in relation to and
1:08:11plus our beautiful
1:08:13terracotta the Terracotta that clads so
1:08:17much of the museum and with very
1:08:20distinct detail
1:08:22and how you worked with
1:08:27studios in Italy to make this wonderful
1:08:31terracotta which refers as you say back
1:08:34to
1:08:36um
1:08:37architectural details here in in China
1:08:40the roof tiles and so on yeah the the
1:08:44ceramic is of course a very important
1:08:47material in Chinese traditions and
1:08:50paradoxically the Italians were offering
1:08:52better quality and for a better price
1:08:54that's why we took the Italian ones but
1:08:58you're not talking about ecology this
1:09:00building is
1:09:01I mean radically concrete and ceramic so
1:09:04from
1:09:06today's perspective this is all
1:09:07forbidden CO2 wise this is a disaster
1:09:10but you could not do a museum of that
1:09:13dimension in that Urban condition above
1:09:16the kind of train tunnel uh just doing
1:09:19it in bamboo or wood or something like
1:09:22that and also given the kind of
1:09:23liability issues and all the
1:09:25preservation issues that are coming with
1:09:29artworks today it's it would be
1:09:31impossible to do it without those
1:09:35materials and again I think when we talk
1:09:39about ecology in environmental issues in
1:09:42such a context we have also to see speak
1:09:44about the time we're talking about uh I
1:09:47think it's it's different when you use
1:09:50those very precious and um and CO2
1:09:56let's say um
1:10:00bound an energy materials
1:10:04if they are in such a long-term
1:10:07perspective as a museum is considered to
1:10:11be it's a different thing you know when
1:10:14this building survives 100 years or even
1:10:16more it's different than if you build an
1:10:19urban infrastructure and you take it
1:10:20down because you need to rebuild the
1:10:22highway and you change all the time you
1:10:24destroy something so the the quality of
1:10:27the the energy of transformation of
1:10:30Architecture is a key
1:10:32um question you know and the materials
1:10:35that we use should have that quality to
1:10:38to sustain you know many generations
1:10:44I was also just going to ask what your
1:10:47Reflections were in relation to the city
1:10:51of Hong Kong when you
1:10:53um when you're got this Commission
1:10:56because it is a it's a very particular
1:10:59kind of City you
1:11:01it's a small City when you think about
1:11:03it in relation to population
1:11:05of Asian cities seven and a half million
1:11:08yet at the same times very dense very
1:11:10vertical
1:11:11and then thinking about making a very
1:11:14creative piece of architecture what
1:11:20um I mean it's very interesting that you
1:11:21made a
1:11:23emphatically
1:11:24horizontal piece of architecture in this
1:11:28vertical City it feels like it's in
1:11:31um it's a it's a response well as I said
1:11:34I think the horizontality is a result of
1:11:36this kind of a vertical
1:11:38um vertical
1:11:41search in the ground and of course also
1:11:45this kind of
1:11:47horizon that the podium expresses is of
1:11:51course a contrast to the to the
1:11:53verticality of the city so that's a
1:11:55wanted
1:11:56gesture but also I think that we are
1:11:59luckiest Architects that we were winning
1:12:02this competition and at the same time we
1:12:04could do the police station
1:12:06transformation Tycoon which is something
1:12:09we have another tradition which is
1:12:12restoration renovation and
1:12:14transformation of
1:12:16um of buildings I showed Tate modern but
1:12:19many other things we've done in the past
1:12:22you know the Kaiser Forum in Madrid and
1:12:26the start Casino in Baseline many
1:12:30um
1:12:31projects have that sense of
1:12:33transformation and to do I mean if you
1:12:36visit tycoon in the scale and the kind
1:12:39of approach of materials and there are
1:12:41also the sequence of spaces and the the
1:12:43accessibility from the street and the
1:12:45courtyards is a totally different Urban
1:12:48Behavior and it's important for a city
1:12:52to experience those totally different
1:12:54architectural typologies you know it has
1:12:57also a different role it's more like a
1:12:59Style versus a museum but to have
1:13:02both things for an architect as a
1:13:05demonstration of what should the city or
1:13:09can a city of that Dimension offer to
1:13:12people is of course fabulous
1:13:16even if we don't think that Architects
1:13:18need to
1:13:20um to demonstrate
1:13:22skills or their leave traces of their
1:13:25Style
1:13:26that's not what I want to say what I
1:13:28want to say is that we want to offer
1:13:30diversity in in through our buildings
1:13:34and then responding to this the context
1:13:37of this place that I would like to take
1:13:39you one question which disappeared but I
1:13:41will remember so it was a little bit
1:13:43about the oceans and it was the Tate was
1:13:45also in the Waterfront but there was any
1:13:47particular the thought about this site
1:13:50and this Empress building to the
1:13:52relation to the water
1:13:54yes the water in the sense that it is
1:13:58visible across the water I think the um
1:14:04the screen that you see
1:14:07his project would be totally nonsense if
1:14:10you did it in London even if it was also
1:14:13on the river you know it was it would be
1:14:15too big it would be too overwhelming
1:14:19this is uh has a hard time struggling
1:14:22itself through these commercial signs
1:14:25but that's why it is there and the water
1:14:29is creating a gap but it's not let's
1:14:32let's say
1:14:33you know even if we all dream of having
1:14:36ferry boats or whatever to approach this
1:14:38site like in a buckling painting you
1:14:40know when when you approach the island
1:14:42of the death maybe one day this can be
1:14:46done or it has a Venetian side to it I
1:14:50was almost against this kind of
1:14:51postmodernistic design the language
1:14:54there's among the many signs and we make
1:14:56another unsigned but in the same form
1:14:59also because we would like to have a lot
1:15:01of discussion but it's also running out
1:15:03of time so as you said it's not about
1:15:06the postmodern was the recipe but you
1:15:08didn't really designing the style like
1:15:10the architecture forms but the HDM
1:15:13practice clearly we saw through
1:15:16different examples night was about
1:15:18methodologies and then also the
1:15:20attitudes a lot of responding to the
1:15:22space and you know the different context
1:15:25which makes so unique endlessly continue
1:15:28to keep very different type of the the
1:15:31HDM you know style which doesn't have a
1:15:33style which is kind of very amazing I
1:15:35think it will be very great learning for
1:15:37the audience I suppose today so the yes
1:15:41unfortunately we have to wrapping up
1:15:42this is a talk today
1:15:44thank you so much and then also would
1:15:47like to remind as we Prather Flames
1:15:50continue tomorrow so day two so we will
1:15:52have a seat here so we have two panels
1:15:56the one in the morning about the sea
1:15:58states which is more a little bit visual
1:16:00art Focus one and then in the afternoon
1:16:02what are we conceiving material
1:16:04circulation which former fantasma also
1:16:06themselves will be on the panel and then
1:16:08also after this talks applied also
1:16:10generously inviting to the lounge for
1:16:12the reception so please if you have a
1:16:14time please stay for little drink and
1:16:16have the continue the conversation over
1:16:19there thank you thank you thank you
1:16:23[Applause]

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