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thank you
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i'm so happy to be here with so many
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distinguished colleagues so many
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distinguished lecturers and i love
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dublin i'd like to share with you
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what informs
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my work
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what what inspires me
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certainly
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james joyce's use of language
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the complexity the ambiguity the
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meanings
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that
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model and modernize language are part of
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what i like to think about when i create
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plans cities
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buildings and of course
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this building
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is part of of generating new energy for
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a social cultural space in this
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fantastic city but just on the other
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side of this space in the atrium of the
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office buildings i think i built my
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second largest
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really homage to james joyce it's a
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thousand and one inverted letters
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that are based on his thunder words you
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know the 100 the words of god
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and i have to say i built this without
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a commission for this this is just part
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of the second memorial to james joyce i
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built in japan obviously on the sea of
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japan but i think
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joyce's
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use of language his his unfathomable
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aspiration to speak all languages to all
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people is something that certainly
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inspires me in doing architecture and
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in creating cities
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now i'd like to share with you thoughts
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uh
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that that that are part of what i do
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and certainly because in my former life
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i was a musician professional musician
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i've always thought that architecture
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and music are closely related first of
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all emotionally architecture is as
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complex and as abstract as music but it
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communicates to the soul doesn't just
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communicate to the mind
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when you listen to a bach
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or artorio it's it's about the soul and
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so it is an architecture architecture is
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based on balance and that balance is
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actually in the inner ear it's not in
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the eye
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and so when i do drawings these are
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abstract drawings which i did
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before i had any commissions because i'm
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a late bloomer i think for half of my
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life i didn't build a single building
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uh i thought about the fact that
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a drawing is really a score
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it's just like a piece of music it has
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to be interpreted
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by a community
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and of course proportions light
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materiality are all implicated in the
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drawing which when it comes to a
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building of course has to also present
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the space present the atmosphere of a
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building a drawing has to illuminate the
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practice and of course in our work we
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have many computers and of course you
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couldn't do anything without a computer
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to be efficient on time rational and so
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on but still i truly believe that
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drawing is the source of architecture it
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is really the source because it's the
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hand itself it's the eye it's the mind
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interconnected and really sharing in
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that
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process which is not purely intellectual
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but it's really spiritual of kind of
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desire a faith in something you cannot
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see and it's a proof of something that
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is really there but not purely visible
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now
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one of the thoughts of my favorite uh
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poetess
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is the fact that
00:03:33
a building is not a repetition of
00:03:35
another building a building does not
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need to necessarily have the same
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uh formula a building is not really
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built out of the same aspects that of
00:03:45
buildings that we have seen before so
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the notion of what is the tradition in
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architecture is something that has
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always interested me and when i had a
00:03:52
chance to design a small house for two
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art lovers in connecticut i thought how
00:03:58
can a house really in our time really be
00:04:02
a house of our time and in that sense uh
00:04:05
my clients who are very special they're
00:04:07
they're a couple who own works of art
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they deal
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with works of art and they ask me to
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design a house which would itself be a
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work of art which would not have any
00:04:16
sculptures paintings or anything the
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house itself and its space should be the
00:04:20
inspiring aspect i thought that was
00:04:22
really an amazing assignment and of
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course how do you do that well first of
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all one has to rethink you know are
00:04:29
there rafters in the house
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what does the house need does it have
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walls does it have windows does it need
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windows but of course it has to be
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something really fantastic to live with
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and something that really
00:04:42
works for my clients needs which has to
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do with a bedroom a kitchen they love to
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cook they love to
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have parties invite guests and so on so
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really the house is really kind of a
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stainless steel
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uh folded space it's a complex place to
00:04:58
describe in a plan which i showed before
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but it's a house that really
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it moves uh your vision through the
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interior and to the exterior in very
00:05:07
very specific ways the interiors
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completely in in real wood it's not it's
00:05:11
not cladding it's it's solid wood it's
00:05:13
like kind of like a cave of wood
00:05:15
exterior stainless steel which of course
00:05:17
always mirrors the colors of the sky and
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the landscape and of course
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it's a house that doesn't have the
00:05:23
topography of
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of a traditional house it's not a box
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it's not organized the way a house is
00:05:29
normally organized in terms of where the
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kitchen is how where you eat where do
00:05:33
you watch television what you do and it
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has a very very specific
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and i think unusual relationship to the
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landscape which is located which is a
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fantastic landscape which which is full
00:05:44
of light full of liveliness and
00:05:47
again just as that thought of emily
00:05:49
dickinson
00:05:50
what makes what gives a hope
00:05:52
in life it's not really necessarily the
00:05:55
things we think are necessary to bring
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that reality onto
00:05:59
the place
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now
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certainly
00:06:03
i shared a thought
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that history is not something which is
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over it's not just something that exists
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in the past it's something urgent and
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it's something which is often hidden by
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traditions
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so my interest in history has always
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been
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to address history and every site and
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every place has a history sometimes you
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cannot see it sometimes the voices
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are almost inaudible
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sometimes the actions are invisible and
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yet the history continues to
00:06:32
to cry out for justice
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and when i was designing when i won the
00:06:37
competition to design
00:06:40
a
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military history museum which is
00:06:42
actually the largest museum in germany
00:06:44
in dresden a city that was devastated by
00:06:46
the allied bombings i thought a lot
00:06:48
about
00:06:49
history the past the future how do you
00:06:53
take
00:06:54
that history and create something that
00:06:56
that has a meaning
00:06:57
and uh you can see in the sketch the
00:07:00
building is this wedge-like uh
00:07:03
volume that that dramatically interferes
00:07:06
with the old arsenal by the way this old
00:07:08
arsenal built at the end of 19th century
00:07:10
was always the military museum the
00:07:12
saxony military museum the the german
00:07:14
military museum the nazi military museum
00:07:16
the russian military museum the east
00:07:17
german military museum what are you
00:07:19
doing today well i created this movement
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towards the city
00:07:23
to show the newly rebuilt city but at
00:07:25
the thing that to point to the
00:07:27
self-similar triangulation in the
00:07:29
bombing of dresden within these three
00:07:31
points
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and of course
00:07:33
a building
00:07:35
interrupts
00:07:36
uh i also restored the arsenal of course
00:07:39
but it interrupts and it gives a
00:07:40
specific direction
00:07:42
to see the panorama of the city which is
00:07:44
of course now being rebuilt and at the
00:07:46
same time to present that history not as
00:07:48
one more militaristic uh glorification
00:07:51
of what the military is but why do
00:07:52
people participate in such histories why
00:07:55
do they follow totalitarian leaders and
00:07:57
what is a military museum in germany to
00:08:00
say in the democratic society there's
00:08:02
the plan you can see the u-shape of the
00:08:04
of the old armory restructured and it's
00:08:08
chronological it's horizontal chronology
00:08:10
of of from the 13th century german
00:08:12
military history and then you have this
00:08:14
vector moving through the opacity and
00:08:17
penetrating and going outside and it
00:08:19
disrupts the chronology exactly between
00:08:21
1914 and 1933 and there it is a
00:08:25
completely different space with oblique
00:08:27
vertical latrines a totally different
00:08:30
reorientation and of course the armory
00:08:33
in itself is a very interesting building
00:08:34
was really kind of almost vandalized by
00:08:37
the east german government i brought it
00:08:39
back to its life and presented a
00:08:41
building that
00:08:43
isn't just one more military museum
00:08:45
which shows hardware but
00:08:47
presents that point
00:08:49
towards the city from which you can
00:08:51
understand and towards which you can
00:08:53
apply the fact that history has been
00:08:56
disrupted history is not just a story
00:08:58
that has a good or bad ending it depends
00:09:01
on on where we are what we do what we
00:09:04
decide and of course it's a very raw
00:09:05
building
00:09:06
you can see this incorporates this is
00:09:09
the the other side of the building it
00:09:10
incorporates the old neoclassic stairs
00:09:13
so it preserves actually the entire
00:09:15
building is preserved it's only cut in
00:09:16
two lines from which the wedge uh
00:09:19
appears and of course
00:09:20
i worked very closely with
00:09:22
the exhibition designer hakim mertz and
00:09:24
barbara holzer to create a museum which
00:09:27
distances which redefines the relation
00:09:28
between equipment because this equipment
00:09:31
is not to be seen as military grant how
00:09:33
did people invent it what did they want
00:09:34
to do with these helicopters that kill
00:09:37
and how to display them and it's i think
00:09:39
an interesting
00:09:40
lesson in how to
00:09:43
how wars how violence
00:09:45
is actually perceived by those who
00:09:48
perpetrate it and by those who
00:09:49
experience it
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uh of course at the end of this journey
00:09:53
you you you jut out
00:09:55
to a dramatic uh upward moving
00:09:58
wedge and you see the rebuilt panorama
00:10:01
of of dresden you see you see the
00:10:03
fragment you see the glorious one around
00:10:05
but just to your side the wedge moves
00:10:08
towards the point from which dresden was
00:10:10
bombed and i wanted people to have the
00:10:11
double that complexity that history has
00:10:14
that past in a true way pointing to the
00:10:17
devastation to the crimes of history
00:10:20
which can never be
00:10:22
re-thought which cannot never be
00:10:24
reversed but at the same time that
00:10:26
there's a hope that the city has a new
00:10:28
light
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and
00:10:30
here
00:10:30
uh one of my favorite poets german
00:10:33
i i thought it was so interesting
00:10:35
because the thought here is what do we
00:10:37
remember in our lives
00:10:39
what what do we remember complex ideas
00:10:41
what do you we just remember something
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very very real like a brook or a window
00:10:48
or a tree or a tower
00:10:50
so
00:10:50
when i'm designing something i think
00:10:52
about it not just as an object a
00:10:55
functional a presentation a a
00:10:58
technological
00:10:59
even a culture invention but something
00:11:01
that has to do with memory because
00:11:02
that's what we are we are oriented
00:11:05
because we can remember and so when i
00:11:07
was designing a large-scale neighborhood
00:11:09
in singapore
00:11:11
i thought how do you design such a high
00:11:14
density neighborhood
00:11:15
uh
00:11:16
that has an individuality because we are
00:11:19
used to the fact that a house can have
00:11:20
in the individuality and architect but
00:11:22
when it comes to high density
00:11:23
developments this is one of the highest
00:11:25
density developments in the world how do
00:11:27
you give each occupant
00:11:29
a
00:11:29
sense
00:11:30
of being a sense of specialness and in
00:11:33
these towers which are doubly curved you
00:11:35
can see that each of the apartments is
00:11:37
just slightly
00:11:38
off
00:11:39
the apartment above and below you kind
00:11:41
of float in a space and even the lower
00:11:43
villas are related to nature in a very
00:11:46
specific way in their complex geometries
00:11:48
and really that is really that brook
00:11:52
that that piece of
00:11:53
that wall that door that image
00:11:56
that i think is so important in high
00:11:58
density and of course high density is
00:12:00
sustainability we can't afford just to
00:12:02
build private residences we can't afford
00:12:04
just to build low density places so how
00:12:07
does one activate that thought that
00:12:10
memory and each individual should be
00:12:13
given the opportunity of being free of
00:12:16
having a space of having something that
00:12:19
at the end of the day
00:12:20
is something inspiring and something
00:12:23
so of course the high level bridges with
00:12:25
their greener which connect these
00:12:26
high-density spaces the entire
00:12:29
topography of the place the fact that it
00:12:32
is really really much higher than most
00:12:34
of the buildings in in the place is part
00:12:36
of it
00:12:37
well i come to really because it's it's
00:12:39
at the end of your day uh christopher
00:12:41
logue you know in his brilliant
00:12:44
translation of the iliad
00:12:46
i thought really his references also to
00:12:49
the city itself because the conflicts
00:12:53
the tensions in a city the search for
00:12:56
social justice for opportunity for
00:12:58
diversity
00:13:00
that kind of vibrancy of what a city
00:13:02
really represents as a creative entity
00:13:04
is there in the greek notion of the
00:13:07
archipelago and of course the greeks
00:13:08
lived in the archipelagos those little
00:13:10
islands that were connected in mainland
00:13:12
with with the boats and i thought when i
00:13:14
was designing probably one of the
00:13:15
largest projects in the world in yongsan
00:13:17
and korea how do you bring that nature
00:13:21
of of freedom
00:13:22
and social space to heightened city city
00:13:25
we have you know millions of people will
00:13:27
be here uh this is the formal railway
00:13:30
uh
00:13:31
lands that that were occupied by old
00:13:34
infrastructure you know closing the
00:13:36
waterfront how do you bring the
00:13:37
mountains to the waterfront how do you
00:13:39
recreate civic civic space with what 30
00:13:43
skyscrapers
00:13:45
and what
00:13:46
half a million square feet of retail and
00:13:49
museums cultural activities
00:13:51
transportation how do you really create
00:13:53
it without just imposing on it some sort
00:13:55
of artificial grid so i took that grid
00:13:59
that implied grid
00:14:01
which really doesn't exist in historical
00:14:03
cities in the same way and adapted it to
00:14:06
sort of neighborhoods which are
00:14:07
connected by by the green and you can
00:14:09
see kind of a sequence of images here
00:14:12
that break up that homogeneous notion of
00:14:15
the city into a city that has true
00:14:17
diversity even though of course it has
00:14:19
so many high places and to organize that
00:14:21
city around
00:14:23
nature around public spaces around where
00:14:26
people are where people shop where
00:14:27
people walk where people go to to movies
00:14:29
to to to concerts to to to museums
00:14:33
and there it is now
00:14:34
it's something very new because usually
00:14:37
skyscrapers have been designed simply on
00:14:39
the same streets that lower buildings
00:14:41
were designed they were just taller
00:14:42
buildings just got a total and tall
00:14:43
taller so my notion here was how do you
00:14:46
design a city where the buildings are no
00:14:48
longer just imitations of lower
00:14:50
buildings but have a speciality and of
00:14:53
course there are at least i don't know
00:14:54
20 30 architects from around the world
00:14:57
which are part of the scheme to design
00:14:58
each building really is a kind of an
00:15:01
unique work of art not connected to the
00:15:03
street in the same way as we have known
00:15:04
it before of course
00:15:06
as an architect you have to do it with
00:15:08
very often very physical means paper
00:15:11
models it's not just all computerized
00:15:14
it's not just uh statistical it's not
00:15:16
mathematics although a lot of it is it's
00:15:18
really how do you create that that sense
00:15:21
of
00:15:22
of space for each of these objects which
00:15:25
are so large i mean one of the tallest
00:15:27
maybe the tallest tower in the world uh
00:15:29
is going to be there but many many other
00:15:32
very very high tall buildings and at the
00:15:33
same time the sense of what is tradition
00:15:36
what is history what is the the the
00:15:39
memory of a city as rich as uh seoul
00:15:44
center of korea is so there it is on the
00:15:46
river a kind of
00:15:48
crown of possibilities that refers to
00:15:51
its history now of course you can see
00:15:53
here that the spaces are vast that they
00:15:55
are designed to give a new sense of
00:15:59
feeling new sense of activity and you
00:16:01
can see that this is really for millions
00:16:03
of people again designed as a
00:16:05
intersubjective work with many many
00:16:07
different architects but as a master
00:16:08
planner of course my responsibility is
00:16:11
to create the idea of how nature and
00:16:14
that space can be brought together and
00:16:16
here is one of my own
00:16:18
skyscraper office buildings there and
00:16:20
here is social housing on the waterfront
00:16:23
which is again low cost housing because
00:16:25
it's not only for the rich it's not only
00:16:27
for business it's for all people that
00:16:29
should share in this part of the center
00:16:32
of the city
00:16:33
and there it is
00:16:35
it's of course just begun the master
00:16:37
plan has taken a few years the
00:16:39
architects have done their designs the
00:16:41
construction is beginning it will take
00:16:43
some time even in in asia to to create a
00:16:46
city but
00:16:48
that's really what it is and
00:16:51
i end here i wanted to show that between
00:16:54
the notion of a drawing of a house of a
00:16:56
museum of a neighborhood and of a city i
00:16:59
rather erase the lines
00:17:01
because a city is a museum a museum is a
00:17:04
drawing a drawing is a neighborhood a
00:17:06
neighborhood is a house so the old
00:17:08
categories of what we have always
00:17:10
considered sort of separate entities
00:17:12
really in my view coexist together as a
00:17:15
singular word world and what i didn't
00:17:18
manage to show it was not here is uh my
00:17:21
last picture of ground zero where i just
00:17:23
came from from new york where there was
00:17:25
so much controversy so much skepticism
00:17:27
cynicism so many fights so many emotions
00:17:30
and i just wanted to show you the
00:17:32
picture that it indeed is under
00:17:34
construction it has had more than half a
00:17:36
million visitors already even though
00:17:38
it's a building site the memorial is
00:17:39
finished the towers the tower number one
00:17:42
freedom tower tower number four tower
00:17:44
number three are highly visible almost
00:17:46
completed the museum is
00:17:48
in construction almost completed of
00:17:50
course it one has to have patience it
00:17:52
cannot be done in a day but i think
00:17:55
what i've learned from all of this is
00:17:57
when you live in a free society when
00:17:58
there is an openness when we appreciate
00:18:01
what freedom and liberty
00:18:03
are then we can really build a city for
00:18:06
all thank you
00:18:07
[Applause]
00:18:27
you
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