Joshua Prince-Ramus: Building a theater that remakes itself

48,075 views ・ 2010-01-26

TED


Please double-click on the English subtitles below to play the video.

00:15
I'm going to speak to you today about architectural agency.
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What I mean by that is that it's time for architecture
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to do things again, not just represent things.
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This is a construction helmet that I received two years ago
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at the groundbreaking of the largest project
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I, and my firm, have ever been involved in.
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I was thrilled to get it. I was thrilled to be the only person
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standing on the stage with a shiny silver helmet.
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I thought it represented the importance of the architect.
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I stayed thrilled until I got home,
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threw the helmet onto my bed,
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fell down onto my bed and realized inside
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there was an inscription.
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(Laughter)
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Now, I think that this is a great metaphor
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for the state of architecture and architects today.
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We are for decorative purposes only.
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01:02
(Laughter)
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Now, who do we have to blame?
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We can only blame ourselves. Over the last 50 years
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the design and construction industry has gotten much more complex
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and has gotten much more litigious.
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And we architects are cowards.
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So, as we have faced liability,
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we have stepped back and back,
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and unfortunately, where there is liability, guess what there is:
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power.
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So, eventually we have found ourselves
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in a totally marginalized position, way over here.
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Now, what did we do? We're cowards,
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but we're smart cowards.
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And so we redefined this marginalized position as the place of architecture.
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And we announced, "Hey, architecture, it's over here,
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in this autonomous language
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we're going to seed control of processes."
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And we were going to do something that was horrible for the profession.
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We actually created an artificial schism
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between creation and execution,
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as if you could actually create without knowing how to execute
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and as if you could actually execute
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without knowing how to create.
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Now, something else happened.
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And that's when we began to sell the world
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that architecture was created by individuals
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creating genius sketches.
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And that the incredible amount of effort to deliver those sketches
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for years and years and years is not only something
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to be derided,
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but we would merely write it off as
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merely execution.
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Now I'd argue that that is as absurd as stating
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that 30 minutes of copulation is the creative act,
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and nine months of gestation,
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and, God forbid, 24 hours of child labor
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is merely execution.
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So, what do we architects need to do? We need to stitch back
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creation and execution.
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And we need to start authoring processes again
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instead of authoring objects.
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Now, if we do this, I believe we can go back 50 years
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and start reinjecting agency,
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social engineering, back into architecture.
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Now, there are all kinds of things that we architects need to learn how to do,
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like managing contracts, learning how to write contracts,
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understanding procurement processes,
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understanding the time value of money and cost estimation.
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But I'm going to reduce this to the beginning of the process,
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into three very pedantic statements.
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The first is: Take core positions with your client.
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I know it's shocking, right, that architecture would actually say that.
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The second position is: Actually take positions.
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Take joint positions with your client.
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This is the moment in which you as the architect
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and your client can begin to inject
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vision and agency.
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But it has to be done together.
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And then only after this is done
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are you allowed to do this, begin to put forward
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architectural manifestations
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that manifest those positions.
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And both owner and architect alike
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are empowered to critique those manifestations
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based on the positions that you've taken.
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Now, I believe that one really amazing thing will happen if you do this.
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I'd like to call it the lost art of productively losing control.
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You do not know what the end result is.
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But I promise you, with enough brain power
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and enough passion and enough commitment,
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you will arrive at conclusions
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that will transcend convention,
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and will simply be something
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that you could not have initially
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or individually conceived of.
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04:21
Alright, now I'm going to reduce all of this to a series
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of simple dumb sketches.
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This is the modus operandi that we have today.
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We roll 120-foot Spartan,
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i.e. our vision, up to our clients' gates of Troy.
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And we don't understand why they won't let us in. Right?
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Well, how about instead of doing that,
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we roll up to the gates something they want.
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Now this is a little bit of a dangerous metaphor,
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because of course we all know that inside
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of the Trojan Horse were a bunch of people with spears.
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So, we can change the metaphor. Let's call the Trojan Horse
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the vessel by which
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you get through the gate,
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get through the constraints of a project.
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At which point, you and your client
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have the ability to start considering what
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you're going to put inside that vessel,
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the agency, the vision.
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And if you do that, you do that responsibly,
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I believe that instead of delivering Spartans,
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you can deliver maidens.
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And if I could summarize that all up into one single sketch it would be this.
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If we are so good at our craft
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shouldn't we be able to conceive
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of an architectural manifestation
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that slides seamlessly through
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the project's and the client's constraints?
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Now, with that in mind, I'm going to show a project
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that's very dear to many people in this room--
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well, maybe not dear, but certainly close to many people in this room.
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And that's a project that is just about to open next week,
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the new home for the Dallas Theater Center,
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the Dee and Charles Wyly Theatre.
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Now, I'm going to present it on the same terms:
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issue, position and architectural manifestation.
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Now, the first issue that we faced
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was that the Dallas Theater Center
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had a notoriety that was beyond what you would expect
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of some place outside of the triumvirate
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of New York, Chicago and Seattle.
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And this had to do with the ambitions of the leadership.
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But it also had to do with something rather unusual,
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and that was this horrible little building that they'd been performing in.
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Why was this horrible little building
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so important to their renown and their innovation?
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Because they could do whatever they wanted to to this building.
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When you're on Broadway, you cannot tear the proscenium down.
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This building, when an artistic director
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wanted to do a "Cherry Orchard" and wanted people
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and wanted people to come out of a well on the stage,
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they brought a backhoe in, and they simply dug the hole.
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Well, that's exciting.
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And you can start to get the best artistic directors,
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scenic designers and actors from around the country
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to come to perform here
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because you can do things you can't do elsewhere.
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So, the first position we took was,
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"Hey, we as architects had better not show up
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and do a pristine building
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that doesn't engender the same freedoms that this
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old dilapidated shed provided the company."
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The second issue is a nuance of the first.
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And that's that the company and the building was multiform.
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That meant that they were able to perform,
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as long as they had labor
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they were able to go between proscenium, thrust, flat floor,
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arena, traverse, you name it.
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All they needed was labor.
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Well, something happened. In fact something happened to all institutions
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around the world.
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It started to become hard to raise operational costs,
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operational budgets.
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So, they stopped having inexpensive labor.
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And eventually they had to freeze their organization
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into something called a bastardized thruscenium.
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So, the second position we took is that the freedoms that we provided,
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the ability to move between stage configurations,
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had better be able to be done
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without relying on operational costs. Alright? Affordably.
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The architectural manifestation
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was frankly just dumb.
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It was to take all the things that are known as front of house and back of house
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and redefine them as above house and below house.
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At first blush you think, "Hey it's crazy,
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what could you possibly gain?"
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We created what we like to call superfly.
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(Laughter)
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Now, superfly, the concept is
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you take all the freedoms you normally associate with the flytower,
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and you smear them across flytower and auditorium.
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Suddenly the artistic director
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can move between different stage
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and audience configurations.
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And because that flytower has the ability to pick up
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all the pristine elements, suddenly the rest of the environment
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can be provisional. And you can drill, cut, nail, screw
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paint and replace,
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with a minimum of cost.
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But there was a third advantage that we got by doing this move
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that was unexpected.
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And that was that it freed up the perimeter of the auditorium
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in a most unusual way.
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And that provided the artistic director suddenly
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the ability to define suspension of disbelief.
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So, the building affords artistic directors the freedom
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to conceive of almost any kind of activity
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underneath this floating object.
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But also to challenge the notion of suspension of disbelief
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such that in the last act of Macbeth,
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if he or she wants you to associate
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the parable that you're seeing with Dallas, with your real life,
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he or she can do so.
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Now, in order to do this we and the clients
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had to do something fairly remarkable.
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In fact it really was the clients who had to do it.
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They had to make a decision, based on the positions we took
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to redefine the budget being from two thirds capital-A architecture
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and one-third infrastructure,
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to actually the inverse,
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two-thirds infrastructure and one-third capital-A architecture.
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That's a lot for a client to commit to
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before you actually see the fruition of the concept.
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But based on the positions,
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they took the educated leap of faith to do so.
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And effectively we created what we like to call
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a theater machine.
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Now, that theater machine has ability
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to move between a whole series of configurations
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at the push of a button and a few stagehands
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in a short amount of time.
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But it also has the potential
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to not only provide multiform but multi-processional sequences.
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Meaning: The artistic director
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doesn't necessarily need to go through our lobby.
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One of the things that we learned when we visited various theaters
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is they hate us architects,
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because they say the first thing they have to do,
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the first five minutes of any show,
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is they have to get our architecture
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out of the mind of their patron.
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Well now there are potentials of this building
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to allow the artistic director
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to actually move into the building
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without using our architecture.
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So, in fact, there is the building, there is what we call the draw.
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You're going down into our lobby,
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go through the lobby with our own little dangly bits, whether you like them or not,
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up through the stair that leads you into the auditorium.
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But there is also the potential
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to allow people to move directly from the outside,
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in this case suggesting kind of Wagnerian entrance,
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into the interior of the auditorium.
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And here is the fruition of that in actuality.
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These are the two large pivoting doors
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that allow people to move directly from the outside, in
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or from the inside, out,
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performers or audience alike.
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Now, imagine what that could be. I have to say honestly
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this is not something yet the building can do because it takes too long.
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But imagine the freedoms
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if you could take this further, that in fact you could consider
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a Wagnerian entry,
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a first act in thrust,
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an intermission in Greek, a second act in arena,
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and you leave through our lobby with dangly bits.
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Now that, I would say, is architecture performing.
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It is taking the hand of the architect
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to actually remove the hand of the architect
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in favor of the hand of the artistic director.
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I'll go through the three basic configurations.
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This is the flat floor configuration.
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You notice that there is no proscenium,
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the balconies have been raised up, there are no seats,
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the floor in the auditorium is flat.
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The first configuration is easy to understand.
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The balconies come down, you see that the orchestra
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begins to have a rake that's frontal towards the end stage,
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and the seats come in.
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The third configuration is a little harder to understand.
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Here you see that the balconies actually have to move out of the way
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in order to bring a thrust into the space.
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And some of the seats need to actually change their direction,
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and change their rake, to allow that to happen.
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I'll do it again so you can see it.
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There you see it's the side balconies for the proscenium.
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And there it is in the thrust configuration.
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In order to do that,
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again, we needed a client who was willing to take educational risks.
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And they told us one important thing:
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"You shall not beta-test."
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Meaning, nothing that we do
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can we be the first ones to do it.
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But they were willing for us to apply technologies
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from other areas that already had failsafe mechanisms to this building.
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And the solution in terms of the balconies
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was to use something that we all know as a scoreboard lift.
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Now, if you were to take a scoreboard
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and drop it on dirt and whiskey,
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that would be bad.
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If you were not able to take the scoreboard out of the arena
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and be able to do the Ice Capades the next night,
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that would also be bad.
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And so this technology already had all the failsafe mechanisms
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and allowed the theater and our client
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to actually do this with confidence
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that they would be able to change over their configurations at will.
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The second technology that we applied
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was actually using things that you know from
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the stage side of an opera house.
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In this case what we're doing is we're taking
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the orchestra floor, lifting it up, spinning it,
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changing the rake, taking it back to flat floor,
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changing the rake again. In essence, you can begin to define
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rakes and viewing angles
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of people in the orchestra seating, at will.
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Here you see the chairs being spun around to go from proscenium or end stage
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to thrust configuration.
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The proscenium, also. As far as we know this is the first building in the world
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in which the proscenium can entirely fly out of the space.
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Here you see the various acoustic baffles as well as
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the flying mechanisms and catwalks over the auditorium.
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And ultimately, up in the flytower,
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the scene sets that allow the transformations to occur.
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As I said, all that was in service of creating a flexible
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yet affordable configuration.
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But we got this other benefit, and that was
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the ability of the perimeter to suddenly engage
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Dallas on the outside.
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Here you see the building in its current state
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with blinds closed. This is a trompe l'oeil.
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Actually this is not a curtain. These are vinyl blinds
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that are integrated into the windows themselves,
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again with failsafe mechanisms
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that can be lifted such that you can completely demystify,
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if you chose, the operations of the theater
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going on behind, rehearsals and so forth.
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But you also have the ability
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to allow the audience to see Dallas,
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to perform with Dallas as the backdrop of your performance.
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Now, if I'll take you through --
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this is an early concept sketch --
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take you through kind of a mixture of all these things together.
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Effectively you would have something like this.
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You would be allowed to bring objects or performers into the performing chamber:
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"Aida," their elephants, you can bring the elephants in.
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You would be able to expose the auditorium to Dallas
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or vice versa, Dallas to the auditorium.
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You'd be able to open portions in order to
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change the procession,
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allow people to come in and out for an intermission,
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or to enter for the beginning or the end of a performance.
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As I said, all the balconies can move,
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but they can also be disappeared completely.
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The proscenium can fly.
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You can bring large objects into the chamber itself.
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But most convincingly when we had to confront the idea
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of changing costs from architecture to infrastructure,
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is something that is represented by this.
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And again, this is not all the flexibilities of the building that is actually built,
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but at least suggests the ideas.
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This building has the ability, in short order,
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to go back to a flat floor organization
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such that they can rent it out.
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Now, if there is anyone here from American Airlines,
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please consider doing your Christmas party here.
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(Laughter)
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That allows the company to raise operational budgets
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without having to compete with other venues
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with much larger auditoriums.
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That's an enormous benefit.
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So, the theater company has the ability
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to do totally hermetic,
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light-controlled, sound-controlled, great acoustics,
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great intimacy Shakespeare,
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but can also do Beckett
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with the skyline of Dallas sitting behind it.
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Here it is in a flat floor configuration.
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The theater has been going through its kind of paces.
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Here it is in an end stage configuration.
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It's actually beautiful. There was a rock band.
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We stood outside trying to see if the acoustics worked,
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and you could see the guys doing this but you couldn't hear them.
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It was very unusual.
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Here it is in a thrust configuration.
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And last but not least,
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you see this already has the ability to create events
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in order to generate operational budgets
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to overcome the building in fact performing
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to allow the company to overcome their biggest problem.
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I'm going to show you a brief time lapse.
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As I said, this can be done with only two people,
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and with a minimum amount of time.
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This is the first time that actually the changeover was done
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and so there is literally thousands of people because
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everyone was excited and wanted to be a part of it.
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So, in a way try to disregard all the thousands of ants running around.
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And think of it being done with just a few people.
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Again, just a couple people are required.
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(Laughter)
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I promise.
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Et voila.
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(Applause)
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So, just in conclusion, a few shots.
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This is the AT&T Performing Arts Center's
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Dee and Charles Wyly Theater.
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There it is at night.
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And last but not least the entire AT&T Performing Arts Center.
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You can see the Winspear Opera House on the right
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and the Dee and Charles Wyly Theater on the left.
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And to remind you that here is an example in which
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architecture actually did something.
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But we got to that conclusion
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without understanding where we were going,
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what we knew were a series of issues that the company
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and the client was confronted with.
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And we took positions with them, and it was through those positions
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that we began to take architectural manifestations
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and we arrived at a conclusion that none of us,
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really none of us could ever
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have conceived of initially or individually.
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Thank you.
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(Applause)
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About this website

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