Joshua Prince-Ramus: Building a theater that remakes itself

48,058 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.
0
15260
4000
00:19
What I mean by that is that it's time for architecture
1
19260
2000
00:21
to do things again, not just represent things.
2
21260
4000
00:25
This is a construction helmet that I received two years ago
3
25260
4000
00:29
at the groundbreaking of the largest project
4
29260
2000
00:31
I, and my firm, have ever been involved in.
5
31260
3000
00:34
I was thrilled to get it. I was thrilled to be the only person
6
34260
2000
00:36
standing on the stage with a shiny silver helmet.
7
36260
3000
00:39
I thought it represented the importance of the architect.
8
39260
3000
00:42
I stayed thrilled until I got home,
9
42260
2000
00:44
threw the helmet onto my bed,
10
44260
2000
00:46
fell down onto my bed and realized inside
11
46260
3000
00:49
there was an inscription.
12
49260
3000
00:52
(Laughter)
13
52260
3000
00:55
Now, I think that this is a great metaphor
14
55260
2000
00:57
for the state of architecture and architects today.
15
57260
2000
00:59
We are for decorative purposes only.
16
59260
3000
01:02
(Laughter)
17
62260
1000
01:03
Now, who do we have to blame?
18
63260
2000
01:05
We can only blame ourselves. Over the last 50 years
19
65260
3000
01:08
the design and construction industry has gotten much more complex
20
68260
3000
01:11
and has gotten much more litigious.
21
71260
2000
01:13
And we architects are cowards.
22
73260
2000
01:15
So, as we have faced liability,
23
75260
2000
01:17
we have stepped back and back,
24
77260
3000
01:20
and unfortunately, where there is liability, guess what there is:
25
80260
2000
01:22
power.
26
82260
3000
01:25
So, eventually we have found ourselves
27
85260
2000
01:27
in a totally marginalized position, way over here.
28
87260
3000
01:30
Now, what did we do? We're cowards,
29
90260
2000
01:32
but we're smart cowards.
30
92260
3000
01:35
And so we redefined this marginalized position as the place of architecture.
31
95260
3000
01:38
And we announced, "Hey, architecture, it's over here,
32
98260
3000
01:41
in this autonomous language
33
101260
2000
01:43
we're going to seed control of processes."
34
103260
3000
01:46
And we were going to do something that was horrible for the profession.
35
106260
5000
01:51
We actually created an artificial schism
36
111260
2000
01:53
between creation and execution,
37
113260
4000
01:57
as if you could actually create without knowing how to execute
38
117260
2000
01:59
and as if you could actually execute
39
119260
2000
02:01
without knowing how to create.
40
121260
2000
02:03
Now, something else happened.
41
123260
2000
02:05
And that's when we began to sell the world
42
125260
2000
02:07
that architecture was created by individuals
43
127260
3000
02:10
creating genius sketches.
44
130260
2000
02:12
And that the incredible amount of effort to deliver those sketches
45
132260
4000
02:16
for years and years and years is not only something
46
136260
2000
02:18
to be derided,
47
138260
2000
02:20
but we would merely write it off as
48
140260
2000
02:22
merely execution.
49
142260
3000
02:25
Now I'd argue that that is as absurd as stating
50
145260
3000
02:28
that 30 minutes of copulation is the creative act,
51
148260
4000
02:32
and nine months of gestation,
52
152260
2000
02:34
and, God forbid, 24 hours of child labor
53
154260
5000
02:39
is merely execution.
54
159260
2000
02:41
So, what do we architects need to do? We need to stitch back
55
161260
2000
02:43
creation and execution.
56
163260
3000
02:46
And we need to start authoring processes again
57
166260
3000
02:49
instead of authoring objects.
58
169260
2000
02:51
Now, if we do this, I believe we can go back 50 years
59
171260
3000
02:54
and start reinjecting agency,
60
174260
2000
02:56
social engineering, back into architecture.
61
176260
4000
03:00
Now, there are all kinds of things that we architects need to learn how to do,
62
180260
2000
03:02
like managing contracts, learning how to write contracts,
63
182260
4000
03:06
understanding procurement processes,
64
186260
3000
03:09
understanding the time value of money and cost estimation.
65
189260
3000
03:12
But I'm going to reduce this to the beginning of the process,
66
192260
3000
03:15
into three very pedantic statements.
67
195260
3000
03:18
The first is: Take core positions with your client.
68
198260
3000
03:21
I know it's shocking, right, that architecture would actually say that.
69
201260
3000
03:24
The second position is: Actually take positions.
70
204260
3000
03:27
Take joint positions with your client.
71
207260
2000
03:29
This is the moment in which you as the architect
72
209260
2000
03:31
and your client can begin to inject
73
211260
2000
03:33
vision and agency.
74
213260
2000
03:35
But it has to be done together.
75
215260
2000
03:37
And then only after this is done
76
217260
2000
03:39
are you allowed to do this, begin to put forward
77
219260
2000
03:41
architectural manifestations
78
221260
2000
03:43
that manifest those positions.
79
223260
2000
03:45
And both owner and architect alike
80
225260
3000
03:48
are empowered to critique those manifestations
81
228260
2000
03:50
based on the positions that you've taken.
82
230260
2000
03:52
Now, I believe that one really amazing thing will happen if you do this.
83
232260
5000
03:57
I'd like to call it the lost art of productively losing control.
84
237260
4000
04:01
You do not know what the end result is.
85
241260
3000
04:04
But I promise you, with enough brain power
86
244260
2000
04:06
and enough passion and enough commitment,
87
246260
3000
04:09
you will arrive at conclusions
88
249260
2000
04:11
that will transcend convention,
89
251260
2000
04:13
and will simply be something
90
253260
3000
04:16
that you could not have initially
91
256260
2000
04:18
or individually conceived of.
92
258260
3000
04:21
Alright, now I'm going to reduce all of this to a series
93
261260
2000
04:23
of simple dumb sketches.
94
263260
2000
04:25
This is the modus operandi that we have today.
95
265260
3000
04:28
We roll 120-foot Spartan,
96
268260
4000
04:32
i.e. our vision, up to our clients' gates of Troy.
97
272260
5000
04:37
And we don't understand why they won't let us in. Right?
98
277260
5000
04:42
Well, how about instead of doing that,
99
282260
2000
04:44
we roll up to the gates something they want.
100
284260
3000
04:47
Now this is a little bit of a dangerous metaphor,
101
287260
3000
04:50
because of course we all know that inside
102
290260
2000
04:52
of the Trojan Horse were a bunch of people with spears.
103
292260
2000
04:54
So, we can change the metaphor. Let's call the Trojan Horse
104
294260
2000
04:56
the vessel by which
105
296260
2000
04:58
you get through the gate,
106
298260
2000
05:00
get through the constraints of a project.
107
300260
3000
05:03
At which point, you and your client
108
303260
2000
05:05
have the ability to start considering what
109
305260
2000
05:07
you're going to put inside that vessel,
110
307260
2000
05:09
the agency, the vision.
111
309260
2000
05:11
And if you do that, you do that responsibly,
112
311260
3000
05:14
I believe that instead of delivering Spartans,
113
314260
2000
05:16
you can deliver maidens.
114
316260
2000
05:18
And if I could summarize that all up into one single sketch it would be this.
115
318260
3000
05:21
If we are so good at our craft
116
321260
2000
05:23
shouldn't we be able to conceive
117
323260
3000
05:26
of an architectural manifestation
118
326260
2000
05:28
that slides seamlessly through
119
328260
2000
05:30
the project's and the client's constraints?
120
330260
2000
05:32
Now, with that in mind, I'm going to show a project
121
332260
2000
05:34
that's very dear to many people in this room--
122
334260
2000
05:36
well, maybe not dear, but certainly close to many people in this room.
123
336260
3000
05:39
And that's a project that is just about to open next week,
124
339260
3000
05:42
the new home for the Dallas Theater Center,
125
342260
3000
05:45
the Dee and Charles Wyly Theatre.
126
345260
2000
05:47
Now, I'm going to present it on the same terms:
127
347260
2000
05:49
issue, position and architectural manifestation.
128
349260
3000
05:52
Now, the first issue that we faced
129
352260
2000
05:54
was that the Dallas Theater Center
130
354260
3000
05:57
had a notoriety that was beyond what you would expect
131
357260
3000
06:00
of some place outside of the triumvirate
132
360260
2000
06:02
of New York, Chicago and Seattle.
133
362260
3000
06:05
And this had to do with the ambitions of the leadership.
134
365260
2000
06:07
But it also had to do with something rather unusual,
135
367260
3000
06:10
and that was this horrible little building that they'd been performing in.
136
370260
4000
06:14
Why was this horrible little building
137
374260
3000
06:17
so important to their renown and their innovation?
138
377260
3000
06:20
Because they could do whatever they wanted to to this building.
139
380260
3000
06:23
When you're on Broadway, you cannot tear the proscenium down.
140
383260
5000
06:28
This building, when an artistic director
141
388260
2000
06:30
wanted to do a "Cherry Orchard" and wanted people
142
390260
2000
06:32
and wanted people to come out of a well on the stage,
143
392260
2000
06:34
they brought a backhoe in, and they simply dug the hole.
144
394260
3000
06:37
Well, that's exciting.
145
397260
2000
06:39
And you can start to get the best artistic directors,
146
399260
2000
06:41
scenic designers and actors from around the country
147
401260
2000
06:43
to come to perform here
148
403260
2000
06:45
because you can do things you can't do elsewhere.
149
405260
2000
06:47
So, the first position we took was,
150
407260
2000
06:49
"Hey, we as architects had better not show up
151
409260
3000
06:52
and do a pristine building
152
412260
2000
06:54
that doesn't engender the same freedoms that this
153
414260
2000
06:56
old dilapidated shed provided the company."
154
416260
3000
06:59
The second issue is a nuance of the first.
155
419260
3000
07:02
And that's that the company and the building was multiform.
156
422260
3000
07:05
That meant that they were able to perform,
157
425260
3000
07:08
as long as they had labor
158
428260
2000
07:10
they were able to go between proscenium, thrust, flat floor,
159
430260
3000
07:13
arena, traverse, you name it.
160
433260
2000
07:15
All they needed was labor.
161
435260
2000
07:17
Well, something happened. In fact something happened to all institutions
162
437260
2000
07:19
around the world.
163
439260
2000
07:21
It started to become hard to raise operational costs,
164
441260
3000
07:24
operational budgets.
165
444260
2000
07:26
So, they stopped having inexpensive labor.
166
446260
2000
07:28
And eventually they had to freeze their organization
167
448260
3000
07:31
into something called a bastardized thruscenium.
168
451260
3000
07:34
So, the second position we took is that the freedoms that we provided,
169
454260
3000
07:37
the ability to move between stage configurations,
170
457260
3000
07:40
had better be able to be done
171
460260
2000
07:42
without relying on operational costs. Alright? Affordably.
172
462260
4000
07:46
The architectural manifestation
173
466260
2000
07:48
was frankly just dumb.
174
468260
2000
07:50
It was to take all the things that are known as front of house and back of house
175
470260
3000
07:53
and redefine them as above house and below house.
176
473260
3000
07:56
At first blush you think, "Hey it's crazy,
177
476260
2000
07:58
what could you possibly gain?"
178
478260
2000
08:00
We created what we like to call superfly.
179
480260
3000
08:03
(Laughter)
180
483260
1000
08:04
Now, superfly, the concept is
181
484260
2000
08:06
you take all the freedoms you normally associate with the flytower,
182
486260
2000
08:08
and you smear them across flytower and auditorium.
183
488260
3000
08:11
Suddenly the artistic director
184
491260
2000
08:13
can move between different stage
185
493260
2000
08:15
and audience configurations.
186
495260
3000
08:18
And because that flytower has the ability to pick up
187
498260
2000
08:20
all the pristine elements, suddenly the rest of the environment
188
500260
3000
08:23
can be provisional. And you can drill, cut, nail, screw
189
503260
3000
08:26
paint and replace,
190
506260
2000
08:28
with a minimum of cost.
191
508260
2000
08:30
But there was a third advantage that we got by doing this move
192
510260
2000
08:32
that was unexpected.
193
512260
2000
08:34
And that was that it freed up the perimeter of the auditorium
194
514260
3000
08:37
in a most unusual way.
195
517260
3000
08:40
And that provided the artistic director suddenly
196
520260
2000
08:42
the ability to define suspension of disbelief.
197
522260
3000
08:45
So, the building affords artistic directors the freedom
198
525260
2000
08:47
to conceive of almost any kind of activity
199
527260
3000
08:50
underneath this floating object.
200
530260
2000
08:52
But also to challenge the notion of suspension of disbelief
201
532260
3000
08:55
such that in the last act of Macbeth,
202
535260
3000
08:58
if he or she wants you to associate
203
538260
2000
09:00
the parable that you're seeing with Dallas, with your real life,
204
540260
4000
09:04
he or she can do so.
205
544260
2000
09:06
Now, in order to do this we and the clients
206
546260
2000
09:08
had to do something fairly remarkable.
207
548260
2000
09:10
In fact it really was the clients who had to do it.
208
550260
3000
09:13
They had to make a decision, based on the positions we took
209
553260
3000
09:16
to redefine the budget being from two thirds capital-A architecture
210
556260
3000
09:19
and one-third infrastructure,
211
559260
2000
09:21
to actually the inverse,
212
561260
2000
09:23
two-thirds infrastructure and one-third capital-A architecture.
213
563260
3000
09:26
That's a lot for a client to commit to
214
566260
2000
09:28
before you actually see the fruition of the concept.
215
568260
3000
09:31
But based on the positions,
216
571260
2000
09:33
they took the educated leap of faith to do so.
217
573260
3000
09:36
And effectively we created what we like to call
218
576260
2000
09:38
a theater machine.
219
578260
2000
09:40
Now, that theater machine has ability
220
580260
2000
09:42
to move between a whole series of configurations
221
582260
3000
09:45
at the push of a button and a few stagehands
222
585260
3000
09:48
in a short amount of time.
223
588260
2000
09:50
But it also has the potential
224
590260
2000
09:52
to not only provide multiform but multi-processional sequences.
225
592260
4000
09:56
Meaning: The artistic director
226
596260
2000
09:58
doesn't necessarily need to go through our lobby.
227
598260
3000
10:01
One of the things that we learned when we visited various theaters
228
601260
2000
10:03
is they hate us architects,
229
603260
2000
10:05
because they say the first thing they have to do,
230
605260
2000
10:07
the first five minutes of any show,
231
607260
2000
10:09
is they have to get our architecture
232
609260
2000
10:11
out of the mind of their patron.
233
611260
2000
10:13
Well now there are potentials of this building
234
613260
2000
10:15
to allow the artistic director
235
615260
2000
10:17
to actually move into the building
236
617260
2000
10:19
without using our architecture.
237
619260
2000
10:21
So, in fact, there is the building, there is what we call the draw.
238
621260
3000
10:24
You're going down into our lobby,
239
624260
2000
10:26
go through the lobby with our own little dangly bits, whether you like them or not,
240
626260
4000
10:30
up through the stair that leads you into the auditorium.
241
630260
2000
10:32
But there is also the potential
242
632260
2000
10:34
to allow people to move directly from the outside,
243
634260
2000
10:36
in this case suggesting kind of Wagnerian entrance,
244
636260
4000
10:40
into the interior of the auditorium.
245
640260
2000
10:42
And here is the fruition of that in actuality.
246
642260
2000
10:44
These are the two large pivoting doors
247
644260
2000
10:46
that allow people to move directly from the outside, in
248
646260
3000
10:49
or from the inside, out,
249
649260
2000
10:51
performers or audience alike.
250
651260
3000
10:54
Now, imagine what that could be. I have to say honestly
251
654260
2000
10:56
this is not something yet the building can do because it takes too long.
252
656260
3000
10:59
But imagine the freedoms
253
659260
2000
11:01
if you could take this further, that in fact you could consider
254
661260
3000
11:04
a Wagnerian entry,
255
664260
2000
11:06
a first act in thrust,
256
666260
2000
11:08
an intermission in Greek, a second act in arena,
257
668260
2000
11:10
and you leave through our lobby with dangly bits.
258
670260
4000
11:14
Now that, I would say, is architecture performing.
259
674260
2000
11:16
It is taking the hand of the architect
260
676260
2000
11:18
to actually remove the hand of the architect
261
678260
2000
11:20
in favor of the hand of the artistic director.
262
680260
4000
11:24
I'll go through the three basic configurations.
263
684260
2000
11:26
This is the flat floor configuration.
264
686260
2000
11:28
You notice that there is no proscenium,
265
688260
2000
11:30
the balconies have been raised up, there are no seats,
266
690260
3000
11:33
the floor in the auditorium is flat.
267
693260
2000
11:35
The first configuration is easy to understand.
268
695260
3000
11:38
The balconies come down, you see that the orchestra
269
698260
3000
11:41
begins to have a rake that's frontal towards the end stage,
270
701260
3000
11:44
and the seats come in.
271
704260
2000
11:46
The third configuration is a little harder to understand.
272
706260
2000
11:48
Here you see that the balconies actually have to move out of the way
273
708260
4000
11:52
in order to bring a thrust into the space.
274
712260
2000
11:54
And some of the seats need to actually change their direction,
275
714260
3000
11:57
and change their rake, to allow that to happen.
276
717260
3000
12:00
I'll do it again so you can see it.
277
720260
2000
12:02
There you see it's the side balconies for the proscenium.
278
722260
4000
12:06
And there it is in the thrust configuration.
279
726260
2000
12:08
In order to do that,
280
728260
2000
12:10
again, we needed a client who was willing to take educational risks.
281
730260
3000
12:13
And they told us one important thing:
282
733260
2000
12:15
"You shall not beta-test."
283
735260
2000
12:17
Meaning, nothing that we do
284
737260
2000
12:19
can we be the first ones to do it.
285
739260
2000
12:21
But they were willing for us to apply technologies
286
741260
2000
12:23
from other areas that already had failsafe mechanisms to this building.
287
743260
4000
12:27
And the solution in terms of the balconies
288
747260
3000
12:30
was to use something that we all know as a scoreboard lift.
289
750260
3000
12:33
Now, if you were to take a scoreboard
290
753260
3000
12:36
and drop it on dirt and whiskey,
291
756260
2000
12:38
that would be bad.
292
758260
2000
12:40
If you were not able to take the scoreboard out of the arena
293
760260
3000
12:43
and be able to do the Ice Capades the next night,
294
763260
2000
12:45
that would also be bad.
295
765260
2000
12:47
And so this technology already had all the failsafe mechanisms
296
767260
4000
12:51
and allowed the theater and our client
297
771260
2000
12:53
to actually do this with confidence
298
773260
3000
12:56
that they would be able to change over their configurations at will.
299
776260
4000
13:00
The second technology that we applied
300
780260
2000
13:02
was actually using things that you know from
301
782260
3000
13:05
the stage side of an opera house.
302
785260
2000
13:07
In this case what we're doing is we're taking
303
787260
2000
13:09
the orchestra floor, lifting it up, spinning it,
304
789260
4000
13:13
changing the rake, taking it back to flat floor,
305
793260
3000
13:16
changing the rake again. In essence, you can begin to define
306
796260
3000
13:19
rakes and viewing angles
307
799260
2000
13:21
of people in the orchestra seating, at will.
308
801260
3000
13:24
Here you see the chairs being spun around to go from proscenium or end stage
309
804260
4000
13:28
to thrust configuration.
310
808260
3000
13:31
The proscenium, also. As far as we know this is the first building in the world
311
811260
4000
13:35
in which the proscenium can entirely fly out of the space.
312
815260
3000
13:38
Here you see the various acoustic baffles as well as
313
818260
2000
13:40
the flying mechanisms and catwalks over the auditorium.
314
820260
5000
13:45
And ultimately, up in the flytower,
315
825260
2000
13:47
the scene sets that allow the transformations to occur.
316
827260
4000
13:51
As I said, all that was in service of creating a flexible
317
831260
4000
13:55
yet affordable configuration.
318
835260
3000
13:58
But we got this other benefit, and that was
319
838260
2000
14:00
the ability of the perimeter to suddenly engage
320
840260
2000
14:02
Dallas on the outside.
321
842260
2000
14:04
Here you see the building in its current state
322
844260
2000
14:06
with blinds closed. This is a trompe l'oeil.
323
846260
3000
14:09
Actually this is not a curtain. These are vinyl blinds
324
849260
3000
14:12
that are integrated into the windows themselves,
325
852260
2000
14:14
again with failsafe mechanisms
326
854260
3000
14:17
that can be lifted such that you can completely demystify,
327
857260
3000
14:20
if you chose, the operations of the theater
328
860260
2000
14:22
going on behind, rehearsals and so forth.
329
862260
2000
14:24
But you also have the ability
330
864260
3000
14:27
to allow the audience to see Dallas,
331
867260
3000
14:30
to perform with Dallas as the backdrop of your performance.
332
870260
3000
14:33
Now, if I'll take you through --
333
873260
2000
14:35
this is an early concept sketch --
334
875260
2000
14:37
take you through kind of a mixture of all these things together.
335
877260
3000
14:40
Effectively you would have something like this.
336
880260
2000
14:42
You would be allowed to bring objects or performers into the performing chamber:
337
882260
4000
14:46
"Aida," their elephants, you can bring the elephants in.
338
886260
2000
14:48
You would be able to expose the auditorium to Dallas
339
888260
5000
14:53
or vice versa, Dallas to the auditorium.
340
893260
3000
14:56
You'd be able to open portions in order to
341
896260
2000
14:58
change the procession,
342
898260
2000
15:00
allow people to come in and out for an intermission,
343
900260
2000
15:02
or to enter for the beginning or the end of a performance.
344
902260
3000
15:05
As I said, all the balconies can move,
345
905260
2000
15:07
but they can also be disappeared completely.
346
907260
2000
15:09
The proscenium can fly.
347
909260
2000
15:11
You can bring large objects into the chamber itself.
348
911260
3000
15:14
But most convincingly when we had to confront the idea
349
914260
3000
15:17
of changing costs from architecture to infrastructure,
350
917260
3000
15:20
is something that is represented by this.
351
920260
2000
15:22
And again, this is not all the flexibilities of the building that is actually built,
352
922260
3000
15:25
but at least suggests the ideas.
353
925260
3000
15:28
This building has the ability, in short order,
354
928260
2000
15:30
to go back to a flat floor organization
355
930260
2000
15:32
such that they can rent it out.
356
932260
2000
15:34
Now, if there is anyone here from American Airlines,
357
934260
2000
15:36
please consider doing your Christmas party here.
358
936260
3000
15:39
(Laughter)
359
939260
1000
15:40
That allows the company to raise operational budgets
360
940260
3000
15:43
without having to compete with other venues
361
943260
2000
15:45
with much larger auditoriums.
362
945260
2000
15:47
That's an enormous benefit.
363
947260
2000
15:49
So, the theater company has the ability
364
949260
2000
15:51
to do totally hermetic,
365
951260
2000
15:53
light-controlled, sound-controlled, great acoustics,
366
953260
2000
15:55
great intimacy Shakespeare,
367
955260
3000
15:58
but can also do Beckett
368
958260
2000
16:00
with the skyline of Dallas sitting behind it.
369
960260
3000
16:03
Here it is in a flat floor configuration.
370
963260
2000
16:05
The theater has been going through its kind of paces.
371
965260
2000
16:07
Here it is in an end stage configuration.
372
967260
3000
16:10
It's actually beautiful. There was a rock band.
373
970260
2000
16:12
We stood outside trying to see if the acoustics worked,
374
972260
2000
16:14
and you could see the guys doing this but you couldn't hear them.
375
974260
2000
16:16
It was very unusual.
376
976260
2000
16:18
Here it is in a thrust configuration.
377
978260
2000
16:20
And last but not least,
378
980260
2000
16:22
you see this already has the ability to create events
379
982260
2000
16:24
in order to generate operational budgets
380
984260
2000
16:26
to overcome the building in fact performing
381
986260
3000
16:29
to allow the company to overcome their biggest problem.
382
989260
2000
16:31
I'm going to show you a brief time lapse.
383
991260
4000
16:35
As I said, this can be done with only two people,
384
995260
2000
16:37
and with a minimum amount of time.
385
997260
2000
16:39
This is the first time that actually the changeover was done
386
999260
2000
16:41
and so there is literally thousands of people because
387
1001260
2000
16:43
everyone was excited and wanted to be a part of it.
388
1003260
2000
16:45
So, in a way try to disregard all the thousands of ants running around.
389
1005260
4000
16:49
And think of it being done with just a few people.
390
1009260
3000
17:22
Again, just a couple people are required.
391
1042260
2000
17:25
(Laughter)
392
1045260
1000
17:26
I promise.
393
1046260
2000
17:39
Et voila.
394
1059260
2000
17:41
(Applause)
395
1061260
7000
17:48
So, just in conclusion, a few shots.
396
1068260
2000
17:50
This is the AT&T Performing Arts Center's
397
1070260
3000
17:53
Dee and Charles Wyly Theater.
398
1073260
2000
17:55
There it is at night.
399
1075260
2000
17:57
And last but not least the entire AT&T Performing Arts Center.
400
1077260
4000
18:01
You can see the Winspear Opera House on the right
401
1081260
2000
18:03
and the Dee and Charles Wyly Theater on the left.
402
1083260
3000
18:06
And to remind you that here is an example in which
403
1086260
3000
18:09
architecture actually did something.
404
1089260
2000
18:11
But we got to that conclusion
405
1091260
2000
18:13
without understanding where we were going,
406
1093260
2000
18:15
what we knew were a series of issues that the company
407
1095260
3000
18:18
and the client was confronted with.
408
1098260
2000
18:20
And we took positions with them, and it was through those positions
409
1100260
2000
18:22
that we began to take architectural manifestations
410
1102260
3000
18:25
and we arrived at a conclusion that none of us,
411
1105260
2000
18:27
really none of us could ever
412
1107260
2000
18:29
have conceived of initially or individually.
413
1109260
3000
18:32
Thank you.
414
1112260
2000
18:34
(Applause)
415
1114260
2000
About this website

This site will introduce you to YouTube videos that are useful for learning English. You will see English lessons taught by top-notch teachers from around the world. Double-click on the English subtitles displayed on each video page to play the video from there. The subtitles scroll in sync with the video playback. If you have any comments or requests, please contact us using this contact form.

https://forms.gle/WvT1wiN1qDtmnspy7