The Kraft Foods Company presents Willard Waterman as the Great Gilded Sleeve. The Great Gilded Sleeve is brought to you partially transcribed by the Kraft Foods Company. Kraft, makers of the one and only Miracle Whip salad dressing. We say one and only because there just isn't any other salad dressing like Miracle Whip. Miracle Whip is different and it tastes different. Miracle Whip tastes so good it's become the most popular salad dressing ever created. More Miracle Whip is sold than the next 20 leading brands of salad dressing combined. Try it. Make your salads better tasting with the one and only Miracle Whip. Well, it's a mild morning in May in the town of Summerfield and the Great Gilded Sleeve is in no hurry to get to the office. Ian and his nephew Leroy have inspected the daffodils, checked the three little blue eggs in the nest in the rose trellis and are making their way back to the house in the dewy grass. Hmm, beautiful morning, Leroy. Yeah. Spring is here. Spring sprung a month ago. Well, I'm just beginning to enjoy it. Look at this lawn, my boy. You'll have to get after it. Grass is getting pretty high. It's as long as your hair. Yeah. Why don't we take it down to Floyd's barber shop and get a clip? Yes, yes. Hey, there's Bronco. Just leave in the house. Oh, goodbye, Mars. Goodbye, darling. Quite a couple. Call me when you have a moment at the office. Okay, honey. And hurry home. I will. Why does he even bother to leave? No, Leroy. Oh, hello, Mr. Gilded Sleeve. Good morning, Bronco. Hi, Leroy. Hi. Mr. Gilded Sleeve, may I have a word with you, please? You bet. What is it? If you don't mind, let's step into the house. You all right? Come in, my boy. But why all the mystery? Well, the 10th of May is coming up, Mr. Gilded Sleeve. I get it. You want to borrow some money? No, Leroy. I want to spend some. Say, the 10th of May. It's your wedding anniversary, isn't it, Bronco? Yeah, you're not just whistling, Dixie. Well, good morning, Mr. Bronco. Oh, hello, Bertie. Malcolm, come over to talk about the wedding anniversary, Bertie. Ain't that nice? How's Miss Margie? Oh, fine. And we want all of you over for an anniversary dinner, huh? Yeah. I only have one problem, though. No food? Leroy? Don't you worry about that, Leroy. Bertie's going to be cutting up in the kitchen. Yeah. My problem's what to give Marge on her anniversary. Oh? Mr. Gilded Sleeve, I wonder if you'll take the time to go over and tactfully find out what she'd like. Well, I'll be glad to, Bronco. Are you on a surprise? Is that the idea? Yeah, that's right. I've been knocking myself out trying to think of something. Well, you just leave everything to me. Oh, thank you, Mr. Gilded Sleeve. Let me know as soon as you can. Yeah, I'll take care of it right away. Goodbye, Bronco. Goodbye, everybody. Bye. I don't want to see Marge before you go to the office, son. No, Leroy, I have to give this some thought. I'm not going to take this assignment lightly. Yeah, let me see. What would Margie like? Why don't you go over and find out? Quietly, Leroy, I'm thinking. She has a cedar chest. Do you have any ideas, Birdie? Birdie wouldn't take it on herself to select Miss Margie's anniversary present.  Well, Bronco wants this to be a surprise. How can she be more surprised than if I don't even ask her what she wants? Oh, brother. Besides, let's remember that I raised Margie. Who knows better than I what she would like? Margie? Leroy. Let's not tell me how to run somebody else's affairs. Okay, what a character. Yes, sir. This is much better than going over to Margery's and fishing for ideas. Well, I practically tell her what she's going to get. I wonder if Pee-Vee has anything she might like. Hello, Pee-Vee. Yeah, hello, Mr. Yellowsleeve. What can I do for you this morning? Well, I just want to look around, Pee-Vee. Yeah, I can't charge you for that. I'm looking for a little anniversary present for Bronco to give Margery. Very well. Pretty important, Pee-Vee. Bronco turned everything over to me. You're going to pay for it, too? No. I'm just going to pick out something for her. Isn't it a good idea to remember wedding anniversary? You bet. Last year, I forgot to give Mrs. Pee-Vee something, and I was embarrassed when she gave me something. Oh, what did she give you? She gave me a balling out when not giving her anything. Oh, my goodness. Sorry, Pee-Vee. It was my own fault. How I could ever forget today I married Mrs. Pee-Vee. I'll never know. No, Pee-Vee. I'll bet it was one of the happiest days of your life. No, I wouldn't say that. What? It was a terrible day. When we left the Parsons, it was snowing. The road was icy. The horse jumped the traces. A wheel came off the buckboard and dumped Mrs. Pee-Vee in my lap before I even carried her across the threshold. And you forgot that? That was many years ago. Now, what are we going to do about marjorie? I don't see anything in here. I'm afraid I don't have much that would be suitable for marjorie's anniversary. Has she dropped any hints? Last Christmas, she suggested I give her something for the house. How did she like that? Great. Bronco says she talks about it all the time. You don't say. Yeah, let's see. There's plenty of lamps and tables. I need something unusual. I don't say. Marjorie always admired that grandfather's clock of judge hookers. That's unusual. As I recall, the judge has been using it for a platter. Yeah. Only clock I know that uses ivy for hands. Now, Pee-Vee, it works. Marjorie would be fascinated with it. What do you think? It might keep good time if she doesn't forget the water. Yes, yes. I wonder if Bronco is in his office. Bronco! Come in. Bronco, your worries are over. I know exactly what Marjorie wants for her anniversary. Oh, wonderful. What does she want? You know that old grandfather's clock judge hooker hands? Yeah. What does she want? That's it. Well, it's a good thing I called you in on this, Mr. Gildersleeve. I never would have thought of that clock. Sure, for years. Every time we've gone to judge hookers for dinner, Marjorie's admired that clock. Well, live and learn. What else can I buy for Marjorie? What do you mean? Well, I'd plan to spend about $20, and that clock couldn't cost that much. Bronco, I'll be lucky if I get it for $20. They say the judge turned down $30 from the colonial daughters of America. Oh, well, did George Washington sleep in it? Bronco, just give me the $20. Well, you're in luck, Leroy. I see the judge is home. Do I? I want you to help me carry the clock to our house. What if the judge won't sell it? You just watch me, my boy. I'll give you a lesson in bargaining. I know how to clip the old goat. Well, Gildersleeve, come in. Thank you, judge. Hi. I'm honored to have you, but to what am I indebted for this visit? Oh, no particular reason, Horace. I just dropped into chat with an old friend. I thought you came to buy... Leroy. Let me do the chatting. Well, I'm not of the school the teacher's little boy should be seen and not heard. What do we talk about, Leroy? Askunk. Uh, judge, I just noticed your old clock over there. When are you going to get rid of it? Gilder, that's an heirloom. By the way, it needs winding. I only say this to a good friend, judge, but it dates you. You should get rid of it. Oh, Balderdash. Leroy, would you like to wind it? Sure. How do I do it? Just grab the chain and yank like ringing a bell. Okay. Well done, Leroy. Now it's wound until the weight works up to the top again. That's me. This isn't a bad old clock, Aunt. Well, what good is a clock if it doesn't keep time? Look, it's three o'clock and it only struck twice. Oh, my goodness. Judge, what do you take for it? I'll give you $20. No. Why should I sell it to you? Ah, come on, Aunt. We'll get something else from Marge. Well... Do you want the clock for Margery? Well, it's Bronco and Margery's wedding anniversary, judge, and she always admired it. Well... It's Bronco who wants to give her the clock, Horace. I'm just handling it for her. Well, if Bronco wants to present it to his lady fair, I'll sell it. Good, judge. I recall the day they were wed. A lovely young couple exchanging their vows at high noon. Shall we take the clock out the front way? Margery and White coming down the aisle, Bronco and Blue standing at the altar. Oh, promise me that someday you and I... Give him the 20 bucks, Uncle. Let's get out of here. You open the hall closet door, Bertie. We'll put it in there. Yes, sir. Now, let it down easily, Roy. We'll stand it in the corner. Okay. Quiet clock. Yeah, there we are. Isn't that a beauty, Bertie? Yes, sir. Playin' a trick on somebody, Miss Gil, please. Bertie, this is Margery's anniversary present from Bronco. You spoofed him. I thought he was kiddin' too. Nonsense. I happen to know this is just what Margery wants. Let's close the closet door, Bertie. She should drop in. I don't want her to see it. Yes, sir. But if she comes anywhere near the house, she'll hear it tickin'. She'll think it's a bomb and run back home. All right, have your fun. I think I'll go over to Margery's and let her know she's in for a surprise. Yes, sir. She'll be delighted with the clock. Of course, I'll have to be careful if she doesn't guess what she's getting. Well, there's Margery's on the front porch. Margery! No, I was just about to come over. Oh? Getting everything ready for your anniversary tomorrow? Isn't it exciting? Yeah. Let's sit down here in the steps and talk about it. Oh, good. Give me a chance to rest a minute. By the way, I suppose you're wondering what Bronco is going to give you. Well, I try not to think about it. Good girl. I imagine it's hard not to think about, though. Uh-huh. What have you thought about? Well, it could be a dressing gown. It could be a little pearl necklace.  Oh? I happen to know what you're getting, but don't try to pry it out of me. All right, Anki, I won't. Aren't you interested? Well... Bronco and I put a lot of thought to this. Oh, he talked it over with you? Talked it over. I'm the one who picked it out.  Well, no, but now that you asked for one, what is it that has a face, two hands, and is all wound up? Is it a wristwatch? You couldn't wear this one on your wrist. I could hardly carry it on my back. Imagine when we all go to Judge Hooker's for chicken fricassee. What do you want most? To go back home? Well, Marjorie, let's not be facetious. If you must know, I'm talking about that grandfather's clock of his. You mean Bronco is getting me something like that? Well, you always tell the judge how much you like it. I don't want to hurt his feelings. What else can I say when he points out his relics? You wouldn't really like it? Anki, it doesn't go with my furniture.  Well... You decided what Bronco should give me? Well... Somebody asked me for suggestions. Marjorie, I wouldn't be that obvious. Well, if Bronco shows up with Judge Hooker's old clock on my wedding anniversary... Wait a minute, wait a minute, Marjorie. I didn't say that was it.  Oh, I wonder who opened the closet door. The grave-gilless leave will be back in just a minute. A pretty new bride named Lillie was cooking a meal for her willy. Things got burned just to shade, but the salad she made with Miracle Whip was a dilly. Well, that may not be great poetry, but it's a great idea making a salad with Miracle Whip. Because even if you're not the world's most experienced cook, you can still be sure the salad will taste wonderful. When it's time to add the salad dressing, you just spoon smooth, creamy, thick Miracle Whip right out of the jar, and you're all set. 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Of course, if he had consulted his niece, he wouldn't have ended up with an old grandfather's clock. Oh, how do I get into these things? You jump into them. Well, I thought she'd like the clock. You should have asked her. Birdie and I told her you were making a mistake. Yeah, I know. But you wouldn't take our advice. Yes, yes. Leera, this ain't no calamity for Mr. Gilda Sleeve. It isn't? No, sir. I've seen you dig deeper holes in this for yourself and crawl out. Well, I'm not particularly concerned. I'll just go to Bronco and explain things. How? Well, I'll just go to him and tell him, I'll say Bronco. Yeah? Yeah, I'll say... Well, like Birdie says, I've crawled out of deeper holes in this. You're crawling all right. At least I found out one thing. I found something she doesn't want. You're all right, Birdie. What if that's Bronco, wonk? I hope not. Good afternoon, Birdie. Isn't it, Judge? Come in. Hey, it's Judge Hooker. Yeah, you've got some explaining to do to him, haven't you? Mr. Gillespie, it's Judge. Hello, Gilda. Leeroy. Hi. Hello, Judge. I thought I'd stop by and see if you got here safely with the clock. Yes, we made it, Judge. I'll be sure that you knew what kind of plant food the clock uses. Plant food? You got to feed that thing? Plant food for the vines, Birdie. Yes. Birdie's seen clocks you have to wind, and clocks run by electricity, but Birdie never saw a clock you have to feed. It does have its hubris aspects, doesn't it? It doesn't do so. Gilda, when you take the clock to Marjorie, take along this package of peat moss and mix in a tablespoon full... Judge, about the clock. Yeah? You'll be happy to know you're going to get it back. What? Marge doesn't want it. Leeroy. It doesn't, Gilda? Well, it seems it doesn't fit in with their house furnishings. That's quite true. And while I'd be happy for Marjorie to have it, I'll be equally happy to have it back. Good. There it goes. The best clock I ever owned. It's kept almost perfect time for 30 years. Five o'clock, right on the nose. Why, you... Five o'clock, you say, Judge? Gilda, what have you done to my clock? Nothing, Horace. It keeps striking. It's out of whack. I was very careful bringing it home, Judge. Yeah, he didn't even kick it when he dropped it on his toe. He dropped it. Why, Gilda? You watch it, Judge. Put down that bag of peat moss. Well, Marjorie's upset. The judge is upset. Now I have to go back and face Bronco. Yeah, I'll just tell him that luckily I learned she changed her mind. I don't have to tell him the clock never entered her mind. Gilda's leave you pretty foxy. Come in. Hello, Bronco, my boy. Oh, hello, Mr. Gildersleeve. I was just about to phone you to see if you have everything set. Well... Did you get the clock? Yes, I got it. Mr. Gildersleeve, you're a genius. I knew I could depend on you to find the perfect gift for Marge without her even suspecting what you were up to. Well, the situation has changed slightly since I last talked to you. Oh. Marjorie doesn't want the clock. Well, how do you know she doesn't? I found out.  How are they? Well, they've changed their minds. After I went to all the trouble of buying the clock and went over to tell her... You told her what I was giving her? Well, how do you think I found out she didn't want it? Yeah, but when you talked to her earlier, she said she did want it. Well, she didn't exactly say she wanted it. Well, then why did you have me buy the clock? Because I thought she wanted it. Mr. Gildersleeve, did you try to find out what she wanted? Well, like I say, I thought I knew. Well, then you never did talk to Marge. Well, I didn't want to give it away. So you bought the clock and then went over and gave it away? Well, that's one way of putting it. Well, how else would you put it? Well, now let's see. Mr. Gildersleeve, perhaps I shouldn't have troubled you in the first place if you'll kindly give me my twenty dollars. Twenty dollars? Well, I don't happen to have it with me. Didn't the judge give it to you? No, he's going to, right after I have his clock fixed. That's all right, Mr. Gildersleeve. No, don't worry about it. It's really my fault. I shouldn't have asked you to do it in the first place. You shouldn't? I should have asked Leroy. You know everybody's mad at me. Hello, P.V. Hello, Mr. Gildersleeve. What can I do for you? I'm already done for, P.V. Now then? Marge really doesn't like the clock. I was only trying to help Bronco out and now they're both up-settling me. You're doing too. Judge Hooker's mad at me, too. It's because I broke his clock. He gave you the works, did he? All right, P.V. That was a little witticism, Mr. Gildersleeve. Clock, works. I'm in no mood for witticisms. Well, I guess I listed it then. No telling how long it'll be before another fellow comes in here who's broken the works in his clock. P.V., I must say you're not very sympathetic. Yes, I am, Mr. Gildersleeve. I've always felt sorry for him. Well, it just doesn't pay to do things for people. Not even my own family appreciates him. Yes, they do. No, they don't. Hey, isn't that Marjorie and Bronco parking outside? They do. George, I'll bring them around. I'll threaten not to go to their anniversary dinner tonight. How do you know they're going to ask you? They've already asked me. Here they come. Yes, sir, I'll just play hard to get. All right, Mr. P.V. Hello, Bronco and Marjorie. Hello, Mr. Gildersleeve. Hello. Mr. P.V., we'd like a gallon carton of vanilla ice cream for our anniversary party, please. We'll see you over home about six, Uncle. I might not be able to make it tonight, Marjorie. Oh. Well, what's the matter, Mr. Gildersleeve? Well, I sort of have a previous engagement. But, Uncle. You won't miss me. We were looking forward to seeing you and Leroy and Birdie. No, no, don't beg me. Oh, we don't want to force you. Mr. Gildersleeve, I'd cancel my other engagement. Never had one. P.V., I know what I'm doing. Well, here's your ice cream, Bronco. Oh, thank you, Mr. P.V. Uncle, I'm surprised you'd make other plans on our anniversary. Well, I've been told I do surprising things.  Don't count on it. I'm sorry, Uncle. Let's go, Bronco. Marjorie? Yeah? It would put me out quite a bit, but perhaps I could switch my engagements since you insist. Oh, we would be. Come on, Marjorie. Well, since I won't be seeing you, happy anniversary. Thanks, Uncle. Yeah, but thanks a lot. Hmm. They left me dangling, P.V., on the end of a limb. You're not dangling. You just thought it off. I guess everybody's over at Marjorie's for the big doings. Yeah? I'll turn off the lights, and they'll think I've left the house. And I'll raise the shade and sit by the window where I can watch it. I don't have anything else to do. Oh! Darn, window shade. Oh, well. Hey. I can see them through Marjorie's dining room window. They're at the table. Yeah, I could be over there with my little family if I hadn't tried to make it. I could be with my little family if I hadn't tried to mastermind the anniversary. Obviously, you're just an old buddhinsky. And now you're paying for it. Hmm. Oh, oh. Look over there, those happy faces. Leroy's stowing it away. Marjorie and Bronco making sheep eyes at each other. Who's that? Birdie! I thought you'd like a plate from the anniversary dinner. Well, that was very thoughtful of you, Birdie. How'd you know I'd be here? I think you'll leave. I knew you wouldn't go any place on the children's anniversary. Well, Leroy!  Thank you. Little Leroy. Hey, why didn't somebody turn on the lights? Marjorie, Bronco. That's better. I thought you might like some hot coffee, Mr. Gildersley. Anniversary cake. Me? Yeah, didn't Birdie bake a wonderful cake? Thank you, sir. How do we know that we eat it? Cut it, huh? Isn't it? This is a great honor. We waited dinner for you. I'm thinking you'd come over. Well, I wasn't very hungry. Until now. What a fine anniversary. The Great Gildersley will be with us again in just 30 seconds. How much can salad dressing do for a salad? Well, if that salad dressing is miracle whip, it can do wonders. It can make the simplest salad in the world a special treat. Why? Because miracle whip has a truly remarkable flavor. A lively, teasing flavor that's made it the most popular salad dressing ever created. Find out just how good miracle whip can make your salads. Get the one and only miracle whip salad dressing tomorrow. Hi, George. It was a fine anniversary, Lee. Yeah, plenty to eat and everything. Well, you sleepy, my boy? You'd better run along home and go to bed. No telling when Marjorie and Bronco will be back. Well, they wanted to line up their anniversary dancing at the crystal room. Fine, young couple, Lee, right? Yeah. Before they left, they had a lot of nice things to say about me, didn't they? Yeah, Bronco surprised me. He said you were like a father to him. Yeah. Marjorie gave me a big hug and a kiss. Yeah, I'll never forget tonight. They said they couldn't do without me. Who else could they get to sit with a twins? Lee, right? Lee, right? But, gosh, won't you be out practically all night getting them water, checking them, keeping them covered while Marjorie and Bronco are out dancing?  Good night, Huck. The Great Gilded Sleeve is played by Willard Waterman. The show is written by John Elliott and Andy White that is partially transcribed.  Musical compositions by Jack Meakin. This is John Heaston saying good night for the Kraft Foods Company, makers of the famous line of Kraft quality food products. Be sure to listen in next week and every week for the further adventures of The Great Gilded Sleeve. Delicious cold cuts for lunch and supper make a welcome change of pace from the hot meals you've been serving. Easy to fix too, but here's a tip. Be sure there's delicious Kraft prepared mustard on the table because when you add a little mustard, you add a lot of tang. There are two kinds of Kraft mustard, mild Kraft mustard so smooth and delicately spiced, and Kraft mustard with snappy horseradish added to give it extra zip. Keep both kinds on hand for different tastes. Next time, get Kraft prepared mustard. Tonight, play You Bet Your Life on NBC.


What is Christmas like in the back rooms? Merry Christmas everyone! I hope you're having a great day if you celebrate it. And if you don't, I still hope you're having a fantastic day. Thank you all so much for your support on this year's Brugmas. It's been fantastic and we're capping it off with a very fitting level. Now have you ever thought about what Christmas is like inside the back rooms? I mean the back rooms is a terrible, horrible, and even awful place, but surely there's gotta be some Christmas cheer somewhere. Luckily for you, there's back rooms level 941, which is what I'll be explaining in this video. Let's get into it shall we? So back rooms level 941, aka holiday spirit, is classified as the class 1 difficulty, and is safe, secure, and has a small, empty count. The level physically looks like a house that's been decorated for Christmas. There's Christmas trees, fireplaces, wreaths, lights, garland, and literally every type of Christmas decoration that you would see in a big fancy house. Now the house itself is way bigger on the inside than it looks on the outside, and it has a ton of rooms. But the main thing about this level is the calming feeling that it gives everyone who comes here just a relaxing Christmas type of vibe. I mean, how can it get any better? In every room, there is a radio system that plays old Christmas music, and when that's turned on it just adds to the chillness of the level. Now alongside there are living rooms, there's also kitchens connected to them. These kitchens are full of food, specifically food that you find at a traditional American Christmas dinner. Ham, gravy, turkey, mashed potatoes, apple cider, jello, that type of thing. There's also desserts, if anyone's wondering. The food is always fresh and it's always safe to eat, and this level is just getting better and better to me. Now if you walk out of the kitchen, you'll be in a living room. One of them, at least. They're all massive, and they all have huge Christmas trees in them. All the trees have presents under them, and everything's just fully decorated and maxed out. It's like Christmas threw up all over these rooms. There's actually a few spots in the level where you can find a staircase that goes up. These staircases, of course, are also decorated with garland and lights, but if you walk up the stairs, you'll see some bedrooms and bathrooms, which also are decorated for Christmas. And that's all fun and dandy inside, but you can actually go outside of the house if you want to, and if you do, you'll see a yard that's covered in snow. The level stays around 20 degrees Fahrenheit, or negative 6 Celsius, and it's pretty chilly, so you probably should wear a coat. Now the house itself is actually alone, and it's in the middle of a forest, and there are no other buildings close to you. It's just one normal-looking house that's way bigger on the inside than on the outside, sitting out in the middle of the forest with decorations everywhere. If you do wander into the forest, it doesn't matter how far you do, you'll eventually no-clip back to the front of the house. But you might think the holiday joy stops there. Well, you'd be wrong. If you walk down the dirt path that leads to and from the house, you'll eventually walk to a town. Now you can only do this by finding where the dirt road is, because if you don't go and you just go out into the middle of the woods, you'll get sent back to the house. The dirt road will be covered in snow, but you have to find it to get to the town. The town itself is a very festive and populated town, and it's populated with faceline entities. Of course, you guessed it, the town is decorated for Christmas. There are shops and buildings, and it looks like a nice older town. The buildings are inside and out decorated, but there are a few specific buildings that I will mention. A food market, a skating rink, and a Christmas tree store. There's even a candy store. But yeah, it's pretty much like a Christmas town. How can you go wrong with a Christmas town? Let's be real. Now, you might think that the holiday joy ends there too, maybe. But again, you'd be wrong. Because if you walk to the end of the road through the town, you'll find a mine. Yes, a mine. And this mine is more like a cave, but inside of it, you'll see a Christmas decoration heaven as well. Hanging lights, presents, garland. Everything like that in this mine is just a Christmas mine. I mean, what else can I say? Inside the mine, there are actually gyms that smell like peppermint. That's pretty much it. It's just like Christmas vomited inside of a mine.  That's where I'd be staying, because I love Christmas and I couldn't get enough of it. But whatever you do, listen to what I'm about to say. Do not go to this last part of the level, because this spot is dangerous. The last part is the basement, and it can randomly be accessed if a set of downward stairs appears. Pretty rare, but if they do, do not walk down there because nobody has a clue what's down there. It could be entities, it could be nothing but darkness. All we know is that we can't see all the way down. It's just dark. Stay upstairs where it's chill and colorful. I mean, why would you want to leave? But yeah, how could you not love an entire level dedicated to Christmas? If you don't like it, it's a good chance that you're a Scrooge for real. And who wants to be a Scrooge? That's it for the video. Thank you so much for watching. This was a pretty just relaxing and lighthearted level, and it fits the theme of Christmas perfectly. So leave a like if you enjoyed that, and thank you all so much. I hope you have any merry Christmas. I just appreciate all of you for all you do for me. You all are the best gift that I could ask for. Okay, that was really Korean sounding. But I did mean it. I love each and every one of you. Comment Merry Christmas to spread around the joy to all the other people watching, and I really do hope you're having a great day. I hope you got everything you asked for. If you don't celebrate Christmas, I also hope you're having a great day, of course. I guess it's just a normal day for you. But seriously, thank you all so much. I love and appreciate each and every one of you. Click the top link in the description if you want to go check out the merch.   After that, it'll go back to normal price. Also while you're down there, check out my other channels. If you're bored, you might have something. If you don't have anything else to do today, if you're between meals or between family, check out some Brugley 2 or Spookly videos. Anyways, that's enough self-promoting. I love and appreciate all of you. I cannot wait for this next year. I've got huge things planned. I hope you're ready to stick around for it. Hope you're here for the ride. I love you all, and I will see you in a couple of days. But for now, Merry Christmas, everybody. I love you.


Okay, good afternoon everyone and I welcome everyone to this event with Mr. Martin. Martin Henn completed his architectural studies at the University of Stuttgart as well as the ETH Zurich, where he graduated with a master's degree in 2006. In 2008, he received a master's of advanced architectural design from Columbia University in New York. Prior to Henn, he worked at Zaha Hadid Architects in London and Ascent Art Architecture in New York. Martin Henn joined the Henn Architects in 2008, becoming a partner in 2012 and a managing director in 2017. Henn is an international architecture office in Munich, Berlin and Beijing and draws upon more than 70 years of expertise in the field of workspace, culture, health, education and research as well as production and master planning. With a count of 380 employees from more than 40 nations, their architects, designers, planners and engineers benefit from a wealth of knowledge collected over 3 generations of building experience in addition to the worldwide network of partners and experts in a variety of disciplines. This continuity, coupled with progressive design approaches and methods and interdisciplinary research projects, forms the basis of a continual examination of current issues and for a consistent design philosophy. Forms and spaces are no mere objective. They are developed from the processes, demands and cultural contacts of each project. I welcome Mr. Henn to start his presentation. Thank you very much Rata and yeah welcome everyone. I'm very pleased to be back at Columbia. Initially we were planning to do this in person. This unfortunately was not possible but I'm doing my best to still keep you interested via the screen. I am going to share the presentation so maybe just give me a quick thumbs up if you can see it. Okay so when I studied architecture, this was kind of a pre-Columbia days in the early 2000s. Architecture was based on binaries. This is how I learned it. It was differentiated in outside, inside, public space, private spaces, in work, in life and I want today to focus on the in-between space. You could call it the third space. That is spaces that is basically neither nor. We are living in a time of big transformations, digitalization, climate change. They are all disrupting our economies and our society and the speed of innovation is moving forward faster and faster and the changes that are happening are more fundamental and more fundamental and affecting our organizations and our work culture. I would like to ask today, what does it mean for architecture? What does it mean for our discipline? How do we design for these possibilities, for these ambiguities and uncertainties? And if traditional typologies are maybe no longer sufficient, then how do we reinvent new ones? And we understand architecture as a sort of framework or as a scaffolding for social processes to happen and to take place. So architecture is not just the reacting sort of player in this context, but it can become an active agent and a driver of change and innovation. So we're not just designing the spatial dimension, but at the same time we're developing the social dimension. They are kind of mutually dependent and affect each other. In the past, and this is an interesting, I think, illustration from a book, which is called Neufat. I don't know if you have come across it in your studies, but in Germany, each student is kind of like the Bible. And it is a very thick book with a clear categorization and cataloging of activities of people and the respective kind of spaces that these activities take place. And everything was kind of measurable. And you could clearly say, okay, there's a single office has kind of these proportions, and you could even sort of rely on a catalog then of building typologies. So, yeah, a very clear differentiation in functions and building types. Today, those typologies and those activities become much more hybridized. The programs and functions become more networked, interconnected, and kind of blurred. The processes that are taking place in these buildings are more and more nonlinear. The results, the outcome, is oftentimes not quite clear yet at the beginning. And things cannot be organized as easily anymore as most may be possible in the past when there was a clear hierarchy. So we are dealing with gradients of communication and different activities. Similar maybe to the building scale. There's a similar kind of tendency also on the urban scale where a blurring of the public and the private seems to be taking place. And at this point, I want to introduce the concept of liminality, something that I kind of came across and I think was quite helpful to describe this. It comes from the Latin word limen, which means threshold. And a liminal space is that space that is no longer and not yet. So kind of something in between something, a zone that disturbs the usual binaries now of A and B, and a zone that disturbs the hierarchies that uphold the power system without resolving the differences of the two. And yeah, in this space, we kind of, we are out of our comfort zone. So we need to create new meanings, the rules that we know need to be negotiated. So it's a space that is primed for change, a space for transformation and for innovation, a space in which anything seems possible, and a space of constant change. So it's a kind of permanent limbo, a space of fluctuation. So if I look at our practice and also the projects that I'm presenting to you today, I would say that we are a practice that is very much focused on this type of space, the third space, operating in between clearly defined typologies and between individual systems, trying to bring together and to unify seemingly opposites, focusing on the performance and kind of the potentials that this unfolds. And yeah, here is a quick overview. I will do that with the help of five projects, three office buildings, production facility, and cultural center. The first one is the Osram Headquarter in Munich, a building that was built by my grandfather in 1965, Walter Henn, and it was the headquarter for a bulb company. So they were basically producing light bulbs. And what, yeah, the innovation that he brought to this building was the so-called Bürolandschaft, an idea of the open plan office that at that time was already quite prominent in the US. He brought that over to Europe and developed it further in a way that he broke the rigidity and the repetitive sort of configuration of the furniture and loosened that up and created more organic circulation patterns. So this one here is a floor plan. And if you compare that now to the images that we saw before in the Neufrad, this is, yeah, something I would say quite radical and quite innovative, yeah, fully blurring the spaces and the different functions in an effort to improve the collaboration and the communication between the people. So there is these lines here are kind of demarcating the different teams that would always reconfigure. So it was a permanent contestation and renegotiation of boundaries and sort of a one-to-one translation of that liminal space diagram that I just showed you. But there was still a clear hierarchical organization. If you can spot here, the two corner rooms where the managers that had a very clear idea of or a plan of what should be done and those tasks were then executed proficiently in a very sequential kind of linear process. The second project is taking us to almost today in 2018, the Merck Innovation Center in Darmstadt, where we're taking this idea almost to an entire building scale. Merck is one of the oldest pharmaceutical and chemical companies in the world. They turned to 350 years old when this building completed. And at this campus here, we have roughly 10,000 people working in healthcare, life science and electronics. And the idea was to build a building where all of these people could come together, work on kind of interdisciplinary project-based topics for a limited period of time and to then kind of go back into them respective departments and sort of infiltrate those new ideas and these innovations. So yeah, the client basically asked for design as a building that is breaking down the hierarchical boundaries. So their way of working was still a very traditional one. Take the people out of their comfort zone. Take risks and create opportunities for ideation. So we looked at the constellation of these future sort of project teams very closely. It was a number of 15 to 25 people and these project platforms, they had to offer everything from kind of collaboration zones to presentation zones, but also moments where people could kind of sit down and work in a concentrated way. So what at Osam was still kind of like a two-dimensional network is now taken to the third dimension and the office landscape is becoming or turning into an office topography. So in this little diagram here you can see these project areas as the say smallest unit of the building. They are connected diagonally with the bridge and then vertically kind of connected with these ramps and staircases. We intentionally decided not to leave the center open. This is often essential. A germ in a building but to occupy it and to program it as a space where people can come together and interact. This is our favorite model, like a very early concept model, but I think that shows best the simplicity of the geometry. You have this clover-like kind of shape and if you unfold, unfold this in 3D, you're creating this sponge-like very interesting sort of spatial continuum that is kind of mediating as a gradient now and as a space between zones where you can work more concentratedly. Those are situated along the perimeter of the building and the center where you have maximum exposure, maximum also visual connection to the other project teams and that also serves as kind of the central circulation of the building. And this is here a view into one of the four voids and this is a shot a bit further away from the perimeter of the building looking at one of these project platforms. Visibility is very important now as sort of like an initiator of two people to interact and to start a conversation and you can recognize a phase very well at the distance of up to seven meters and then kind of medium okay up to a distance of 20 meters and then anything beyond that is it's a bit hard to grasp. Many squares in Italy are kind of designed around that size or that proportion and this was also an influencing factor when designing this building. So the when you take our central bridges the maximum distance kind of diagonally until the end of a project platform is roughly 20 meters so allowing people who would pass by to kind of say hi to recognize their colleagues and to kind of start a conversation. This is here a view when you're kind of all the way back. There are also some mezzanine levels with meeting rooms and from here the sort of perception of the space is a much more horizontal one but you can still see these kind of central staircases winding up. What was quite important here is that not only each team would you know work together effectively but that there would also be a cross-pollination between the teams. So if there's like the electronic teams that gets inspired by the life science team the so-called weak ties know that are really the ones that sort of bring upon the real changes also the systemic changes between the different systems and the building is really a catalyst almost for these sort of global ties to happen and to then kind of bring back these ideas into your kind of local teams. That's a view when you enter the building and you can already guess what was kind of happening here. The ground floor is a very open landscape of cafeteria there's a big auditorium and a showroom and you can see that we try to almost hide let's say the elevators of the course trying to encourage the people to walk through the building and when you go up now this is the second floor you can see how those four voids are basically perforating the building into this kind of sponge-like space and how the two cores are holding all the kind of serving functions elevators fire staircases toilets and so on and so forth and yeah going one level further up you can then basically imagine this continuous loop that is taking you through the building. The section through the innovation center on the left hand side you can also see the restaurant the canteen building that's connected to it shows you how these project platforms are always two stories high and how they sort of diagonally distributed to provide for views now from one platform to another and so yeah just makes it very open and you can see quite easily okay what else is happening above you or below you. On top of these project platforms there are lots of other completely different functions or programs on the top floor there is a workshop where people can build prototypes and they have these tables here where they can build models there are 3d printers in the back and on the second floor there is a library where you can come together read a book or discuss things this here is the co-creation area also on the second floor where smaller project teams can form and and meet also with external people. This one here shows you an outside view on the left side is the innovation center and then on the right side is the the canteen building also a very important this one here the transition is kind of tunnel that takes you from one world to another with an art installation and then on the other side on the ground floor this kind of open network of streets with shops there's a bakery a butcher and then on the second floor the the canteen a nice shot where you can actually see the production facility in the back and also the scale the scale of the entire compost. The next project that I want to talk about is the Zalando campus it's a project which is located here in Berlin in the heart of the city Zalando is probably not so well known in the US but it is the I would say most successful German tech company they were founded in 2008 here in Berlin and have grown into I think a 20,000 people business now and what they do they are an online fashion platform basically selling fashion through the internet and when we started to work on this project the competition was taking place in 2015 they were spread all over the city working in these very typical Berlin backyards conditions and the aim was to really bring all of these people together to unite them under one roof and to also give a purely sort of virtual and digital platform also like a physical presence in the city. What was interesting here is that the competition brief when we met the client they told us please guys don't reinvent the workplace but the way there so think about the experience when you enter the building and when you walk up the stairs to your desk what is what is happening along that way what are the encounters and what are the experiences that that you can sort of program as an architect what the yeah to kind of typical Berlin sort of urban design module is the Berlin block right I'm sure you've heard about it where you have the courtyards in the middle and you're kind of occupying all four edges what we did with this project is we kind of inverted this idea of the Berlin block and push the courtyards from the inside to the outside creating essential atrium in the middle and took the orthogonal grid and sort of rotated it 45 degrees to create this kind of network of building volumes so the campus or the building both opened up quite generously to the outside but also allowed for views into the building and this is something that was very important for them to also have to show a sense of transparency and what we tried to do inside this building was to almost apply urban planning principles at the scale of a building and within a building so some kind of office urbanism with squares streets and different neighborhoods and yeah this is here a representation the Nolli plan of Rome which I think is quite or quite beautifully illustrates now the differentiation of public and private spaces and actually already contains clues on how to break that binary by carving out kind of public spaces within the private pusheys of certain buildings and this is something that we tried to create also this gradient from public to private within the building so the central void became a central marketplace connecting vertically all the different levels and here the entrance passage that had the auditorium on the right side and then this big central staircase to the left that would take you up to the to the second floor there's a very big showroom and then also to the to the higher levels what was important here is to have the space that was surrounding this atrium not as a pure sort of circulation space but to program it and to also make it usable as a workspace each floor had a so-called living room and this living room was facing the central atrium and was kind of encouraging people to get up from their workplaces to socialize and to exchange ideas to kind of interact face to face with their colleagues because this is what we believe is where most of the innovations the real innovations happen over a cup over a cup of coffee and here you can see them they're always like double high spaces connecting also to the outside and yeah actually very popular and not just used for lunch breaks but also during the day and yeah they were kind of articulated differently on each floor representing the different neighborhoods that you have in Berlin from these kind of living rooms or from the central void we had the streets then a network of streets that would connect the colleagues through their different neighborhoods here you can see one of these paths that would kind of bend and take you into the depths of the building and along these paths there would be also auxiliary functions like telephone boots and shelves lockers and so on the yeah actual neighborhoods are these kind of boomerang like configurations always facing the outside facade and this is where the actual workplaces are located in the pinch points here always with project rooms where the teams can come together and discuss their discuss their ideas yeah so again the marketplace streets and and the neighborhoods so I think as a as a project for us quite an important learning that it's a building that is moving I think from the notion that an office is a building for a place for work to become a place of encounters a place of interaction of collaboration and therefore more than 50 percent of the of the area in this building is dedicated to these kind of communal functions and we were also talking to the client and kind of asking like post corona what or how they would sort of re maybe configure this building and they also confirmed that these sort of areas these sort of functions would for them have become even more even more important one thing just as a quick maybe excursion here that is kind of like an ongoing research that we have in the office that we are also trying to really analyze and to measure on the left side you see kind of like a visibility gradient map of one of the floors and the building on the right side is a connectivity of your your workplace so we're kind of asking ourselves like how do we make this informal communication measurable how can we use this data to inform the design of new spaces and how can we potentially also deploy technology to enhance the social interaction inside a building in real time and yeah this is something that we still haven't figured out but that we will kind of look into more closely in the in the future. The next project is an entirely different typology it's a production facility the transparent factory in Dresden and what is quite interesting about it is that it's taking a typology that was formerly outside the city production of a car and basically brings it into the heart of Dresden surrounded here by all the very rich cultural heritage of the city the Semper Opa and many other buildings so this was kind of this was one thing and the other idea or kind of taking this production facility in the middle of the city was combined with this idea of the the the manu factory so the idea of making a production process visible and exposing showing the the craftsmanship that goes into into a product so similar to like a jeweler a shoemaker or a furniture maker that basically sits in his shop window and works on this on his product and in combination with this idea of the kind of human craft it's this idea of like a fully automated factory where yeah all the parts are you know delivered just in time kind of anticipating a hybrid future of production or where both the man and the machine are kind of interacting in actually quite a livable environment I mean this the factory that has wooden floors daylight and is actually quite a nice quite a nice work environment. The assembly line of the car is stacked vertically to to save space and as I said fully automated here you can see it quite nicely in plan and so it's this kind of L condition with you know the parts being delivered actually some of the parts by a local tram and then the car being assembled put together and theme the square that you see on the left hand side is this kind of added space no that is for visitors but also for the customers who are coming to to buy the car. So the flows the different flows of the car and the people they're kind of overlapping and yeah showcasing almost like a choreography and the assembly line and the movement of the cars and making that yeah an experience for the people of Tristan. That's a very old concept model which I really like because it nicely illustrates these different these different flows of the products and the people. Also here a short movie where you can see I think the beauty of the movement of the robots but also the people and the sort of the depth and the transparency of the space and how that can nicely influence this sort of semi-public area that is created around it. And what is interesting is that this sort of added space this public forum has been used for many different purposes. The probably most interesting one was when in 2002 the river album flooded the city and the historic center had to be closed off for protection and the Sampa Opera was basically looking for a place where they could do the performance of their operas and they moved the entire sort of audience the orchestra and the stage into the factory and this is just one example of how this space was reprogrammed and reinvented over time. Last but not least I want to talk about Rastajk. It's a current project that is in the making in the center of Munich. The Gasstijk is actually one of the largest cultural centers in Europe. It counts up to two million visitors per year and was originally built in 1985. So it's yeah already some years old and it had to undergo a renovation process. What's quite unique about the building is that it houses very kind of different programs. You have the concert hall on the one hand that has a big auditorium, a library, a public library and then also educational facilities. So even for the time back then this was quite innovative to combine all of that in one building. The only problem being that those functions were kind of separated from each other. So when we started to work on this project we thought like what can we do to connect them and also to connect the different functions and to open them up to the city. So we were kind of introducing a third element as a connecting link, the so-called culture stage. So this kind of orange volume which was kind of cutting through the existing building. We tried to maintain as much of the building as we could as much of the existing structure also the existing facade and sort of deliberately injected this bridge in very strong contrast to the monolithic character of the existing building, this highly transparent bridge-like volume that is displaying the vibrant interior to the city of Munich and also allows for amazing views from the inside out. And the so-called culture stage functions both. This is here a floor plan of second floor, so kind of the main level of this bridge. And you can see how it both works as circulation. It works as the foyer space for the philharmonics for the auditorium as an exhibition space, as an event space, a space of encounter for people to walk through and also a space of cultural production where employees, students, visitors can all sort of become actors on this stage. So in a way I'm very hybridized, no machine, a production machine for culture bringing together very different demographics and age groups into one space and this is something that was very important also for the client not to have something very elitist but to really cross-breed and connect the different activities that are happening and taking place. Besides that cultural bridge, the also the individual parts of the gastric had to be sort of re-thought and revamped. This is the old philharmonic, the old concert hall, which is actually still in quite good shape but had one problem is that the acoustic quality was never really there. So we on the one hand kind of redesigned it but also improved the acoustic behavior by moving the stage closer to the center and basically making or adjusting the proportions, the geometry of the space to improve the acoustic quality. The library also underwent an update for the digital age. Formerly very kind of story like spaces were opened up with big collaborative spaces and also new functions and programs were introduced in the cultural bridge. Yeah and I want to wrap it up or kind of leave it at this here. This is a view kind of standing on this bridge sort of looking down this interesting space and I hope with the project that I showed I could somehow inspire you and arouse your interest for the space in between and its importance and relevance for our future world. You'll be the ones to shape it and I'm now looking forward to questions and a conversation with you. Thank you. Thank you for this fantastic presentation Mr. Martin. Before I open it to the audience for a Q&A I have a few questions for you. With around 2 million visitors annually to the gas station in Munich which is the largest cultural center in Europe. How do you think the hand renovation adds value to the cultural and historic importance of this center? Well if I kind of go back to the competition, it was a very big international competition and most of the other competitors they designed a beautiful facade or created a beautiful kind of interior space and I think we were probably the ones that were most radical in paying respect and tribute to the existing and keeping as much as we could but kind of combining that with also some radical intervention that would sort of bring in a new dimension and empower and enable the existing programs and activities. So I think in that sense it's very much respecting what was there but also adding something that brings in an entirely new dimension. And just another question that 10 architects you know specialise in like a social performance design as to you know how people collaborate and communicate so from that which one do you think is your favourite project and why? That's a tricky question. This is almost asking like who's your favourite child and you will always have one against you. I would say I mean there's lots of favourite ones. What my favourite thing is when you have it's not so much the individual project but when you create a relation between one project and another and when there's a certain sort of evolution or lineage that you can recognize and that you can maybe also intentionally build up with each project you learn and you understand things better and you can take them to the next level. You can also create connections and this is why I showed a production facility next to a cultural centre. You can create connections between them and you can take learnings from one and sort of apply them to another. So that's my favourite thing. I don't have one favourite project. Okay and I think now we're open to the audience to ask questions. Be free to unmute and ask or top your questions in the chat box. Hey guys this is a webinar so the students aren't actually able to unmute themselves. Sorry about that but they will be able to enter into the chat or the Q&A. Okay perfect. We know you have questions. So we have a question from Dhruva. What would be the employment opportunities at your firm with the masters from G-SAP? That's pretty straightforward. I like that. Oh you would have the best employment opportunities. No but as I would say very good opportunities. We are welcoming students and future talents from all over the world and I mean I know from my experience that G-SAP is a great school and that it really helped me to broaden my horizon and to kind of find my own perspective. So very good opportunities. Go ahead and send out your applications and we're happy to invite you for an interview. Okay the next one is Sebastian says thank you for a great presentation and greetings from Braunschweig. I don't know if I say that correctly from Germany. Yeah. And then there's someone in the YouTube sorry. No that's probably not a G-SAP student but yeah yeah. We have a question on YouTube. How has social distancing in commercial programs influenced the work? Social distancing in commercial. What does he mean with commercial programs? They're good at the YouTube maybe. Well um. My assumption is what they mean is in like the idea that people want to be farther apart in a commercial program for example like a mall or a factory like allowing for more space for egress or what are the ways that you are thinking about crowding? Yeah. Well I mean the I think with many of our clients the hope is still there that things will kind of become more normal but at the same time the workspaces for example you know they are designed to provide for more space when it comes to kind of the circulation of buildings whether that's elevators for years they're proportioned more largely. Shopping and all that I would say has largely shifted to kind of Zalando and the likes no to many more people including myself are shopping online these days. So yeah this is something that I think will influence and this is kind of what I briefly touched upon before with when I was talking about Zalando is that it will sort of affect I think the way these spaces are programmed. Now for example the office if people will you know work more easily and more commonly from home in the future then what's the reason to come to the office and you have to kind of I think offer them those reasons now that you say okay like either you have a great infrastructure there or there is a way to further your knowledge or to socialize and to meet interesting people or to collaborate and to co-create. So I think this is probably the biggest effect now of kind of post-corona kind of thinking of how do we reprogram the kind of typologies that we know and how do we kind of reproportion the different sort of programs that they consist of. Thank you and we have a next question and the question and answer from Jai Gang. Does the office have a research project on the topic a liminal space or interstitial space? What was that again? Sorry. Does the office have a research project on the topic liminal space or interstitial space? No but I mean the project that I mentioned before the one that we're doing for Zalando is kind of targeting that liminal space no it is kind of informal space where we are trying to understand how do people move through these zones, how do they occupy them, how much time do they spend there, how do they kind of interact and communicate with others. It's this shaping space research project now that we do with two universities from Berlin, Berkeley and our industry partner Zalando. Thank you and we have a next question from Ebriana. As per the current world scenario, technology has started to play a key role in touch-free architecture, mainly entrances, circulation. What is your take on how technology will affect design in the next 10 years? I think a lot. I mean on the one hand how the building is kind of operating from let's say a touch pad at the entrance or in the elevator but I think also and how light and air and everything is kind of controlled around you and geared towards your individual needs so but I think it will also fundamentally and it's one thing or the first thing I think is maybe the easier task. More interestingly I think is the question how does technology influence our behavior or social behavior when we move through buildings. I was talking a lot about kind of visual connectivity before now and that to be sort of the initiator for communication to happen but what if that communication in the future can also happen virtually or can be kind of hybridized non-augmented by a virtual reality. This is something that I think will fundamentally change the way we use buildings, move through them and kind of collaborate with our colleagues. Thank you and we have our next question from Jasmine. Thank you Martin for a wonderful presentation on the relevance often in between space. When working on a building with the mentality of an urban scale how do you decide how big a district or neighborhood needs to be? Lastly on your website you seem to be hiring from all over however there seems to be a requirement to be fluent in German. Is this true for all positions in hand architecture? The first question is when working on a building with the mentality of an urban scale how do you decide how big a district or neighborhood needs to be and the second question is how fluent you need to be in Germany for all positions at hand architecture because that's a requirement on the website. Well maybe the second question first, it depends very much if you work in the sort of early phases in our design studio the kind of common language is English so you don't need to speak German. When you work in our office in Beijing that's the same also if you work on an international project here the lingua franca is English. When you work on a hardcore German project that is also like going through the execution phase and then German is very helpful otherwise I think you will get very frustrated by not understanding anything but this is something you can learn so we have lots of colleagues who joined the office and didn't know a word of German we also offer language courses and they are now some of them actually quite proficient and others at least understand and can say enough to to participate and the first question was like on urban scale projects how do we sort of measure the importance of what?  A district what about? When working on a building with the mentality of an urban scale how do you decide how big a district or a neighborhood needs to be? Well I think that depends very much on the context no if you have a very dense urban context around you then it's maybe you know larger if that's less dense then it can probably be smaller or more dispersed so yeah I think that would depends very much on the context. I think before we conclude this enriching event our students would like some career advice from you I think please shed some light on how to plan a career path in the field of design and what do you think should be the do's and don'ts? Well first of all doing many things right already no I'm studying at Columbia no but jokes aside then what I could recommend is during my studies now too I think change contexts and I mean I studied both in Germany in Switzerland and in the US and the schools and the teaching sort of philosophies were very different no so in Germany it was very technical similar in Switzerland that's where they teach you how to build a house and in the US it was much more you know theoretical much more conceptual and I think to combine the two worlds this is something that I see also when we you know hire people is that I think the combination of the two is really what makes you strong no I think to come up with great ideas but to then also have the capacity to translate that into something tangible so this would be one advice and yeah there's so much to learn from in architecture something that you learn also a lot through experience no so I think also then working in different offices getting these learning experiences for me was very helpful and maybe last but not least also experience and expose yourself to different cultural contexts I think in order to understand also the relevance of what we're doing go to India go to and see China go and see Africa because this might alter and change a little bit no also the perspective on the problems or the issues that that you're working on currently and that helps to broaden I think your horizon and to really I think sort of tackle and target the global issues and the problems now that we have to do but thank you so much it was a pleasure having you thank you very much for having me and I have a nice day it's already dark here in Berlin I'm sending my best and good luck with your next semester okay thank you bye bye


Hey Survivors In this video, I'm going to be talking about how Narciss have nothing to give Please like comment share and subscribe Click the bell icon to receive notifications for my future videos If you would like to donate my PayPal link is in the video description If you are interested in one-on-one coaching you can email me at NarcissFeverCoaching at gmail.com Narciss have nothing to give in a healthy relationship There is a balance of give and take They support or assist you and you support or assist them In a narcissistic relationship, it is very unbalanced Where the narcissistic partner takes everything all of the time and Gives nothing in return in a healthy relationship people want fairness honesty loyalty and trust Narciss cannot give you any of that because they are solely focused on themselves In their minds everything flows to or from them Not to anyone else Even when they appear to be complimenting someone or criticizing them They are projecting their own positive or negative traits onto them. They do not acknowledge anyone as being separate from them Whatever they say about you Whether whether positive or negative Really has nothing to do with you It's just a projection of their own positive or negative traits They do not see you as a separate person and nothing about you interest them unless it relates to them in some way It may seem as though the narcissist is opposed to their relationship partner Or that they desire to harm them or make their lives difficult But the truth is Narciss don't have anything to give anyway Narciss have an excessive interest in themselves They are self-absorbed and lack empathy. They don't have anything to give to you and They don't have anything to give to themselves This is why they are always trying to extract resources from everyone around them If they already had it within them They wouldn't need to extract it from everyone else and Even if they did have it within them, they wouldn't give it to you They are only interested in what you can provide to them in the narcissist mind Everything happens to them or for them Everything happens because of them Like a toddler they believe that the world revolves around them and everyone is there to serve them and Provide them with what they need They do not see people as being separate from them Everyone is just an extension of them whether good or bad They cannot appreciate you as a separate person with your own feelings once needs and desires They assume that you have the same feelings once needs and desires as they do Or they will push and provoke you until you do and even then It's not about giving anything to you It's about what you can provide to them when a narcissist interacts or engages with a person They see a mirror reflect on themselves The mirror can either reflect something positively or negatively When a narcissist interacts or engages with a person It's like they are looking into a mirror and trying to identify or understand what it says about them It's all about what you can reflect back to them They don't have any emotions to give to you the narcissist will never be able to give you what you want They will never be able to give you what you deserve They will never be able to love or appreciate you they are like cups with a leak at the bottom They cannot consider you because they're too focused on how they're going to fail their cup No matter how much of your love or energy you pour into them It will always leak out. It will never be enough It will never sustain them and because of this They will never be able to pour anything into you You cannot pour from an empty cup when you are in a relationship with a narcissist You have to neglect your own feelings once needs and desires It is similar to being a full-time mother for a young child or baby.  You cannot get what you want from them You have to wait until they feel like bothering with you because it's not about what you want It's about what they want And due to their arrogance and entitlement They will expect you to be appreciative for having the opportunity to basically be their caretaker if you don't do what they want Or if you're not satisfied with what little they have given you It will cause a narcissist's injury and narcissist's rage Even the hint or suggestion That you have feelings once needs and desires of your own Mainly to be discarded by the narcissist There will be no empathy compassion understanding or support Unless there is a benefit or gaining it for them if you are ill stressed Tired or just having a bad day If you make a fault or mistake They will punish you for failing them You are unsuccessful in achieving their desired result or goal Remember it's all about them. They do not consider you They do not consider your feelings wants needs and desires They don't even see you as a human being You are an extension of them When they look at you or interact with you They only care about how it relates to them or how it makes them feel They do not see you as a separate person and Nothing about you interest them Unless it relates to them if it doesn't directly affect or say anything about them It means nothing to them. Thank you for watching. I Hope this video resonated with you. Please like comment share and subscribe Click the bell icon to receive notifications for my future videos If you would like to donate my PayPal link is in the video description Coaching inquiries you can email me at narksfivercoaching at gmail.com We have a private Reddit community where survivors and survivors can share their experiences and knowledge If you are interested in being a part of this community, you could sign up for our Patreon page The link is in the video description Check out the Narks Fiver Moose like store where you can purchase your own Narks Fiver t-shirt or mug We have a variety of designs, and it is a great way to support the channel The link to our Narks Fiver Moose like store is in the video description. Thank you for watching and I will talk to you soon