Good evening everyone. Good evening. I'm Mabel Wilson. I'm the Nancy and George Erup professor here at GSAP and we have a really remarkable lecture this evening. It's by someone who is a visionary yet committed to collaborative engagement, an architect who is profoundly intuitive yet thoughtfully measured, work that is uniquely urban whose spaces pay exquisite attention to detail, buildings that are exuberant in their expression yet structurally restrained. Her work shapes a vital and vibrant public sphere while being attentive to the minutiae of human experience, sound, light, texture, vista, movement and encounter. This is an architect in dialogue with very complex worlds and this what I've just spoken describes the impressive range of the architectures of the studio Carme Piños, her eponymously named practice, which Carme Piños, our distinguished lecturer this evening, founded in 1991 after sharing a studio with architect Enrique Mezraes from 1982 to 1991. We find in her ethos of experimentation and research a body of work across many continents. We see this in her elegant 2018 impavilion in Melbourne, Australia for the Naomi Milgram Foundation and the ensemble of buildings surrounding the historical Gardenia Square in Barcelona. At the Vienna University of Economics and Businesses Departments building and in the cube one and cube two towers in Guadalajara, Mexico, to name a few of a studio Carme Piños provocative undertakings. She has received many international awards and accolades in the U.S. alone. For example, in 2011 she was named an honorary fellow for the American Institute of Architects. In 2016 she received two impressive accolades from American universities including the prestigious Berkeley RUP architecture professorship and prize from UC Berkeley that recognized her contribution to promoting the advancement of women in the field of architecture and her commitment to the community. And back home in Spain in 2015 Carme Piños was presented with the highest civil honor of the Catalan government, the crew de Sant Jordi Medal awarded to citizens and organizations for outstanding civil service. It's important to note that Carme Piños is also a dedicated educator who has taught at many prestigious schools around the world including a studio here at GSAP and we should get her back. Needless to say her work has been published widely in several languages. There's an absolutely gorgeous monograph of her work that was published I think in 2016 that's worth getting and she's been exhibited widely at museums in Biennale. She'll be in the upcoming Venice Biennale for example and she has work in the collections of the Saint-Tropez-Pendu and MoMA. But on a personal note I met Carme in Berkeley when we were both visiting professors sharing the jewel of Bay region modernisms the Havens house by Harwell Hamilton Harris. Carme would sit daily focused hard at work sketching and Skyping with her office but at moment she would comment on the unusual way that the house floated on the hillside. She would marvel at the detailing of the wall of windows that opened the rooms to a dynamic vista of San Francisco Bay or how the moody skies cast light that danced across the dining room table. She is an architect in dialogue with the many scales of the world and we are fortunate to have a brilliant poet and architect with us tonight. Please welcome Carme Diaz. I start with an intervention in Barcelona. It's a commission. I won a competition a lot of years ago and the construction takes a lot of time. I finish just this year. All the intervention. I must say that my way to work is always to be very attentive of the context. I enter always in dialogue with the context. I am attentive of the question that the context put me. I try to read the site. You know here is the old city. This is the Ramla. This is the market, the Boqueria, the main market in Barcelona. And this area behind the market was an area that for a lot of years had been for more than 50 years had been something broken in the city. And the municipality proposed a competition making housing here a new school, a new building for an old school of craftsmen and art. We can pass. The first thing is this area. I start to study the city. For example here this geometry is the geometry that proposed me the competition, the municipality. They asked me to make here a square, a square regular square facing the two, to build it facing to the center like the square of La Plaza Real. But my observation said, okay La Plaza Real was a square, a bourgeois square that all the facades are equal facing to a center is a square that for a level of society that want to be representative for this geometry of this space. And I say here in the Raval is not this case. Here in the Raval there are a lot of different kinds of society. And I wanted to express this dynamism. And I take the observation of this area in more middle ages is how this building making articulation these small spaces. And I say I want to stay more in this way more than this static and central building. This is La Plaza Real, you see. And this is the Plaza del Pino, how this is more with more human scale that make the articulation of the public spaces. And this is the plan that the municipality suggest us, these two building facing, looking at the center. This is Hausen, this is the school. And how you connect this existing square with this narrow street. And I wanted to create more like the Plaza del Pino, more this small less public space in articulation with the other. This is the context when I arrived. The back part of the building with this building that is not so nice, that take a protagonism too much. And the other side. This is the side of Hausen. This is the side of the new schools. And I say it's all the time looking at the context and trying to find all the perspective. This is the view from this important street, the Carmen, and focus in this corner. I say this corner, that is the corner of the school, must be the main facade. Because you see from the first thing that you see from this crowded street. And in a way the project start with this observation. Because the municipality asked me to block this passage. This is the passage near the Boca de Vila. And I say no. I don't want to cut this vision. I want to permit the people pass like always have been passing. And this idea is the first one that I did. Now this is the other. No, because they asked me to demolish all these houses. I was because to build in the other context. We can pass. I don't know. I say this is the result. In a way, I continue, this is the the facade that I show you. How I cut the construction making the house at the same level. And make a passage underneath of that. Because the municipality saved me. This is the area. And I say no. I must be in relation with the old houses. And I cut. But I had to put the piece that I cut somewhere. I say okay. I pass underneath. And this piece I make here to create these small spaces that I said you before. And I make also this movement. Focke. Focke. Focke. This angle that I say you. This is going to be the facade. In this corner, I make all the tension of the building. And again, I remove. I put this building back to create another small space. I suggest the municipality to open this passage to connect. This is the place of the old school with this garden here. And I suggest to open up a passage to connect the old garden with the new square. And when I was the competition was only the housing and the school. But when I won and I started to work, I received the commission to make the new facade of the Vocadia. This is the working model. And later I'm going to explain a little why all this movement. But you understood this movement to focus and to make, not to enter through a street, to create more like a public space. This is the passage underneath. But all this movement is to create dynamism. Not to focus a center. I wanted to express how crowded and how many different social and different reality happen in the Raval. And when the municipality suggests me to make a new facade of the Vocadia, I say, no, no, I don't want to make a facade of the Vocadia. Because the Vocadia is an old market, but it was a provisional roof that was in an incomplete square. This square had to be like La Plaza Real, rectangular, but never finished. And they make this roof to create a temporary market, but then have been the most important market in Barcelona. But it was not really good architecture. It was very, no, no beautiful roof. And I say, I make a facade here. I'm going to transform this building, this temporary market in a building. And in Barcelona, we have a very beautiful tradition of markets from the 90s century, beginning of the 20s. And I say, I don't want to transform this in a building. This is provisional. But the municipalities send me, but we have problems. We have problems with the rain. We have problems with the wind. We have problems with the sun. I say, okay, I'm going to resolve these problems. But no, we have a sun. And I suggest to create this roof, no, a smaller, slower, that pass underneath of the other. I create a more human scale, more scale with the dimension of the square I had in front. And also, for me, what's important is to make this building in the second level, no? To remove the protagonists that have had this building, no? At the beginning, I start with the same geometry. And I start to make, but it didn't work because when I arrived in front of the building, that make like a front door, that make like an entrance. And on the contrary, give more importance instead to reduce importance of the building. And take me some time to find that instead to make a particle, this, is to create this kind of umbrella, no? Because when you make like that, you focus here, no? But when you focus there, no? Out. And when you pass, no?   And you pass through this building. Next. Yeah, this, no? I resolve and I make, you see, each project because it's a square that I have three facade, but a little temptation to make my own square, no? And I want to enter in dialogue with everything that I have behind, no? And I make the market with the dialogue with the all market, the houses with the dialogue of the all houses. Only the school is more, is an institution and I try to be more singular. Next. This is a night which we can pass because it's not, and now the houses, no? Again, with the observation of all the movement, this is the movement of the people, there are another passage here. And in a way, the houses are a project made with the movement of the people, no? I try to enter in relation with the rhythm and the measure of the holes, no? The windows to be part of the housing, but following the movement of the people, no? This passage, this here, no? We can pass, no? This is the passage, no? The municipality sent me to hear a facade. They say, no, doesn't matter if the facade is beautiful or not. I want to pass and to see the light after this passage, to continue the passage, no? We can pass. This is the building, no? You see the measure of the, I play with, but in a way, instead to make some decoration, the thing that I did is more abstract. I moved the window in the room, to put it in the right of the left, and the living room is go up, no? Out, and the bedroom in, and I give some kind of rhythm, some kind of movement, no? And the passage that I show you, no? Pass underneath of the building, and I make this cantilever to permit the view when you pass from the passage. We can pass. This is the passage, no? It is this, no? And for that reason, I make this cantilever. In a way, it's only to make the solution following the movement and listen, no, the atmosphere, no? And to be part of the city. This is the corner that I said you, no? And this is more movement to show this corner, and you will see here is all the tension. There is the cantilever, the entrance for me is this, the main facade, this angle. We can pass. How I try to be part of the city, no? Like, has been here always. We can pass. You see, this is the thing that I say, no? I put in the same level, and the same plan. And now the Masana. The Masana, why all this movement? I try to say two things. One is a very big project. It's 11, I don't know if you know the meter, it's 11,000 meters. It's a lot. It's big. I didn't want to appear like a big building. And also, it's a school that takes enormous protagonism to the square. And I have two things. One, to preserve the intimacy of the people working inside. And also, not to appropriate the square. I want to be like a back stage, a tent, no? Something... And with the conversation of the professor, the professor said, now our school has a beautiful garden, and we are afraid to go a very urban building. I said, okay, I'm going to make terraces. I want to offer you open spaces, no? For that reason, I make this movement that responds to create terraces, to create terraces. Also, to change the scale. This is sixth floor. Sixth floor. And don't appear like sixth floor. And I cover with this ceramic, this piece that is like a bristleet, but to appear more like something more sculptural, more changing the scale, no? Because... And also, you will see how is the scheme of the project. It's very simple. But all the classroom are behind these pieces. And this is terraces that are at the end of the communication between one part or another. I show you the plan we can pass. It seems very complicated, the building, but it's very simple. It's two elves, with a cord you are in the middle, and these bridges that connect the two elves. And these bridges finish always with the terraces. And I did this more movement, not to appear. Maybe we can go back a moment. You see? If I put one stair over the other, you read the building very quickly, one, two, three different levels, no? And with this more movement, and also with the other movement, these two movements, appear more like an abstract composition. And you lose a little the scale of the building. We can pass. We can pass. No? It's this, no? And this is the... And one beautiful thing is from the bottom of the building here, through that you see the site of the city, no? And when the students move around the building, they realize the beautiful place where there are, no? And the light arrives from everywhere. And this is a section from the competition that before to receive the commission of the new facade. This is the small model. This is the third model that I did. From the beginning, the idea of these holes that cross completely the building from the bottom to the, was at the first. This model is like this, very, very small. And this is the corner that I explain you, no? Here is the point that exists more tension, no? The entrance, the cantilever that express. And I decide, no? Because here I have all the square, new square, and I permit me to be more with bigger scale, more abstract, more singular. But when I start to be in contact with the old city, it became more calm, it became more flat, no? The window are smaller. And then at the beginning, the competition was the same color. But then I decide to change the color because this color are more agree with the color of the old city. And here I permit to be more expressive, also with the color. We can pass. This is the pieces, no? And the pieces are focused to the sky, to permit to enter the light. But from the square, you don't see the interior. All this is for two reason, is to protect the student and to become something neutral from the square. We can pass. And this is how we try to find the facade, not to be boring, to give some kind of rhythm. We change the movement of the space. We can pass. And this is how you see from the interior. It is craft man. Hard craft. Full of machine, old machine. They love their old machine. They put inside each old machine. But I like it because it fit quite well, the old and the new. We can pass. No? The pieces. We work with the craft man because this is not industrial. It is semi-artisanal, semi-industrial. And I managed to create different color, you see. Very subtle. It is the time of coction, the time that are in the oven. But that gives again this kind of vibration. We can pass. I say, no? Because imagine if all that is window, seeing the people working, this is like that is much more neutral. We can pass. This is before the actuation. No? Because they send me to demolish. I demolish all that. And I was very worried because in a way the street, it worked, it is beautiful. One thing is to create a new building in a new square in a very open and broken city has been this for years. Another thing is to demolish things that work well and to rebuild this. I was a little afraid. And that is the thing that made me change the color. And here I make the project in grade. We can pass. This is the new building. We can pass. You see. And again with the context. My size arrived here. And here is the door of a theater. I make this small movement to focus the entrance. I make the project only with these subtle things. Very attentive of the context. We can pass. We can pass. And also I put the building because my site arrived here. I decide to put the building back again to create this small public space. We can pass. This is the ground floor. Again, I decide to make the entrance here also to transform this, how I say, also to focus the entrance with the size that connects with the old garden. And to protect a little the student from the tourists. Because this square is full, full, full all the time. Tourists. We can pass. And when we are inside is completely another reality. From outside you see very solid, very sculptural. And inside is very, the light arrives for everywhere. We can pass. And the people move around the building. When you enter in this building, everybody see you. It's like to enter in a different war. And to take part of all the, because everybody see everybody. We can pass. And it's beautiful because the light arrives from all the direction. Each moment is full of lines, full of shadow that come from different areas and different time of the day. And again, the size that I create in the other side with the houses here inside the school. And it's full of free spaces that the students transform in exhibition. And you can cross the building saying that it's full of new exhibition. Now it's an exhibition from the people that make the facade, the ceramist. And it's a live building. We can pass. You see, it seems very complicated, but it's so simple. All the classrooms facing the exterior, here the corridor. And my design of this, instead of making a fence here, I wanted to appear like a street. And this is a classroom. And the corridor I make also windows. And the third facade is the ceiling. But it's more like an interior street, more than, because if this is a fence, it's like to see the boys. And with this window, same that the corridor are more protected. Here, at the last floor, I opened the section to permit to enter more of the light. And here, I have no other solution, but to make a corridor because the section changed. We can pass. We can pass. It's this, no? From the bottom, you see the ceiling. We can pass. This is the corridor with windows instead of a fence. The interior. And the other reality, I say, one reality is outside, more solid, more abstract, more sculptural. The other is the size of communication, light, with a lot of light, that everything see everybody. The other reality is the classroom, it's correct. That is more a character, more industrial. I live the structure scene, and it's more in concordance with all the machines that they have. We can pass. We can pass. Because it's a school with a lot of, they make painting, textile, jewelry, it's full of craftsmen and art. It's a very complex school. It's not easy to work because the professor, each time, asks me for things different. But we manage them. We can pass. Now, a pavilion. This is a pavilion in Australia. Again, with the context, when I received the telephone call from the now me, they said, do you want to make a pavilion in Australia? I said, God, yes, why not. But it was, each year, it's a new pavilion. And last year was this year, it's more good. And I was, I said, why my God? And I start to think in abstract. They expect me to make something different. And to think in abstract, but pass the time, and I couldn't manage how to do. And when I arrived in Melbourne, changed completely. This is Google, it's very ugly, but this was the pavilion of Greenhulkers. I went in the time there. And I start to see how beautiful is the garden, the park. Here is facing the city. But the thing that made me the project, this is more monticolors, this circle, that is one hit, number three, and also a fountain. And that's funny, because at the time that I went, I was full of people, and all the people were sitting in this small monticolors. No, monticolors, no. I'm old. Health. Okay, my project is going to start with this health. And this is the context, how before, the hills, the fountain, and also this is the Basement. Because we can do everything we want, but we must use all the time the same Basement. Correct? To say Basement? Foundation. Foundation. Okay. And I start always, because my architecture is always, it's a dialogue between two things or three. Never more than do three. You see how this, the project that I explained to you is 12. And here I start saying it's two roofs that are supporting with three montains. Here is like a little papyroplexia, and it's supported by a monticol, and the other with the blend. You can help me. Bent. At the beginning I put here a trust. But the engineer said me that it was nothing. But now me, said me, you are free. You can do everything you want, but you must protect from the rain. But the only thing, please, no rain, no? Because it's always the problem with the architecture on the roof, always the water. And I say, okay, I'm going to play with the with the water. I want to make something that face the side, that you feel protected, because I didn't explain why this pavilion is. This pavilion is to make an actuation. This woman, Noemi Foundation, offered to the city each year a new pavilion. During six months or something like that, pass a lot of actuation. Everybody can make a concert. It's only two months show that you have a level. And each day there are sometimes six actuation during the day. And they asked me to 250 seats. Not a lot. And I say, okay, the hills, the more hills, it's going to be the seats. Okay, we pass. And this is the project. The hills with my tree, because also they said me, you must protect from here the wind. Say, okay, the third hill protect the wind and the lake and the cities here. The wind come from this direction and we are facing the city. This is the plan, the seats. One hill is empty to storage the seats and the things. You see here is the place that arrived the wind, the hill and the lake. We can pass. And I say to you that I start thinking with the game with the water. In a way, this is good. Two layers with a metric in the middle that permit to see the water glistening in the middle. Going down. And with a normal can alone, normal, sorry, that end to the hills. We can pass. This is the familiar. You see how it's transparent. And you see in between one layer and another, you see the water finish with the can in one direction and the other. We can pass. This is the context. And again, it's time that you see from another direction a chain. There are no one face or another, the back. Everything is in movement. We can pass. We can pass. In a way, because this is the canal. I say, okay, canal. Come. We can pass. This, you see? When rain, you are protected, but also way two layers. Because the rain in the make a lot of noise. But with two layers of wood, stop the noise. You see the water, but you don't listen to the sound. It's not. We can pass. We can pass. I made the hills to permit the people to sit. But then the municipality didn't permit because they were afraid to jump to the roof.  But I managed to transform this protection in some kind of ornament. And the people can stay in this piece. We can pass. And also, I managed also to make a, because when the actuation is in the middle, the bunches here work well. But when the actuation was in a corner, I need to create something to make seats to permit to to occupy the center. But the problem is how to store it because they don't have, they have only the interior of this hill. And it's almost 50 seats and take a lot of a seat, a lot of place. And I designed a bunch. A bunch is correct. Bench. A bench. This one. We can pass. I see you. I show you how it works. Because it's is, you can storage very, it's three pieces. It's this. It's three pieces. One, two, three. That with no one nail. And with this shape, no, that make a stop, no. And we made this in Barcelona. And 50 was a small box. And each day they put inside to the hill and make the actuation. Sorry, sometimes the English disappear. But you follow me, no? Okay. I pass because Kenneth Franter wanted to listen. I changed the order. And now I explain very quickly because remain me another big project. I don't know if I have time. Okay. This is an ampliation of one hotel in Mallorca. Again, with the context. This is an old monastery. It transformed to a hotel. And they asked me the ampliation of the spa here. And to make four villas for houses in this area. And again, with the observation in this time is not entering the alley with the, not to compete with the old building. Not compete and take part to transform this in last escape. And with the observation we can pass. This is the observation of Mallorca. Mallorca is all made with terrors, with stone. And I start with the idea, no? We can pass. Because let's start the beginning, please. Again, here you see, no? Because this is terrors, no? And the walls that make the different terrors. And I start saying, okay, these walls, these terrors, are going to change the shape to create the different villas, no? We pass quickly. And here, this is the, okay. This is the first sketch, saying the wall, I'm going to move to create one villa, another villa, another villa. And which one is facing the landscape, but facing the back part of the other, no? And you see each villa with the swimming pool. We can pass. Then the transform in this, no? But this is the wall that at the beginning was like that, is transformed in the different houses. We can pass. This is the creation of the ampliation for the spa. I was worrying not to make a basement of the old building with glass. And I move the wall here. And I face in this area with a bristleet, no? But you see the different houses, no? And the ceiling is the garden. We can pass. Is that, no? And this is the old hotel. And I transform the villas like a landscape, no? And the new spa, which I cover and protect the glass, no? To transform this, not imagine this all glass, because my client wants glasses to see the exterior, but they didn't want. And then with the bristleet, the glass was in second line, no? We can pass. It's this. It's to create a landscape, no? We can pass. We can pass. It's always say what the site want to be attend to the site. I made this because I see the landscape want this, no houses, no roof, no, to be quiet, to be part of nothing. We can pass. And you see, because this is the back part of the other house. The house is facing this. And when you are here, it seems that you are alone, only with the landscape. We can pass. The interior is not really important. Yes, I mean the decoration. No, but you enter from the top. You go down facing the view. You enter here. This is the living room. Two rooms. One facing also here. The other room is facing the other part. But you are interior.  But the light arrives from everywhere. We can pass. And we have done. Yes. Okay. I'm going to try to explain the first one quickly, La Cacha Forum. Again, the context. Again, to be attentive of the site. Again, it was a competition. This is the old city. You see the street that was following the old walls. And our site was here. This is the site of the rain station that removed to here. And before, the old city was separated from this neighborhood through the train. And I thought the opportunity to connect, no? This is a poor, no now, but was a neighborhood for worker people. But the master plan, we can pass. The master plan, again, decided to make all the building facing the old city and leaving the worker neighborhood behind. And with a park here. This was my site. I said, no, no, no. I don't want to make a, to say this is the good part. I want to transform my actuation in a door. I want to understand the building like a door that connects the old city with the neighborhood, the worker neighborhood, no? And my first idea was we can pass. Because the program, I must say the context and also the program, no? The program is two rooms for exhibition rooms. One double the other. I don't know if you know the Kasha forum in Madrid by the same program. These two rooms. Temporary exhibition. Then a restaurant, lecture rooms and an auditorium. Not very complicated. But the most important was these two rooms, exhibition rooms. And it was a competition. I had to be very precise, no? Because if you make a bigger building, it means more expensive, less possibilities, no? And I say, okay, but I want to be a doll. They think that also with the Kasha forum in Madrid in my head, no? That they take the building I put up to permit the barrier letters to connect with the La Casellana. Say, in a way, I had this in my head. Say, okay, I put these two rooms up, permitting the city pass underneath. But I had another thing in my head, no? I didn't want these museums that have one exhibition room over the other, connected with the elevator. The first thing that I had is to make the two rooms like that. When you go out of one room, one exhibition, you see you have a space of the compression. Because I say, when you go to see an exhibition, maybe it's Bermere. And the next exhibition is a photograph, I don't know. Nothing to do. You need some, no, it's not to enter in an elevator and to connect, open the door and to see another. You need spaces of the compression. And for that reason, the first movement that I had was, no, these two rooms like that. And again, the simplicity of the scheme and also the game of to play with two elements, no? And the beginning was these two squares that cross with this enormous center that is the supporting and with the beam that cross in diagonal and make a cutting lever, no? And also when you, we can pass to see the structure, no? This wall, no? It continues until here, no? And this through the, this through the elevator with the pillar and here through the stairs, no? And that means if I cut a piece of here, nothing happened, no? And the same here because you have all the continuation. And these two walls is the supporting, no? And also if I cut and, okay, you see now, no? And that gives this idea of this, of the fragility, no? And the, these walls is the wall that support the two boxes, the two exhibition rooms. And the lobby is another completely structure, no? That goes to the street, here is the street, but with no connection with the rest of the structure, no? This is the structure, the enormous, the last floor, enormous beam that pass in diagonal and you are in the middle of the beam. We can pass. This is the, I had a problem with the installation, how this is mathematic, no? If I had problem to make the installation, installation is correct. And also the second step. And if I make the square, the middle bigger, that means everything because it's this geometry, no? Everything become bigger. And I had to make the installation outside or also the stair outside. The installation was not easy to find the place, but at the end I decided to make all the installation, you see, make this wall double. And at this point you have the measure to permit to enter a person. We can pass. And it was funny because it was a building made first all the beton and after from the top to the bottom, no? And the people in the seating was very strange. They didn't understand. They thought that we have been building a factory, no? Now they are very happy with the building, a big success, but at the end. And you see the next, the other stair. This is the trick. The stair, I put the stair outside. I need the tool for the fire. But if this stair arrived from the bottom, from the ground, become a stair. But in a moment I jumped to the other side of the wall and I transformed the stair like an ornament of the wall, no? You see from one side at the other jump the other part of the walls. We can pass. This is the model that I made for the competition. And also I wanted to show, to make two boxes blind, suspended. I wanted to make, to show what happened inside, outside, no? That the client didn't like. But for me it was so important, no? That in a moment, also to show the scale of the building. You will see later with the photograph. And also in the corner that are more tension, no? In the point of the cantilever, no? To open a window showing there are no structures, no? That makes more fragility, more because the beam was up and down, no? We can pass. And, okay, this small movement, no? Because from one exhibition room you see the city underneath of the other, no? This is, because they are very big of that. This is more than two meters, almost two and a half.  And with this small movement when you are on the top of the small box, you are in the level of the restaurant, no? And how they asked me in the exhibition room, you must be very neutral. Then when I arrived at the last floor in the restaurant, I say now I am free, I make everything that I want. They asked me to make a restaurant the possibility to make a smaller restaurant. I make a curtain with these lines. You pass. And also I say I want to make a door. And the door is not to pass underneath of the building. And I decide to pass underneath of the big box. I say what happened with the other box? And take me time also to decide, okay, I'm going to make a garden that goes down and that don't permit people to pass underneath the building. And also that permit to make the light arrive to the auditorium that was in the garden. We can pass the building, we can pass. You see the windows in the corner that show also the people inside and give the mezzo. And again, like the Masana, I want to change the scale of the building. Because it seems small, but it's very big. When you see the difference in comparison of the building behind, you see how big is the building. For example, the stair, the fans of the stair take three meters, more than three meters. It's all the lag between them. And I transform this, not really on a stair, more like an armament. And this is aluminum. And I make holes in the aluminum with these big drawings also again to change the scale. And also at night, this appear with light. We can pass. We pass. Because I suppose you are tired. A moment here. This is the lobby. The lobby is a structure completely apart, but I make this connection. This is a beam that connects with the building, but it's something that looks for the people. It's like to say, hey, come here. We pass. We pass. I must say that with the crisis, everything stopped. And my door, this had to be the connection, never happened. Because here, they all abandon it. Train station is behind the wall, because they don't have money no other to demolish. And now the connection with the neighborhood behind passes in the other path. And that becomes more like a square. We can pass. And this is the entrance of the lobby. Say, okay, I need pillar here to support the roof. But again, I didn't want the roof with the pillar static. And they say, okay, if instead one piece is two, that makes more dynamism. If instead to go to the ceiling, I make this pillar enter to the light. I make here a skyline. Skyline? It's correct. Skyline? No. Yes, but a light. Skyline. And the pillar supports the cross. And the cross is the element that supports the ceiling. And also how is natural light? Each time the light make different. It's not always equal. That means give dynamism at the it's like element that help you to go the back part that are the side that the elevator are. We can pass. And the stairs. You know that the stairs must be protected. Always the stairs nowadays is like a box. But I didn't refuse to make the stairs that is with protection with fire in a cloth. But I make more like something more sculptural with glasses that are protected with no. But also for me, a public space, a public building, you must know each moment where you are. For me, a good architect is the one that you don't need a signal sign.  And also with this small movement here, over here is the restaurant. But over here is the terrace. And you have a skyline. We can pass. The stair and the pillar. They are neutral, but the pillar is the pillar. We can pass.  We can pass. And the restaurant here, I express all the things that didn't permit to express in the exhibition room. I express here. I express the structure, the guides of the curtain. I design also the tables. This is a cafeteria. I knew that the cafeteria, sometimes these small tables, sometimes not big tables. And one thing that I don't like is to put two tables together and to have two legs, one near the other. And I say, okay, the starter of the table is this cross and the leg is a triangle. And when you are two tables together, these two triangles became one square, one leg. And also you make this drawing. And it's not two tables together, it's one drawing that grows up. We can pass. It's this, the structure, everything it appears in the last floor. We can pass. And this level and with the terrace. We can pass. And when you go down to the auditorium, you see the light that arrives from the garden going down. We can pass. We can pass. This is the garden that goes down. We pass. And a night, also because this is a bank, they wanted to be a singular building. They wanted to be part of the skyline of the city, the skyline. And I say, okay, I make a different night we can pass. And I say, okay, but not a lot of time, two hours, no more. Because I imagined all the night seeing the building blue. It's too much. It's finished. Is it the last one? Next. I'm just going to open it up to questions. I will ask the question in Spanish. So you understand my question. But you must translate for the rest. I just said that this project, it has a lot of influence from the Arab world, in a sense that all of these briscelles filter the light in the same way that the architecture in Arab. We share the Mediterranean. Maybe we share with the north of Africa, Morocco. We share the light. We share the sea. And it's to create shadows. But I act the same way in Melbourne. They have sun, too, no? Everybody had sun. Now, I suppose it's in my genetic, but it's not in my real thought. I don't know. Maybe it's my chance. But I feel very close of the Mediterranean shadow. I like to work all the time with shadows and lines. Because also the shadows are always in movement. And I say I like dynamism all the time. I say I start offering movement never. When I explain the lobby of the Kasha forum, I say a pillar. A pillar is something static because it's not the roof go down. But I want to express movement and the movement. How do I make with the natural light? You make like that to the light. The light go down each time differently. It's the light that propose me dynamism. And I make the dynamism with all the elements. With the elements of the volumetry, with light. Everything that made me shadow, that permit me to make shadow is welcome. Thank you. Thank you. It was an amazing presentation. I was very interested about the comment for the Arab influence. Because you presented actually an image of lattice blocks. And then when we saw the shadow inside of the buildings, I thought it was a great reinterpretation of like the Latin lattice blocks that we have in all over Latin America. So I think that that was great. And I was very interested in the way that you approach the site where you're going to build the project. And I think I would like to hear more about what is your process before deciding a project and like getting to know the site and the culture and the people. Thank you. It's time that I changed the country. I remember the first time that I went to Mexico. The first thing that I did is to start to read, to start to inform about culture, to meet people there. Because also each culture has his own conscience of monumentality. For example, a big country liver in Mexico is nothing. Because they are close to me. Big dimension and biggest structure. And I don't know if you know Torrecube. The biggest star, sure, in Europe I didn't do that. No, no lovirecho. I wouldn't have done. Because it's another perception of dimension and when you go and place the first thing that you must do is to inform, to be in touch with the culture of the site. It's different because they are much more occidental. It's European in a way. But when I work in Latin America it's different. They are different. I know from one of the earlier projects that was eventually disassembled the Olympic archery range, there was this amazing, like there are in all of your projects there's this amazing attention to the context around and it's exhibited in plan very intricately. I was kind of wondering if with any of your projects there have been any contextual issues that have maybe changed unintentionally and maybe ways that the architecture was able to respond to that or not respond to that. I don't know if I understood. Can you help me? This is the proof, if it's a good architecture, no. If the people assimilate the project, make the project home. It means that you have understood the site, the problems, no. I must say that La Masana is amazing. I love to go to La Masana because all the places that I imagine that the student is going to sit, is going to stay, to talk, happen. And these amorpho are very free. Now they enter with the bicycle and they was a little afraid. They say, Carmen is going to say no, no, the bicycle inside, no. You say, no, but I plan this courtyard like a street. I love to enter if you enter with the bicycle. And now you see the building full of bicycle inside. And I like that. If you understand the situation, if you understand the site, it seems that always has been there. One thing that I am very happy with the gardenia is you are there and it seems that always have been there, like that. La boqueria with these things. And also the houses. And people don't talk a lot because it seems like they have been there. Maybe I'll end with a question. I think one of the things, there is an interview that I read with you where it said that you start with an idea of universal connection so that you think very broadly and try to generate a dialogue with your architecture. And what I think is remarkable, and this is what I said in the beginnings, and I think just to the last question, is that you are in dialogue with site, but you can also think about the details of a table leg. In your design process, how do you sort of work in those dialogues from those many different scales? Like you work from the scale of the city literally to the scale of a table. Because I think also architecture is to give an atmosphere. We are creating the ambience that the relation that the sociality happened. And it's so important also the details. I think the space, but I must arrive to the end to give an atmosphere. Sometimes I don't arrive to the decoration because the client want a specific atmosphere and I don't control not a lot. But when these are public spaces, it's easier. Also when you make the architecture. I say that because now I am working with offices, not by me. And they ask me to make the interior. And it's so difficult. I can't. Because play with color with only atmosphere. When I make the architecture, I try to arrive to this atmosphere carefully of all the details. But when the architecture is not by me, it's because it's like a not dialogue, a rhetoric. It's like argument. That continues. And continue until the detail. That's why the dialogue between everything. When you are not the author of the architecture to find this atmosphere inside another. It's heavy for me. It's hard. It's like a game. To design the benches, the door, the tables. It's time and design more or not more. All right. Thank you so much for an amazing


I once read that an America without soldiers would be like God without angels. So on this Memorial Day, the day set aside to remember those who paid the ultimate price in service to our nation, I'd like to share the story of one of America's angels.  He was quiet and reserved, with a wicked sense of humor for those that were lucky enough to know him. His family meant everything to him, his mother Brenda, father Leonard, his brother and lifelong best friend Brock. Corporal Luxmore loved deeply, and that was never more true than when he met and married the love of his life, Jamie, a small town Illinois girl herself. They had a son, Lane, a perfect little boy who would grow to love the St. Louis Cardinals as much as his father did. From when he was very young, Corporal Luxmore had talked about the army. His mom encouraged him to go to college, and he did, but to put it simply, he had a heart for service. Shortly after graduating from Illinois College in 2009, Corporal Luxmore enlisted. He and the army were an instant agreement on where an athletic, hard-charging, methodical guy like him, best fit the infantry. As his wife Jamie put it, VJ thought if he was going to serve, he wanted to be at the tip of the spear. Corporal Luxmore was assigned to the second brigade combat team third infantry division, Spartans. He, Jamie, and Lane settled into Fort Stewart, Georgia in the fall of 2011. The following spring he deployed to Afghanistan. It was a painful goodbye. Shortly after arriving in country, he began keeping a journal. The very first entry he wrote would be pression.  Corporal Luxmore's unit was tasked with patrolling in and around the district of Hangeway, the birthplace of the Taliban, and a stronghold of anti-American fighters. On June 10th, just two months into his first deployment, Corporal Luxmore's unit came under enemy small arms fire. He was killed in action. I well know the grief on the ground among soldiers on days like this, the ramp ceremony, the color guard, the final pit in your stomach roll call. I also know the heartbreak back home, a young wife meeting a flag draped coffin at the military mortuary in Dover, a mother collapsing to her knees upon hearing the news. A tough guy big brother weeping on his father's shoulder. It was one of the singular honors of my military career to represent the Army at the funeral for Corporal Luxmore in 2012. It was my first trip to these communities that surround Rock Island Arsenal, a place I would be stationed some seven years later. I will never forget the outpouring of love for this young patriot. The high school gym built a capacity. The athletic display cases with trophy after trophy won by a young BJ Luxmore. The miles of highway lined with people waving flags as a funeral procession passed by. The pain in the Luxmore's eyes as I handed them the folded American flag and uttered those timeless words on behalf of a great nation. Here's the thing about Memorial Day. Each of us as American citizens could do our part by slowing down and consciously reflecting on the men and women who have been willing to serve and sacrifice, even to die for us. We can be humbled and grateful and I hope overwhelmed by that kind of selfless valor. But for families like the Luxmores, this day is personal and poignant. They live in a state of remembrance. On this Memorial Day weekend, Brenda and Leonard Luxmore are grieving the recent death of Brenda's father. As he'd lay dying in a hospital bed two weeks ago, suffering from a long and lingering illness, Brenda had whispered that it was okay to let go, to go be the BJ. Jamie has found love again remarrying a few years ago. He is a kind and generous man who the Luxmores have welcomed into their lives like a third son. The couple now have a three year old boy who follows around his big brother the way BJ once followed Brock and laying that little boy who lost his dad before he had fully developed lasting memories of him is now 12 and the spitting image of Corporal Luxmore. He's quiet and reserved to outsiders, but a joy to those who know him. He values family above all else, but perhaps most of all just like his dad, he's most at home on the baseball field. Back in June of 2012, precisely as his dad was heading out on his final patrol, three year old Lane was suiting up for his first T ball game. The coach had handed him his uniform and by absolute chance, Lane got number four. His dad's old high school and college number. Jamie had laughed thinking how much BJ was going to love this story. The very next morning, the Army's casually notification officers knocked on her front door. Corporal Luxmore rests here in this quiet country cemetery aptly named Hopewell, but he lives on in these communities that loved him. The scoreboards on the high school baseball field are named for him. An annual baseball tournament honors him. His family gives scholarships in his name to local student athletes in the high school does a blood drive in his memory every year. What I love most of all is that a proud young man with the last name Luxmore is a standout baseball player in the same community where his dad was. Yeah, and he still wears number four. On this memorial day, I asked something of each of you. Pause to remember Corporal Luxmore and the ones you know and love who gave their last full measure of devotion. Remember our gold star families whose grief is forever etched into the fabric of our nation. Parents and siblings like Brenda and Leonard and Brock, spouses and children like Jamie and Lane and actively remember those of every generation who believe this great nation was worth everything they had to give. I leave you with this thought has been said that soldiers fight not because they hate what is in front of them, but because they so deeply loved that which they have left behind. May we all recognize that we are part of that part of those left behind and may we more deeply treasure the gift of freedom knowing others paid an unthinkable price for


Hello everybody and welcome to the class. Well, in our previous classes, we have been doing adjectives so far. So, we have done i adjectives and nai adjectives. How to use adjectives with nouns? Some new vocabulary, lot of new kanji characters. So, today also we will continue with adjectives and we will learn some new characters, stroke order of those characters, lot of vocabulary and how to say what we have done earlier in different ways. So, well, we will begin now, but before that as I always do, we will go over the assignments and see what you have done. So, well, I will read it out one by one and you can check your assignments. So, the first assignment is match group A with group B. These are nai adjectives given over here and the meanings in the right column, column B. So, you can see, kirei, beautiful, rippa, grand, genki in good health, shizuka, quiet, kantan, izi, hima, free time, yumei, famous and shinsetsu, kind. So, well, these were all nai adjectives. Now, you have to write in hiragana, well, some of them are nai adjectives and some of them are aai adjectives. Now, you see hiragana is very important because you have to learn to write in the script as well as we are doing kanji. So, you also have to do hiragana. So, please practice hiragana also. Now, you have it all written over here, shizuka, kantan, urusai, sumetai, muzukashi, murasaki, yumei. So, well, you can do it, practice it at home. Then the third assignment is fill in the blanks with appropriate particles. We have done a lot of particles, particle wa, ka, mo, ne, you, de, ni, o, lot of these particles. So, you need to fill all the particles over here properly, the ones which fit only, Rao san wa chikatetsu de kaisha e ikimasu. Watashi wa mainichi asa roku-ji ni okimasu, ni is for time. Mainichi kaisha no shokudo de hirugohan wo tabemasu, place de aktiviti wo shimasu. Rao san no uchi wa eki no soba ni arimasu. So, you have locational nouns over here, ni arimasu is for location and existence. Shumatsu ni ega wo mimashou, shumatsu again for time, ni. Tanaka san wa mayasa uchi de shinbun wo yomimasu, again place de aktiviti wo shimasu. Nanji ni kaisha wo demasu, ka, nanji ni for time, ni again. Doko de nihongo wo benkyou shimashita, ka, where for place, again de, again activity over here. Then, kokugo de ringo wa nan desu ka? They we did last time. What do you call a certain thing in Japanese? So, well, kokugo, kokugo is your national language. Kokugo de ringo wa nan desu ka? So, this is what you were supposed to do. I hope all of you got it right. Now, over here, you have kanji, which you need to practice. So, the sentences are nan dash goro hirugohan wo tabemasu ka? So, well, the kanji will come and they are all in green. So, it will be easy for you to understand. You can see and check your kanji characters, oki, sai, kesa, mainichi, chiisai, nihonjin. So, these are the kanji characters, you can check them. Now, there was a small conversation for you in the previous lesson. This is the conversation. You can now read the conversation and then try to see if these questions you have answered properly. As they are not very difficult, I do not think we need to go over them. You can just do it on your own as you have the conversation right in front of you. Well, the last assignment I think is, take the correct adjectives in the brackets. So, well, they are in purple over here. Asoko no kisaten no kohi wa oishii desu. Rao-san no uchi wa eki kara chikai desu. Watashi no ga-ko no soba ni kirei na kouen ga arimasu. Kino omo-shiroi shousetsu wo yomimashita ano kata wa yumei na sakka desu. Tanaka san wa shinsetsu desu. And if there was a noun over here, then na would have been used. Well, now, in our previous lessons, we have done this exercise where you can ask someone as to how long it takes from one place to another. So, we did nanjikan kakarimasu ka? Now over here, we want to do something else. If you say nanjikan, then it is exact time. How long does it take? But if say it takes a little more than what you are saying approximately, if you want to ask, then what is the way to ask? Well, practice by telling and asking approximately how long it takes from Kanpur to Lucknow by the mode of transport you can see in the picture. There is a picture over here for you. You can see the picture and tell how long it takes by this mode of transport. So, there is a densha over here. Let us see what the question is, Kanpur kara Lucknow made densha de dore gurai kakarimasu ka? Approximately, how long does it take? So, let us see, nijikan gurai kakarimasu. So, gurai means approximately. If you say nijikan kakarimasu, then it is exact time. But if you say nijikan gurai kakarimasu, then it takes approximately 2 hours. It could be 10 minutes less or 10 minutes more.  So, what is the question Kanpur kara Lucknow made bus de dore gurai kakarimasu ka? So well, sanjikan gurai kakarimasu and then we have another picture for you which is of a cycle, jitensha, so then Kanpur kara Lucknow made jitensha de dore gurai kakarimasu ka?  You could also say roku jikan kakarimasu. So, that means it is exact roku jikan, not more, not less. But you never know how long it will take by any of these transports, any of these things. So, well, you can use gurai over here. Now, kurai and gurai both are same, koko kara eki made dono gurai kakarimasu ka? Place 1 kara, place 2 made, how much time does it take? Approximately how long does it take? So, if it is kuruma which is kaar, if it is bus, if it is densha, if it is hikoki, how long will it take? Over here, there is a small conversation where A and B are there and A is asking, koko kara eki made dono gurai kakarimasu ka? Kuruma de yonjupun kakarimasu, so by kuruma it is going to take 40 minutes. Now you can also ask, uchi kara gakkuma de, takushi de, dore gurai kakarimasu ka or kaisha kara eki made dono gurai kakarimasu ka? So, whatever you want to say, whatever time you want to give, you can give, it can be ichijikan gurai kakarimasu, it can be sanjupun gurai kakarimasu or whatever time you want. Now, so far we have used mode of transport. You could also ask about how much a ticket will cost, how much you have to pay for a ticket, how much it will cost. So, uchi kara eki made takushi de dono gurai kakarimasu ka? Starting from here, from my house till the station, what is the fare? How much will it take? For example, over here it is given, takushi de hyaku gojuuen kakarimasu or as we are here in India, takushi de hyaku gojuu rupee kakarimasu. Then over here, there is this densha which you can see and we have this question, kanpur kara laknau made densha de dore gurai kakarimasu ka? Means how much money does it cost from kanpur to laknau. So, what is the fare from kanpur to laknau by train? So, both things you can ask and inquire. Well, over here it is nihyaku rupee desu, it is 200 rupees as we are in India over here. You can practice over here now, practice by telling and asking how much it costs to go from kanpur to laknau by the mode of transport you can see in the picture. So, let us see whether you can answer these questions correctly or not. Now, what is that? That is a densha. The question is kanpur kara laknau made densha de dore gurai kakarimasu ka? Question is the same, you have to give the answer. So, well, let us see, yes, what do you think it is? So, whatever you feel, you can put over here and say hyaku rupee desu, gojuu rupee desu, gohyaku rupee desu. Whatever you feel or whatever the fare is, you can write. Now, bus, over here we are only taking kanpur and laknau, but you can use any place, any name over here of a place and go from that place to another place and ask the fare. So, well, again we have the same question by bus kanpur kara laknau made bus de dore gurai kakarimasu ka? Well, you can again give a number and so many rupees. So, it could be again 100 rupees or 50 rupees, whatever you want to put over here. And a similar manner, you have taxi over here and again the same thing, only the mode of transport changes and it becomes taxi over here and the fare is, if you know the fare, well, you can put it. So, I hope you will practice this at home with your partner and practice it out loudly please. Now, I have been telling you about gurai a lot. You have done, if you remember, kore, sore, are and dore in the beginning, kore, sore, are and dore. These are demonstrative pronouns. So, well, over here you know dore is choice between two things or maximum three things. So, when you add dore to gurai, then what happens? It shows quantity. When you say dore gurai, then it means quantity of things. For example, over here you have it written, dore gurai arimasu ka approximately how much it is? Dore gurai kaimasu ka approximately how much will you buy? Now, when you just say dore o kaimasu ka, then naturally what are you doing? You are asking choice, you are asking preference. For example, you have these three chalks over here in my hand. You can see. So, I can ask you, dore wa shiroi desu ka? Which one is white? And you can point and tell me, sore wa shiroi desu. So, with dore, you are generally asking choice between two or three things. Dore gurai tabemasu ka? How much will you have or eat? So, this is how you can practice dore and dore gurai and see the difference as well. Now, we have also done demo in our previous lesson. If you remember, we have done demo. Demo means, but and what does it do? What does demo do? Well, demo shows contrast between two things. But please remember, as I told you last time as well. It is between two similar things. For example, as given over here, watashi wa niku wo tabemasu demo shatsu wo kaimasen. If you say that, then it is wrong because you are not talking about the same thing at all. So, you have to talk about similar things over here as is given. Watashi wa niku wo tabemasu demo yasai wo tabemasen, watashi mo yasai wo tabemasen. So, it is a simple conversation between two people. Now, if you want to say that, I eat niku also and I eat yasai also which is vegetables, so how will you say that? You cannot use demo because demo is contrast, you are showing some kind of contrast, so how will you use? Well, the answer is given right here, watashi wa yasai mo niku mo tabemasu.  Noun 1 mo, noun 2 mo, positive verb. You can also use it in the negative where it will mean neither. Noun 1 mo, noun 2 mo, negative verb in negative form. The examples are given here, you can practice this. Watashi wa yasai mo niku mo tabemasu, watashi wa yasai mo niku mo tabemasen. Now, for watashi wa, you can change any other vocabulary that you have done. You can see over here, you can do oto-san, oka-san, tomo-dachi. You can also change this over here, yasai can also be changed, niku can also be changed. Noun 1, noun 2 both can be changed and with that you can also change the verb over here as is given. Oto-san wa beeru mo, wine mo nomimasu or nomimasen, tomodachi wa tamago mo, niku mo tabemasen or tabemasu. Tomo wa juice mo, mirku mo nomimasen or nomimas, whichever you want to choose. But you will see that these two things belong to the same category. These also belong to the same category and these also belong to the same group. You can see a construction where the repeated use of particle mo shows similar nouns or elements of one group in parallel construction which is similar in meaning to as well as or both in positive and neither or nor in negative statements in English. So, a mo, b mo means exactly this both or neither. You have more examples over here noun 1 mo, noun 2 mo oishi desu with adjectives noun 1 mo, noun 2 mo oishiku nai desu both are not tasty and in a similar manner you have it over here also amit mo arun mo gakusei desu, amit mo arun mo gakusei de wa arimasen. So, it is a nice construction you can use it in conversation. Now, we have practice over here for you, there are some pictures, look at the pictures and see what it has to say, nekutai mo boushi mo kaimasu or kaimasen, nekutai mo boushi mo kaimasen. In a similar manner you have fruits over here budou mo ichigou mo tabemasu or tabemasen and what do we have here juice mo, milk mo, nomimasu or nomimasen. So, you can practice like this ask and answer with your partner. Now you also did watashi wa tomodachi to issho ni gakkoe ikimasu. You did a wa b to issho ni place e ikimasu. Now we just now did a mo b mo place e ikimasu, a to b wa place e ikimasu. You can also put issho ni over here, so a wa b to issho ni means a went together with b, b to issho ni with b, a mo b mo place e ikimasu means a and b, a also b also in fact also b also both went to a certain place. Then a to b wa a and b went to a certain place. So, this is a slight difference over here which is given in the example, a wa b to issho ni ikimasu, watashi wa tomodachi to issho ni gakkoe ikimasu. I go with my tomodachi with my friend to school, a to b wa issho ni ikimasu, a and b go together to school. So, you have this combination, these words over here in this one and this one, sensei, gaksei, michiko, okasan, imouto, musume and you have ten rankai, daigaku, departo, toshokan, ryoko. So, well you can use a wa b to issho ni ikimasu, a to b wa issho ni ikimasu, a mo b mo issho ni ikimasu. Any of these with the vocabulary given here in pink block and vocabulary here in the purple block. One example I will make, sensei wa gakusei to issho ni daigaku e ikimasu or, Michiko san wa okasan to issho ni ten rankai e ikimasu. Sensei to gakusei wa ryoko e ikimasu, sensei to gakusei wa toshokan e ikimasu. So, you can try this combination and practice. Now, there is a short radio dialogue, listen to it and let us see how much you understand. Rao san, ashta pikni kei ikimashouka? Ii desu ne, doko ikimasu ka? Hirokute kirei na tokoro e ikimashou. Sou desu ne. Neru kouen wa dou desu ka? Sono kouen wa hiroi desu ga shizuka de wa arimasen. Aa, sou desu ka. Ja, central park wa daijobu desu ka? Aa, central park wa ii desu ne, shizuka de kirei na basho desu. Doko de aimashou ka? Eki no iriguchi no mae wa dou desu ka? Wakarimashita. Sore de wa ashita hachi-ji ni aimashouka? Hai. Well, I will read it out to you now and then explain what is new, Mira san and Rao san. Rao san, ashita pikni kei ikimashouka? Ii desu ne, doko e ikimasu ka? Hirokute kirei na tokoro e ikimashou. Sou desu ne. Nehru kouen wa dou desu ka? Sono kouen wa hiroi desu ga shizuka de wa arimasen. Aa, sou desu ka. Ja, central park wa daijobu desu ka? Aa, central park wa ii desu ne. Shizuka de kirei na basho desu. Doko de aimashou ka? Eki no iriguchi no mae wa dou desu ka? Wakarimashita. Soredewa ashita hachi-ji ni aimashouka? Hai. So, well, there are a lot of new things over here. We will cover these. I am sure most of it you have understood and whatever is left I will do it in the lesson. Now you have the dialogue in the script and you can see a few new kanji characters here. Look them up in the dictionary and get the meanings from there. So, this is the explanation in English and we come to what we have to do actually what is given in the lesson over there. So, over here we will join adjectives. Now, you have done noun plus noun, noun to noun, ta mago to pan wo tabemasu. You have done this one earlier in one of the previous lessons. Well, today we will do i-adjectives as we are doing adjectives plus i-adjectives. How will you join i-adjectives? Well, ringo wa amai desu, ringo wa shii desu. So, how will you join these two? These are two sentences. How will you join these two? Ringo wa amai, I cut off this over here. Again if you use ringo, it is not required, amai oishi desu. Now, we need to join these two. What we do is, we remove this first, we remove this i from here from the first i-adjective and put kute and it becomes ringo wa ama kute oishi desu. So, well, when you have to join i-adjective with another i-adjective, then what you do is, you remove the first, you remove the i of the first adjective, amai, akai, takai and nagai. So, you remove this from here and put kute. So, I hope this is understood, very, very simple, we will practice and then you will know how it is done. Joining i-adjectives with i-adjectives. Tokyo wa hiroi desu. Tokyo wa okii desu. Tokyo wa hirokute okii desu. In a similar manner, now you can replace tokyou with other nouns, ringo, kuruma, boushi, hon, eiga, ringo wa ama kute oishi desu. Kuruma wa chiisa kute ii desu. Boushi wa yasukute benri desu. Hon wa yasukute omoshiroi desu. Eiga wa nagakute sumaranai desu. Sumaranai is very, very boring. Now when you have to join i-adjectives with na-adjectives, well you need to follow this pattern only because finally what happens is you have to change the first adjective only. The i of the first adjective will go in case of i-adjectives. What happens to the na-adjectives, we will do a little later. So in a similar manner, you can practice over here, ringo wa ama kute hoya hoya desu. Hoya hoya is fresh, freshly picked, very, very fresh and tasty. Kuruma chiisa kute benri desu. Boushi yasukute steki desu. Hon yasukute omoshiroi desu. Eiga nagakute sumaranai desu. You have to join two na-adjectives. Obviously, as it is na-adjectives, it will be a little different from i-adjectives. So what do we do? Well, na plus na, marikou san wa kirei desu, marikou san wa tenei desu. So you have to join these two as we did with i-adjectives. Well, marikou san wa kirei de tenei desu. So with i-adjectives, you add kute after the i and then with na-adjectives, you add de between two na-adjectives, to mean and. So marikou san wa shinsetsu desu, marikou san wa shinsetsu de kirei desu. Now again, you can replace marikou san with any of the vocabulary you have done or is listed over here. Otou san genki de shinsetsu desu, kanai tenei de shizuka desu, tomodachi rippa de tenei desu, tanaka san yumei de shizuka desu, tokyou kirei de nigiyaka desu. Any of these you can use and practice. Now as we are doing na-adjectives, genki desu, kirei desu can also be done as marikou san wa genki de tenei na kata desu, kata is the noun. So kata means hito, polite for hito is kata, so you can use kata also and practice like this. Otou san wa genki de rippa na hito desu, kanai wa shizuka de tenei na hito desu, tomodachi wa rippa de shinsetsu na kata desu. Now kata you will not use for people of your own family or for yourself, you will use for outsiders. It could be tomodachi, it could be sensei, it could be someone else, michikou san, marikou san, anybody, but not for otou san, okaa san and your own family member. Now you can practice this over here, look at the pictures and let us see what it is. You can use and for eye adjectives and na adjectives as we did just now. Genki de ureshi desu, hayakute benri desu, genki de ureshi desu, mondai wa kantan de omoshiroi desu, genki de kirei na onna no hito desu, hirokute shizuka na tokoro desu. Any of these you can use and over here you will see na adjective plus eye adjective. So as we did an eye adjective, the first adjective which happens to be a na over here will take de and whatever adjective follows after that remains in its original form. It does not change form. So well you can practice like this now. So now you have this vocabulary from the lesson, well iriguchi, the meanings are given here in black, iriguchi, deguchi, kantan, mondai, hoya hoya, sore de wa musume, musuko, toshokan. So this is some new vocabulary for you. Now as we always do, well we will do some kanji characters. These are simple kanji characters. You have done me, te, ashi, mimi, kuchi. Now we will do hana which is nose. It looks very difficult but it is a very very simple character. You have done most of it, most of these characters it is a combination. So well 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 and 14. So it is a 14 stroke character. You can see this part you have done, actually this part you have done, then this part you have done and this is new. So this is hana for you. Once again, it is a 14 stroke character, please remember hana. We have another one over here, looks like hito but it is different, the stroke order is different. For hito, the stroke order is 1 and then 2 like this, 1 and 2 over here. The stroke order over here is different, it is 1 like this and 2 over here, 1 and 2. This means to pour or to enter, ireru or hayru. It is a 2 stroke character like hito but order is different. So please remember the order for hayru is this, 1 and 2. Now there is another character which I am sure is quite similar, which you feel is quite similar. You have done this character, well what does this mean? This is yama meaning mount. Now how do we make the character that is there on your slide, well 1 and over here. This means to go out, deru is this character, I will make it once again, 1, 2, 3, 4 and 5. So it is a 5 stroke character means they must to go out or exit, deru. Now you can look at the stroke order here, practice your stroke order, this is how it has come into being. The branch joins over here, that is how it is ireru or hayru, 1 and then we have this one which means deru and how has it come into being. Well a flower comes out of the ground and goes up, there are 2 shoots over here and a flower on top. So well that is how deru has come into being to come out like this as you can see over here and very nicely it is shown and you can visualize it. So there are 5 strokes to this character, 1, 2, 3 and again 4 and then 5. This is deru, quite similar to yama but not yama, 2 yamas will make deru. Now some words with kanji characters, with the kanji characters that we have done, iriguchi, nyukoku, yunyu, deguchi, shuppatsu, jibika. So please there is a reason for giving these characters to you, there is a reason why I read it out so that you can get the pronunciation one and second you also see that how these kanji characters are used and you can also make sentences which will help in conversation. So please try to go through these, read these, try to write them, practice them at home. And of course we have been doing hiragana in our previous lessons, so well we will continue with that and let us see what we have, ha. Again this is also very important because the stroke order is there and sometimes what happens is you learn the wrong stroke order which has happened with me for a lot of kanjis. I do not want any of you to learn it in the wrong way, please try to get the order right. Ha, now you have it right in front of you, all the characters are given over here, all the syllables are there of the ha series and you have the stroke order, so you can write it down. Like this in a block it should be proportionate. From today we are also starting, I am also starting proverbs with you. These are important, we will do proverbs from today, they are called kotowaza in Japanese and they are important and interesting. Try to use a proverb in your speech and immediately it sounds very good and impressive. So well we have one over here, you can relate to it in English very easily but I am sure when you look at this picture of this Usagi-san running like this and looking at his watch with a bag, well what comes to your mind? It is time is money and what do you say, Nihongo de nan to imasu ka? Well, time is money is toki wa kanenari in Japanese, it is given over here toki wa kanenari, time is money. Nari is time you have done, wa is hiragana, kane also you have done, okane, nari is it is very very important. So please do not waste time, well toki wa kanenari. Try to remember this phrase and we will try to use it sometime in class. Now begins your time, you have to do all the assignments now, my work is over, you have to do these assignments at home, well the first one is match group A with group B and again you have these words over here so that you can learn all the vocabulary and you do not fumble with words. Then also hiragana very very simple, you just need to write your hiragana on these dotted lines. These are again words just put for you for practice. Assignment 3 of course is important because you have to choose from the brackets, interrogative or question words. So choose the correct word and mark it, tick it and of course as we always do, there is kanji practice for you. Tick the correct kanji character, circle it and we will do it in our next class and see whether what you have done is right or not. And then something very important that you have to do, you have to learn your kanji characters, you have to learn to write them as well. So the words are given over here, write your kanji characters on the dotted lines. Well the last one is make proper questions to fit the answers given below, read the question, read the answer and then try to make the question. We will see in our next lesson, how you did over here. Now you have to listen to this dialogue and then answer the questions. Laos-san, ashta picnic eikimashokka. Ii desu ne, doko eikimasu ka? Hirokute kirei na tokoro eikimashou. Sou desu ne. Neru kouen wa dou desu ka? Sono kouen wa hiroi desu ga shizuka de wa arimasen. Ah, sou desu ka. Ja, central park wa daijoubu desu ka? Ah, central park wa ii desu ne, shizuka de kirei na basho desu. Doko de aimashou ka? Eki no iriguchi no mae wa dou desu ka? Wakarimashita. Soredewa ashta hachi-ji ni aimashou ka? Hai. Well you just listen to the audio. Now some questions are there for you, try to do these questions. I will read them out to you once. A. Rao san wa dare to issho ni picnic eikimashita ka? B. Futari wa doko eikimashita ka? C. Central park wa donna basho desu ka? D. Futari wa doko de aimasu ka? E. Nanji no yakusoku o shimashita ka? F. Futari wa nan de eikimasu ka? I am sure there will be a few new words for you. I am not giving you the meaning. I want you to look up the dictionary and get used to looking up a Japanese dictionary also. So please, words you do not understand. Quickly open your dictionaries, try to look up the word and get the meaning. The questions are not difficult, we will try to do them next time in case you are unable to do all of them. It is all in the conversation.  You learnt a few new things. With that I will leave you and you can practice at home aimashou.


Today I have the distinct pleasure of speaking with Peter Causie from CBLT. How are you today, Peter? I'm good Tracy. How are you? I'm very good And it's such a pleasure to get to interview you instead of watching you interview or talk to somebody else and Also hit the ground running here with some good news You just recently announced the closing of your sale of the North Shore gold property Seems exciting. Tell us more about it CBLT bought a portfolio of Four mining assets two years ago paid roughly a million dollars for it. We just sold one of those assets for 1.5 million dollars So a very accretive Solution for the shareholders. We sold it for cash and stock So we have working capital to fund the company and with a single largest shareholder in that other company going forward So it's a win for everybody. The other company is going to list It's called ready set gold and kind of a funny name and they're going to list on the CSE probably within the next month Okay, well, I have numerous questions. I want to ask you about that But I'm going to back you up for all of those everybody in the industry knows your Peter Everybody does but for those out there that are new to this sector looking to widen their portfolio They may not be aware of who CBLT is and who Peter Causie is So could you provide the competitive advantages of CBLT and why they should get it on their radar besides all the rest of us? know you CBLT is a funny hybrid beast We do mineral exploration, but we're also opportunistic M&A Any property that's good enough to buy is good enough to sell if you can make a profit for the shareholders and since 2016 that's what we've done. We've been buying properties inexpensively and then selling them to Bitters who couldn't get their hands on the properties in the first place and making a significant profit for the shareholders out of 2016-17 out of the Cobalt era. We generated over a million dollars of revenue for the shareholders Against acquisition cost of about a hundred and sixty thousand Okay, so I know you hate it when I do this, but I'm going to do this in front of our Investor Intel audience and that is Peter.  We can be watching you and try to keep up with you Okay, there's two things that we're doing First we're exploring at Big Duck Lake. The permit process is underway. Our geologist is doing what geologists do We have we're gonna set a budget. We're gonna go into Big Duck Lake, which is in Hemlo I want to talk more about Hemlo And that's our exploration for now. We announced that in a press release a few weeks ago We're also though doing opportunistic M&A just like we did with North Shore like we did with our properties in northern Ontario If we can buy them cheaply and we can resell them at a profit we're going to do that and I think we're able to do that because We're not geologists first. We are business people first. We just happen to be in geology and that gives us more of a mercenary mindset God bless capitalism Okay, so you said you want to talk more about Hemlo. So tell us more about home Hemlo as a mercenary capitalist Hemlo is produced about 23 million ounces of gold to date. It's a camp east of Thunder Bay in northern Ontario highly prolific Most people in Canada are familiar with the story of Hemlo and how it was found But for a long time when gold was off Hemlo kind of drifted off everybody's radar except Barrick has a massive property there Little people have been picking up bits and pieces here and there But with gold's return to the 2000 level and you know it's in Canadian dollar terms. It's at an all-time high Interest in Hemlo is spiking. You're seeing lots of M&A activity Our North Shore property that we sold to ready-set gold is in Hemlo Big duck Lake is 25 kilometers from that in Hemlo I was talking to somebody yesterday who has three projects in Hemlo that they're getting funded The sugar mine with heart gold Hemlo area. So Hemlo is back Gold is back and it's not just the gold the Oaten Hemlo There are a lot of VMS poly metallic deposits in Hemlo like the Winston Lake mine Those are going to come back as well as the infrastructure rules out and interest turns Watch for the international attention to focus on Hemlo and we will attract foreign capital Okay, so dumbing it down for myself then we're talking about gold in the right region Is that correct a very hot region that would undoubtedly be undervalued? Is that what we're looking at? That's what we're looking at and not just gold but the poly metallic deposits Like for example, the old Winston Lake mine. Um, those are all in Hemlo and we saw a couple of weeks ago An Australian company called Superior Lake. No superior resources Entered into a deal to sell some of its assets to a new Sprott backed company whose symbol is COPS I think and they're going to list that as a standalone company with Hemlo assets Well, I think Peter one of the things that would be very advantageous for the investor intel audience members as well Maybe if we just call you once a week to get an update on what's happening in the junior explorations sector because we know You are always seeming to be talking to everybody. So speaking of that Going back to CBLT. You were talking about delisting from the TSXV and going on to the csc What is the process for that and where are we at in that at this time? What are the advantages? The advantages are if you're If you're listed on the venture exchange and you're issuing a lot of shares There's a fee every time you issue a share an option and warrant If you're on the csc no such fee applies The annual listing fees are about the same Uh, but the initial listing fee to the csc is around 15 000 So we're trying to find the right balance because we're cheap with shareholders money If we're going to be growing by acquisition, we will delist and move to the csc If we're not going to grow by acquisition, we will probably just stay where we are Okay, and so I'm I'm almost afraid to ask you what should we expect next other than I assume you guys are looking at Absolutely everything right now and you're looking to make really good deals in this present market conditions. Is that correct? I've got a stack of deals that we're looking through. Some of them are obvious garbage. Some are retreads Some of them are really really interesting um You know, they always say find gold in the shadow of a head frame And we're doing that we're looking at projects that are Closology that are close to former producers That works in gold. It doesn't necessarily work with the other metals, but it absolutely works in gold So we are looking through deals the stream of news that we're going to have though over the next while will likely be Exploration at big duck lake. We're very happy with that. There's a historic resource on it pre 43 101 So the usual disclaimer supply But it's a high grade pod and we're very happy to get back in there and pound some holes on the ground Okay, so let me just ask you something. Are you looking for deals for acquisitions? You're looking for partnerships or you're looking for all of the above that makes sense for your shareholders Which is what I think I'm hearing is that correct. That's exactly correct I have people making offers for some of our assets. We have people Offering us to sell assets and we have some investors off in the site Offering us some flow through capital But we don't want to close on that yet until we know exactly what we're going to do with it at big duck lake Okay, and with big duck a big duck lake. We know you have gold We also know cblt has often been involved in cobalt. Is there any other critical material or resource in general that you're focused on presently Now we're not focused on the resources right now I'm finding it very hard to predict where each commodity is going to go except for silver, which I'm I've been on the silver bandwagon Since pdac in early march when it was 16 dollars. Now it's around 27 after having hit a high of 30 Silver's going to have a great time other than that. I can't predict So all we can do is work the properties that we have put out good results and do Time sensitive m&a as it becomes available to us. Well fantastic. Peter is always it's a pleasure to get an update from you and cblt. Thank you Always nice chatting with you. Have a great day. Stay safe