Okay, so we have the console here from Boston who will give, we will start off the evening, making a couple of, presenting a few words about the exhibit and kind of collaboration with Dino. And then after he speaks, I'll introduce Dino formally. So, console Drabasa. I would like to start by apologizing for keeping you waiting. Consoles are supposed to be always on time. And I checked several times in Google Maps and all the time they told me it was like an one hour and 15 minutes from Boston. And it took out that a gentleman called Kronos made it two hours, so I'm very, very sorry for being late. But it is really an honor and a privilege for me to be here. Thank you, Mr. Luis Carranza. I also want to thank Stephen White, the Dean and Professor of the School of Architecture, Art and Historic Preservation of Roger Williams University. And thank you distinguished guests and friends to be here this afternoon. It is a great, great privilege for the Mexican Consulate to meet again with a magnificent exhibition of the work of the Spanish Mexican architect, Feliz Candela. And I say magnificent because I've already seen it. I saw it for the first time in Guatemala. And then I took it. I was so impressed that I took it to Washington when I was Ambassador of the OAS to the Museum of the Americas in Washington, which was a just a standing success. It's Feliz Candela is a worldwide recognized architect, one of the most prominent figures of the 20th century architecture. His innovative experiments with reinforced concrete produce iconic buildings called shells, such as the Palacio de los Deportes, the Sports Palace for the 1968 Olympic Games in Mexico City. This work has been shown in several places in the American continent and in 2015, as I just mentioned, I presented it in Washington at the OAS Museum of the Americas. As you will see, Candela's work reflects a great visuals and the undeniable technique mastery of the use of the hyperbolic parableit, which gave him a recognition as a revolutionary in modern architecture in Mexico and other places. I would like to thank the following institutions for making this possible. First of all, the faculty of architecture of my National Autonomous University in Mexico. As you can see, I am a proud university of Unam, a member of Unam. I studied at Unam. I made my PhD at Unam. And now I'm still a researcher at the Legal Institute of Unam with license for diplomatic activity. Also, I'd like to thank the Mexican Agency for International Cooperation for Development of the Ministry of Foreign Affairs and most importantly, the Roger Williams University, School of Architecture, Art and Historic Preservation. I also want to acknowledge the invaluable support and enthusiasm of my friend, Architect Juan Ignacio del Cuedo, Coordinator of the Center for Research in Architecture, Urbanism and Landscape at Unam, who worked hard in organizing and assembling of this exhibition. I encourage you to observe the models on the work of architect Candela. There are splendidly complemented with virtual animations that have been made in the faculty of architecture of the Unam and have become a backbone of this exhibition. This is an enrich with plans, photographs from the University of Columbia, Princeton and Unam. The large format photos and frame prints were donated by the Institution Acción Cultural Española to the Unam in the framework of the celebration of the Felix Candela centenary that took place from 2010 to 2012 in Mexico, Spain and the United States. Presenting this work here in the School of Architecture, Art and Historic Preservation results completely accurate to disseminate and give continuity to the presentation of the work of architect Candela. His splendid architectural structures are admired throughout Latin America, Europe and the United States. So the university of his work, universality of his work, is a source of pride for all of us. Finally, it is important to highlight the academic activities of Candela in Mexico and the United States which contributed to the formation of several generations of architects. Without further premise, I invite you to take the tour of the work of Felix Candela and once more, thank you very much Juan Ignacio Del Queto for being here once more in the United States and also congratulations for your anniversary. Okay, great. Thank you very much, Council. So it's a pleasure to welcome you all of you here tonight. Thank you very much to Dr. Emilio Ravaza, general for the Boston Consulate for allowing and sponsoring and helping us get this great show. And Dino here, Michel Arroyo, the liaison for cultural affairs of the consulate as well. Of course, Juan Ignacio Del Queto for basically organizing and actually coming and setting up the show and leaving of course the nice Mexican city climate to be here in our great, wonderful, constantly shifting snowy thing. I think we have to thank Georgia Rhodes and her team. I don't know if they're here, who are, yes, there. I wasn't sure if you were here. Who not only prepared that great space after the kind of chaos that was the NAB craziness, which I can't believe that last week we had an accreditation, and for mounting the exhibit and even for some of the people from the crew, fixing some of the models that kind of got a little bit broken along the way. There's one, sadly, that we won't be able to see, which is probably one of the finest ones from the National University in Mexico. Any case, so beyond the things. So the work of Felix Candela that we're about to hear about tonight and to see outside is really what I would describe as an effect of the performativity of exile. That exile or being an exile, one removed out of one's country, becomes something positive, despite the kind of negative quality of this condition of being taken out. As an exile from Spain under the control of the Spanish nationalists, the Spanish fascists under Francisco Franco, Candela's work and innovations are as much a part of how an individual facing adversity can engage in a new environment and constructive tradition as well as develop something that is both expressive of place, people, and materials. While at the same time, it is a work that is seemingly unanchored, both literally and metaphorically to the place, the soil, to the history, to the architectural expressions that had happened there. And perhaps it is this kind of unanchoring that makes Candela's work so interesting within the context of Mexican modern architecture to which it falls into ultimately its canon. So how an exile becomes an impetus for being a discoverer, how being an exile allows one to be productive in different ways is this condition is really at the center of Juan Ignacio Del Cueto's work. We all call him Dino for short. It's a long story, apparently, the Dino thing. But anyway, so for the friends, for all of us who know him, please call him Dino. Juan Ignacio's way a little bit too complicated. So Dino is really, he studied architecture at the National University in Mexico City of Dunam at the School of Architecture. He has his PhD from the Etsab UPC in Barcelona, where he worked basically on, his dissertation was on Spanish exiles in Mexico. And where he basically, like Candela, investigated the myriads of stories of architects that were forced to live out of their homes and kind of develop new lives, new dreams, and new types of production that would happen in Mexico. Dino is a professor of architecture at the National University. We're among some of his students as his own son now, apparently, I'm sure he gets hard, it's a tough critic for him. He's also the senior researcher and coordinator for the Center for the Research in Architecture Planning and Landscape at the National University. And he's published various books and articles on Candela and the work of exiled architects, as well as their impact on Mexico and Mexican architecture. He has curated the show that we will see shortly, that is now here at Roger Williams, and which was a show that was part of a larger exhibit that was held between 2010 and 2012 in New York, Mexico City, and in Spain. Dino is a son of an exile, his mother was an exile, and it's important to kind of note because I think that his work, I think it being literally connected to this condition of exile, I think Dino's work shows how in the words of the writer and poet, as well as the daughter of Spanish exile, Angelina Muñiz Uberman, that which was broken in Spain, she says, found firm ground in Mexico. The ideals of the vanquished Spanish Republic could be accomplished and succeed on Mexican land, end of quote, and this is exactly how Candela succeeded here. So please help me welcome Dino Del Gueto. Okay, thank you very much, all of you for being here. I'm sorry because my English is very short and I ever, when I have to speak in English, I am a little nervous because when I speak in Spanish, I am very happy and I make jokes and, but in English for me it's a little difficult. Thanks to Ambassador Emilio Rabasa Gamboa, as the second time, I am in the exhibit of Candela's in the United States, thanks Ambassador Rabasa because he take the exhibit in Guatemala and brought to the museum, America's Museum of Art in Washington, D.C. Three years ago in January of 2015, sorry, 2015. Thanks to Luis Carranza because he came to Mexico we know two years ago and he proposed to Dean Weiss to take the exhibit in Guatemala and the exhibit to Royal Williams University and for me it's the opportunity to know Bristol, Rhode Island, I never have been here. Beautiful town. Okay, let's start, thanks to Nate Fash too because Nate is a great host and all the people here, especially Georgia, who works a lot for the, for more the exhibit, the exhibition. Okay, let's start, if you know what, I prefer to move. And let's see, I sure that you know this picture from Pablo Picasso, the famous Guernica, one of the most important paintings in the 20th century. Shows the way that civil war in Spain broke in a country, but only a few people know that this painting was in church of the Second Republic government to Pablo Picasso. To stay in the pavilion of Republic Spanish in Paris in exhibit, international exhibit in Paris in 1937. It was the first, it's considered the first architecture in exile in Spain, in Spain. There were around 50 architects who has to live Spain, where the architects most progressive, the heads of the ideas of the movement, modern movement in Spain. This is about 49, maybe you know, or sometimes you heard about Jose Luis Sert, who was chair in Harvard. Jose Luis Sert came to the United States like an exilid. And one of the jungles was Felix Candela. This is the 24 architects who arrived in Mexico. Architects very important in Spain. The first and the second generations was a, have a important work in Spain. And the third generation, about 30 years, was 30 years old when arriving in Mexico. And here Candela never built any in Spain and came to Mexico to build that works that give him international fame. This is Candela when I met him in Barcelona when I was studying there my PhD. Candela, it was in 1992, 25 years ago. And Candela have in that time 82 years, a very clear mind, a lot of remembers. When I saw, say him that I am working in the Spanish exilid architects, he told me, came to Madrid, I talk to you a lot and I went to Madrid and have a beautiful interview with Candela. He has a sense of humor, very interesting. And I catch by the life of Candela, I said that Candela lives three lives. First in Spain, he born in 1910, was his formative years. In 1939, have to leave Spain, arrive in Mexico and live a little more than 30 years. It was his golden age. He built in Mexico the buildings that give him a very important fame around the world. And his last part of, his last 30 years, almost 30 years was in the United States from 1971 to 1997 when he died in Raleigh, North Carolina.  It's very impressive the documents that are in three archives in Columbia University in Avery Library, in Princeton University and in the UNAM. There are a lot of south ends of plants, letters, documents that with that could be reconstructed his life. He arrived in Mexico in 1939, in June of 1939. Between 1939 and 1942, arrives in Mexico around 25,000 exiled Spanish Republicans and have a very important influence in Mexico, in the cultural life in Mexico City. This is the Carta de Naturalización, the Candela makes Mexican, it's called Mexicano. Became a Mexican citizen in 1941. This is Mexico City when the Spanish arrives, a beautiful city that starts to grow, when arrived the Spanish, maybe there are one million of population in Mexico City, now we are around 20 millions. But it was a beautiful city and the country was a great field to develop architecture. 10 years after they arrived in Mexico, there are a very good modern architecture like Juan Segura or Francisco Serrano, Luis Carranza is a very good known about that period. Jose Villagran García, the father of the modern architecture in Mexico and the first public building of the Sanatorio de Tuberculosis Hospital, 1929, all the famous houses of Diego Rivera and Frida Kahlo. Houses of Diego Rivera and Frida Kahlo. This is Juan O'Gorman with Diego and Frida in a meeting of the Communist Partido Comunista. Mexico, in Mexico those years, the 30s, the 40s, there are very full of life period, very interesting. And those are some of the works that Candela made in his 10, in his first 10 years in Mexico, between 1939 and 1949. You can see different kind of works, his first important building in Mexico City, Hotel Catedral 1947, the projects that he made looking for a job, a perfect new baroque building or a new gothic church, and some other kinds of projects. One with a little idea of the thin concrete roofs. If Candela continues to make this kind of work, we don't speak today about Candela in Royal Williams University, because what is that quality of Candela? What is Candela arriving in Mexico with the idea of this, this was the works that Candela admired when he was a student in Madrid in the School of Architecture in Madrid. Eugene Fressinetti in France, Franz Dischenger and Ulrich Finsterwalder in Germany, Eduardo Torroja in Spain, Robert Maillard in Switzerland, engineers that was looking for the best way to have worked the concrete, the reinforced concrete shells. And Candela in Mexico built his first experimental shell in 1949, 10 years after he arrived in Mexico. And he patented this kind of shell, and founded his company, Cubiertas Ala. This is Cubiertas Ala and this is Felix Candela in two, at the first times of Cubiertas Ala, this is Candela, and he's two, two years old, two years old, two years old, two years old, Candela and he's two Mexican partners, Raul and Fernando Fernández Rangel, he was, they was brothers. And here in 1978, this is in 1950 and 1978 with Enrique Castañeda and Antonio Pedi, developing the project of Palacio de los Deportes, Port Palas for the Olympic Games in Mexico. This is the edge of the company, the foundation and the end of the Cubiertas Ala. This is a sample about some works of Candela. Maybe the 70% of his work was in the field of the industrial architecture. And here it resides some particular projects that we will see. Candela, understand the advantage of the hyperbolic paraboloid or hyper, that surface that made with straight lines who moved in the space and made a double-curbature surfaces. This is how the directrices and generatrices in Spanish, I don't know in English, directrices and generatrices, straight lines who made a double-curbature inverse curbated for one side and curbated for another. And his first work with hyper surfaces was the cosmic ray pavilion in the university city in Mexico. The climax of the work of the modern architecture in Mexico. 1951, in 1951, he built this little pavilion with three parabolic arcs, which support two subtle forms of hyper. And Candela experimented in the field the idea, he can't, at the beginning he can't, to calculate, but he knows that he can build that very thin surfaces. In that case, the thin in the most of the surfaces about half of an inch, 15 millimeters. This is how an hyper cut by a horizontal plan and two vertical plans made a subtle form of an hyper. And this is two subtle forms. And Candela in 1952 put this advertisement in the review, more important review in Mexico, Arquitectura Mexico, the review that direct Mario Pani, pabellón de rayos cósmicos en la ciudad universitaria, cosmic ray pavilions in university city, covered by a shell, concrete shell, of one and a half centimeters of thickness, half of an inch. Architect Jorge González Reina, a consultant or assessor, a structural consultant, architect Felix Candela. Cubierta sala, únicos especialistas en cubiertas laminares de concreto, call and we made your surface, no, your roof, you will make your roof. And Candela, well, cubierta sala began to receive a lot of encargos, how do you say encargos? Missions, commissions. Around 1, around 1,500, commissions in 20 years, that built around 800. This is a beautiful plan of Mexico City, the principal by Vialidades, no, the road works with the 25 favorite works of Candela. You make it, no, the place. And with the name of the building, the architect who did the commission, the address, and the duplication.  But with three principles, common sense, efficiency, and economy. And there are two big families, Mantos de Borde recto, if you cut in parallel with parallel plans, the straight lines, you have a straight edge surfaces. But if you cut with a plan perpendicular to the generatrices, I don't know, generating lines, you have a curved edge surface, curved edge surface. The umbrellas was an example of a straight line and the groin at volts was an example of the curved edge surfaces. The first experimental umbrella, here is Candela with his workers in, this is four high parts who, all the forces come to the central support and the basis, the basis made with this kind of surfaces too. This is the way that Candela built the zapatas, the cementaciones, this is the idea of this around 150 meters, one and a hundred square meters, I don't know in fits, square fits, I don't know how much is, but it's a big surface with only one support. And this uses Candela in a lot of, this is the idea of this around 150 meters, buildings, industrial buildings. And with the umbrella, with the principle of the umbrella, Candela resolved his first religious commission, La Iglesia de la Medalla Milagrosa, the Miracle Medal Church. This is the idea, an umbrella who would say distorsiona and distorts with this kind of, this is a simple plant, the plant, basilical plant with four supports in each side. And this is the support of the, you can see the support, the umbrella and the distortion, the one who took the soil, the floor, this is the way that Candela solved this solution with an incredible expression of concrete, this is Candela. And this is some idea of the cost of the construction, the shell built between, we have this beautiful document in Mexico in the Archivo de Arquitectos Mexican Architects Archive, Iglesia de la Milagrosa built between March 1st, 1944, 1954 and April 1st, 1955. And the cost was 666, 68 Mexican pesos, about 16,000 dollars. This is a neighbor, a driver, a driver inside. This beautiful negatives are in Felix and Dorothy Candela Archive in Princeton and this is the beautiful interior of Miracle's Medal Church. And this is Candela teaching at the University of Mexico in the School of Architecture of the Universidad Nacional Autónoma de México. He teaches there between 1953 until 1971 when he moved to Chicago to teach in University of Illinois in Chicago Circle. The most successful cooperation with Candela was with two very important, this one is very important architect in the history of modern architecture in Mexico, Enrique de la Mori Palomar and Fernando López Carmona with Candela made maybe the best work of Candela was with Enrique de la Mori. We will see some examples. This is the beautiful chapel of El Altillo in Coyoacán in a traditional neighborhood in Mexico City. The way to build with the straight lines and it is beautiful because it's a very pure hyper. In Monterrey in the north of the country they built San José Obrero Church with two straight line high parts. And in Coyoacán again this is a Google view of Coyoacán, a part of Coyoacán, this is El Altillo and this is San Vicente de Paúl with three straight lines high parts cover a beautiful chapel of the nuns of San Vicente. Inspired in her, how do you say this, her hat? This is the idea of, now we will see some of the mantos of Borde Curvo or Curvet edge surfaces. The beautiful capilla de Palmeira in Cuenabaca near from Mexico City with only one beautiful hyper. This is the impressive formwork with all the straight lines of wood and the finished work, the beautiful, the idea of the Greek theater to the Paralos Fieles, not to the first. And let's see now the hyper-growing vaults, very important and a portation of Mexican architecture to the history of construction because it was with Enrique de la Mora, Fernando López Carmona, Felix Candela built the first groin-net vault made with high parts between December 20, 1954 and July 21, 1955. This is the typical groin-net vault invented 2000 years ago by Romans, but here in the Mexican exchange building, there was 26 meters, maybe 26, around 90 feet, for 30 feet around. The idea of intersect two high parts to make this groin-net vault. This is Candela in this, and in San Antonio de las Huertas Church was the first time where Candela can build his first free-edge shape without reinforcement in the edges. It's a beautiful, a very beautiful interior in church. With this idea of the free edges, Candela makes his best works. This is in Acapulco, a beautiful palapa, a concrete palapa, like a sombrilla. And very impressive, the solution of the Bacardi bottling building in the north of Mexico City. This is the amazing interior of an industrial space. Now, when you go into this space, you feel like in a religious space, and the way the building is for bottling rum, for bottling, it's a religion for some. In Cuernavaca, the Hotel Casino de la Selva, sadly destroyed 15 years ago, in Guadalajara, the state sales pavilion, pavilion, very interesting pavilion. Another church with Enrique de la Mora, but in 1966, yeah, in the last times of Cuvierta Sala, another one in La Florida, in Ciudad Satellite in the north of Mexico City. And the famous one, the Manantiales Restaurant in Sochi, Milco, a beautiful place in the south of the city, a place with canals, like in the pre-Hispanic way of life in the Valle de Mexico, in Mexico City. This is like in plant, like a flower with petals, made with two squares who rotate in the intersection where they are the supports. And this is for a four-saddle form, a very alargada, it's very stretch. Let's see if this is the idea, no? The hyper cut with horizontal and inclined plants and the intersection of this kind of hypers made this beautiful flower, concrete flower, flows in the Sochi-Milco canals. And the way that it built, the principal part was the geometrical solution, but the strong part of the construction was the construction of the scaffolding and the formwork, no? This is the Spanish way, we said, las vigas maestras, no? To put, then, el molde para colar el concreto, no? Look what a beautiful view of this. Way to make here el armado, no? They're enforcing. Once the scaffolding and the formwork were built, the rest is very easy, no? Only to put the reinforced steel. And then with combotas, how do you say botas? Pockets, no? Maybe each one of these pockets or pails or have 20 kilos of concrete, no? And here the little revolvedora, no? The mishor and the army of workers, no? Put the concrete very, no? And finish, it was a very craft work, no? Artisanal work is like a low-tech solution, no? Then when, como se dice, desimbrar, when you take out the formwork, no? And then when Candela said, sir, I finished my work, architect, in this case, architect, Álvarez Ordoñez, I finished my work, here are your roof, your shell. And Álvarez Ordoñez said, well, where can I put now the kitchen and the bedrooms and they know that to don't, para no echar a perder esto, no? This is the idea of the modern architecture in a very traditional context.  And I don't know, this is the canals of the Chimilco, very quiet ever, no? But this is one of the most viewed videos in internet because it likes the, I don't know, like the sea of the, was terrible, no? And this beautiful building, shell have problems, no? With lost his or their geometry. The idea of the geometry in Spanish, we say, son, estructura resistentes por forma. Resistant, structural resist, resistant by form. This is the part that cracked with the, and it's terrible, no? That part, okay, return to Candela, the last important work of Candela in Mexico was the Palacio de los Deportes, an impressive solution with a steel structure, not any more concrete, but with a high pass, no? This is the principal structure of steel. Look the, the Scala humana, how do you say? The human scale, no? Five meters between superior and inferior part of the structure. And between these quadrados, no? These squares, the four hyper parts made with aluminum structure. This is, these are the, las felicitaciones, the Christmas cards, no? That cubiertas a la send to their Santa Claus approaching the high perform to make the siesta, no? Or looking for the chimney, for the chimney, or a aterrizando, no? With a parachute, no? The Manantiales Parachute. This is a Santiago Calatrava with Candela. It's very significant that the first book of Calatrava when he was only 34 years old, his first monograph he published by Gustavo Gili opened with this photograph. A Calatrava talking with his master, no? Candela with, Candela. This is some in black and white works of Candela and in color works of Calatrava. There, Calatrava is another genius of the structural art, but there are different in the philosophy of the structures, no? That I like to compare with this example. This is Candela, no? The athlete who, who, no puede tener un gramo más para correr 100 metros en menos de 10 segundos, no? I've seen 100 meters in less than 10 seconds. And Calatrava with Shrashenaga, no? With a lot of muscles, but he doesn't know for Parakele Sirven, no? For, what, therefore, yes. And this is another idea of the, of this, the estructura resistente por forma, no? Each one of these French fries maybe have the same material of two of these and one of these cover more, a lot of more space than the French fries, no? Well, we, in, in 2010, we celebrate the centenary of the Born of Candela and came from Spain and told me about the idea to make a very important exhibition and we have the idea to make a little treasures, Las Cajitas del Tesoro, little box treasures. And we began to explore the, I never worked with a 3D print, no? And it was the first exercises, no? The first, and we made 21 models of 21 select works of Candela. But this is only one piece, but we want to make this in a scale one to 100, no? And we have to do that to do little pieces and 3D puzzles, no? To make the models that you will see in the exhibition.  And this is the work that we have to make the models and send to Valencia in Spain to the exhibit. And there was a moment that we have to all the students that work in the structural laboratory, structural laboratory made the final work, no? This is the most big model, no?  And this is a beautiful picture because this is Juan Antonio Tonda, the right hand of Candela for a lot of years. Very excited with the models that we made in 2010. And this is that we will see, we will make the boxes, no? That Georgia knows very well. And sent to, first sent to Valencia, one of the most important museums of modern art in Spain. And we have there beautiful material, original material from the archives from Columbia, from Princeton, from Unam. And this is an idea, the beautiful Libretas, the Los Quaternos, notebooks of Candela when he was a student in 1932, 1933, publications, photos, the animation that we made, you will see in the exhibit, the models, the original plans in the exhibit. Now we have a photographic reproduction of these beautiful plans. Then came to Mexico, Museo de Arte Moderno in Chapultepec, one of the most important museum of modern art in Mexico. And we did Felix Candela with Macheto to exiled architects in Mexico, one from Germany, one from Spain. It's a beautiful exhibition. In the opening, there arrived around 1200 people, never in the history of the Museo de Arte Moderno were so a lot of people. And the last place of this exhibition, this big exhibition was Wallach Art Gallery in Columbia University, where we did a symposium on Candela with Angela Giral, David Bellington, Maria Garlock, a lot of, this architect doesn't participate, but came to her, this, Kenneth Frampton, no? And this is the exhibit in the place of Columbia University. And then only with the models and the big photographs who made in Spain the Spanish government, we made this itinerary exhibit, more easy to move without seguros, no? As a seguroances. It was in, excuse me, in Morelia, in Guadalajara, in Mexico City, and arrives in Guatemala. Arrives in Guatemala to the next stop after Guatemala should be Colombia, Bogota. But in Guatemala arrived the ambassador, Ravaza, saw the exhibition and he said, no. Colombia puede esperar, how do you say? Can't wait, Colombia can't wait. Came to Washington because in Washington all the Iber-American countries could be, could see in the museum of, art museum of the Americas. And came to Washington DC in a beautiful museum. Here is the inauguration with Ambassador Ravaza, and the exhibit came from Washington, went to New York, then San Antonin, Texas, the School of Architecture in Austin, Texas. Then to University of Illinois in Chicago, a very important, a very significant, because Candela lives eight years in Chicago, in this teaching in this university. And in Chicago was in January of this year, and from Chicago came to Rhode Island. And then I think the best way, this is the beautiful work that here is Georgia, I raise his legs. And okay, I think the best is to see the exhibit. Thank you very much. Will you take questions? Yes, if you want some question, yeah? The process to make the project, in the process, there are very important the architect who came with the commission, the commission, because if the architect were a good architect, Candela make the very good works. But when the architect is not very good, Candela maybe it only, maybe don't resolve with a very good solution. In the exhibit, we choose 21 works, and now in the exhibit only we have a 30, I think, because to make the tenor area in United States, we came only with 17 of these models, and here we can put 13. And the most, the best were built with Enrique de la Mora, with Joaquín Alvarez-Ordones, and with Guillermo Rosel and Manuela Rosa was maybe the best collaboration professional collaboration of Candela. And Candela listened the necessities, the program, and the idea of the architect, and Candela can convert ideas to translate those ideas in drawings, not like today that we have the 3D Max and put the finger and we have the 3D, no, we did that idea of the analytical and descriptive geometry, no? It's the way that Candela works with the architects. I don't know if there's another question. How many? Yes, in the first works, there are not a lot of calculation. They have to calculate with the regla de calculo. How do you say, slide, bro? Slide, bro, no, regla de calculo. After that, they, in the company, have said the first calculadoras electrónicas, no? Y de esas de que te sacan un papel, y si hay unas tiras de papel así, no, there are a big, but only is for the, for, there are calculations for the geometry and for the structural resistance, no? Candela said that this part of the work must be the most easy way to demonstrate that the shell could be stand up, no? If I may, just a very quick comment because I couldn't avoid in hearing Juan Ignacio's great presentation, thank you very much Juan Ignacio, thinking about the fact that this was possible because at a moment of great international distress, the civil war in Spain, then the totalitarian regime in Franco, 25,000 Spaniards, as Juan Ignacio mentioned, were drawn and received in Mexico by President Cardenas. This shows the greatness and the enrichness of migration. Those people, Juan Ignacio just presented a testimony in the field of architecture, but we could draw so many in the field of science, of music, of industry, of, I can tell you, for example, the story of Shirau, a great philosopher, who also went to Mexico at the age of Candela, son of a philosopher, and transformed the study of philosophy in my country, putting together philosophy with poetry. Very much in the way that Candela transformed the architectural landscape of Mexico with his hypers. That was possible because of migration. So migration benefits the societies, the communities that mingle. How sad it is that nowadays, there is a whole opposite attitude to that. I was so sad and yesterday to hear that now military forces are drawn to the frontier with Mexico to avoid migration. It's exactly the opposite that this can produce. Thank you very much. Yes, I thought about the example of Luis Buñuel in cinema, the Luis Buñuel, the best part of the Luis Buñuel produced in, was in Mexico, it's very interesting. Ah, okay. Okay, then let's go to the exhibit and to take some, thank you very much.


Minnesota health officials say there are almost 70 confirmed cases of measles in the state so far this year and a state lawmaker is hoping to make it harder for parents to opt out of vaccinating their children. DFL representative Mike Freeberg of Golden Valley hopes the ongoing measles outbreak will convince lawmakers to make changes. Freeberg's vaccine bill that would require parents to go over vaccine safety information with a doctor before opting out has repeatedly failed to gain support in the legislature and Minnesota natural health legal reform project president Leo Cashman says it's not a good thing. I think that there will be a huge amount of resistance to any attempt to curb the parents right to decide about vaccinations. We have the right to freedom of speech and we have the right to discuss and argue about these things but what good is freedom of speech and freedom of press if you don't have the right to act on the information you don't have the right to act on the research that you have uncovered on these issues the right to decide the right to make those medical decisions is just as fundamental to our freedom as the freedom to discuss these issues. Minnesota public radio reports that nearly 2,000 kindergartners weren't immunized against measles this year because their parents presented a notarized statement to avoid vaccination. If you've enjoyed this segment of Lakeland news please consider making a tax deductible contribution to Lakeland public television.


Course overview in Moodle 3.8 New admin settings in Moodle 3.8 offer greater control over the course overview layout. Default course card colors may be specified by the admin, as can which layouts are offered to users and which course types can be filtered. Course custom fields may also now be filtered. From appearance course card colors the admin can go to define the pattern colors where there is no course image. And from blocks course overview we see two new sections. In appearance the administrator can decide which course overview layouts to display, card, list, summary or simply display them all. Our administrator selects only summary view. In available filters she can select which types of courses users can filter. And if course custom fields have been created on the site she can select from these. And when student Barbara logs in she only sees the summary view and is able to select courses with custom course fields. To summarise course overview improvements include admin defined course card colors, course overview layouts and filtering by course type including course custom fields.


Look at you guys soon back into another episode of Rust Belt's nifty tools of the week where I go through a bunch of tools that have helped me get through my job here at the dealership and Showcase some of these tools that have helped me get through everything this week Hopefully you guys are able to use these tools just as easily as I have make sure you stay tuned First up on our nifty tools this week is going to be the snap on PWZ set of pliers Specifically this one that I have today is the PWZ2 This is a 17 inch version of the pliers set in there a fully adjustable wrench So how you're able to work this thing is the adjustment rod right here It has a threaded rod all the way down able to adjust this one up the PWZ 2.0 is able to adjust up to about a two and three-quarter to three inch opening here at the end these are absolutely fantastic when it comes to hard on little nuts and everything and Alignments alignments are the biggest bread and butter for these wrenches the backside has a nice grip So when you're gripping onto these all you have to do is put a slight amount of pressure and just how the head itself is Kind of elongated here and the teeth are ready to bite into just about anything you guys need now The PWZ pliers they come in range from the one all the way up through the five I think the ones are right around a 12 and 5 eighths inch Pliers the fives they are all the way up to I think a 28 or a 30 inch set of these pliers So everything all the way up through you know just to handle any jobs that you guys need The PWZ 2.0 pliers that I've got right here these run about $80 And like I said you they range from the one all the way up through the five right now The ones run right at like I think 57 and then all the way up to the fives that are like $220 you know, it's a lot of steel on those pliers But trust me these are fantastic when you're getting into alignments or having to break lose a very large fasteners They're just all in all a fantastic set of pliers. I would definitely recommend for you guys to check these out Next up on the list is going to be the snap on EECT 400 Test light. It's an LED test light along with a nice little screen here to be able to show the voltage I know I've shown this one before as well But this week this one has absolutely worked fantastic and I have been able to use this one about 30 times this week it's able to be used between 3 and 19 volts and The little LED lights that I'm going to show you guys here is able to point out whether you're on power and or ground So if you've got this thing hooked up to a power source and you're trying to find a ground it's going to light up green Opposite direction if you guys are looking for power and you're hooked up to ground It's going to be able to flash red there for you now The other cool thing about it is that once you do connect on to here and you're looking to see What kind of voltage you have the little screen right here is able to show you what voltage you have So right here it says we've got 12.2 volts where we're holding right there all in all this thing's got about a Four and a half foot cable. So it's very nice in that aspect They do have a couple of other kinds where they are able to see the The cable that is actually like wound coil wound. I personally did not like that one as well I like this one the best that has the the black end the coiled ones also came in I believe red green and orange But like I said, I prefer the ones that are just the standard flat cable Like I said, this thing has been a fantastic tool to be able to use for diagnostic purposes never had any kind of issues with it and Just all in all a really good LED test light for you guys to check out Third up on our nifty tools this week is going to be the Lyle 52 500 noise Diagnostic stethoscope. I know you guys have seen these before and whether you guys have had the chance to actually use them Or not it's something that you will need to use as a new technician Learning on one of these is one of the best things that you could have in your toolbox whether it comes to diagnosing fuel pumps or Pulle bearings things on the accessory drive. This is a quid essential tool that you guys must have It's very cheap very inexpensive and something that any technician should find in their box This one you can find on Amazon for right at $14.75 So a really cheap tool if you guys do end up breaking these things they do sell the little ear plugs for them They do sell the new tips and all but like I said at the cost of $14 15 bucks You're just gonna end up buying a new one anyways The little diaphragm we take this apart here it all it is is a little steel tube right here with a really thin diaphragm Here screwed into the end Able to screw that one right onto there They do have a couple of different attachments as well They have a little drum ear that you could put on to the end of this as well But for 90% of the things that you guys are diagnosing looking for the noises and all you guys are just gonna use this little steel rod here Pretty easy to find pretty easy to use it's one of those things where if you guys haven't used it you definitely should be using it and Definitely get you one of these or something like it Last but not least on this week's nifty tools list is gonna be the snap-on EEPV 509 cylinder leak down tool now this one through snap-on if you order it on the website is gonna run you 314 bucks usually you're able to get these on special on the truck for you know right or at or under $300 let's open the kit here and see what you guys get in this kit We've got a nice little sheet here just to show you the different diagnostic gauge sets that they have to offer Yeah, we don't really need that one We also have the owner's manual showing you guys your warranty how to use it in seven different languages You know really really useful as well if you guys don't know how to use the product This is able to show you how to use it as well So getting into what is actually in the kit you come it comes with one single spark plug adapter What would you would use for like a compression gauge set except for this one does not have any kind of one-way check valve to it So if you guys are going to be using this kit for testing any other Things like the Chrysler 3.6 liter engines They have a smaller thread and a smaller diameter set here that you guys are going to use So the adapters for the compression gauge sets they will work. You just need to make sure you take out the one-way valve It comes with an extended adapter as well. This one obviously it's only got the Half inch long thread there And then this one's got the one that is about three quarters of an inch long Worth of threads to get down into those harder to reach areas So you got that adapter as well as a packet with a couple of fresh o-rings for the ends of it Getting into the actual tool here. Let's get you guys a little bit of a close-up on it So here on our gauge set, we've got our inlet pressure This is the pressure that's coming in from your supplied airline at the shop The regulator on this side as well to regulate that and then on the right side This is going to show you your actual percentage of cylinder leak down shown here in a high amount of leak down moderate and low as well The quick disconnect right here is going to be able to adapt like I said to any of the other compression gauge Adapters, but like I said you'll want to make sure that you take out any of those one-way check valves if you're going to be using it for this Kit so what you've got to do is you have to supply your own air nipple for your air system You're going to plug in your shop air and make sure this is turned all the way down so that it just reads Zero inlet pressure when you first start Supply the air into it and then all of a sudden and then all you need to do is rotate the regulator adjuster You will see this arrow start to rise Rotate it up all the way until you hit that 100 psi mark here on the gauge at the 100 psi mark That is where you can regularly take your reading for your cylinder leak down We actually use it on this Avenger that you guys saw earlier that I put the Test light on and it showed that we had a 75% leak down on two of the four cylinders All in all, this is a very easy tool to use. It's very nice for using it on Compression checks on motors that you think may or may not have jumped time may have some internal damage You have to make sure that once you're testing the certain cylinder You have to make sure that cylinder is on top dead center of the cylinder that you are testing You know stick a little coat hanger down into the spark plug hole Then you can make sure it's on top dead center Put in your little spark plug tube adapter and then also you want to make sure either you if you're able to reach it Or a helper is able to hold on to the crank because once you start putting air pressure to this Once you start hitting about 50 psi or so It's going to start pushing that cylinder down, which is not good You don't want it to do that one you want that thing to be on top dead center to be able to make sure all of the rings are Seated and at top dead center both of the valves are going to be closed as well So you're not going to have a skewed result now The only negative thing that they have to this entire kit is Once you have to add on your little nipple here. I will show you here on the case It actually does not fit into the case So what I actually had to do was take a dremel and grind out a portion of the side of the case to fit this into for storage So right there. It's actually able to fit So maybe snap on should have come up with a little bit better case since they know that you have to put the air nipple onto the tool to be able to use it correctly and Probably would have been it easier for them to add a little bit extra room before putting your hose Wrapped up here in the bottom because it kinks a Little bit harder than I would like it to it folds over 90 degrees twice and 180 degrees twice And I personally don't like that, but all in all like I said a very nice kit I would definitely recommend you guys to have one of these for diagnostic purposes in the dealership or in Whatever shop that you guys are in And then there's a couple of the channels that I really wanted to point out for you guys this week I like to point out some of the smaller channels who are working themselves up and Who just haven't really got that chance to shine first off this week? I want to introduce you guys to Audubon Dan Audubon Dan is a really cool mechanic who is also doing tool reviews. He's walking through tool stores He's doing unboxing opening of different tool halls if you guys like tools and Mechanics stuff in general you guys will definitely want to check him out now second on the list is going to be 410 or 410 autotech 410 is a really good buddy of mine. He's been tuned to the channel for a long time and he's started up his own YouTube channel He is a Chevrolet technician who lives in the Northeast. He goes through and he does some of the Vehicles some of the tools toolbox tours things that he goes through in his everyday Life there at the dealership. He also has a really good Instagram account where he you know tries to help and shout out other Channels and other people as well get people involved all in all it's a really good channel And I think that you guys definitely need to check him out as well Well, that's about all I've got for this week's nifty tools of the week if you liked any of these tools I will be sure to leave them down in the description below So you guys can check them out and get some links to where you can purchase them if you guys do like them I appreciate all the support. I've been getting here lately We're on our way almost to 15,000 subscribers and just to let you guys know we will be doing a very large Very awesome 15k giveaway So make sure you guys stay tuned for that one as well as a lot of really big things coming up in on the Duramax build as well Thanks again guys. I appreciate it and as always you guys stay awesome


The way that she makes work is from a very personal place. The result is something unique and compelling because it feels very genuine and real. It changes your perception of something that you think is a truth. You think a little bit more about being pressed to try to figure out what sound means to you given the tools that she kind of provides with her work. If you're given a truth that this tastes like this, this feels like this, this sounds like this, it is kind of a radical redistribution of what your concept is of that sense. And I think when you kind of understand that idea can be changed in your head, I think it's really groundbreaking. Her audience, both deaf and hearing, would work to understand the questions that she was posing with her without being only a disabled artist, but rather being an artist with an extra ability to see things in ways that others couldn't.


So Meiza takes a big confession. It's a big problem for him. So Meiza took to Instagram to share one of his entertaining videos and today he addressed dental health. Somji, who is very conscious of his cleanliness revealed that brushing his teeth is his least favorite daily hygienic routine. Hello. So I've just taken a bath. I haven't moisturized my face. I've always wanted to ask this. Am I the only one, anyone who knows me would know that I'm very centra-related as far as my dental health is concerned.  But, am I the only one who does everything, I look forward to taking a bath, I look forward to moisturizing my face. I look forward to doing my hair but this I do because I have to. Pointing at his toothbrush, am I the only one who is lazy or hates brushing their teeth but do it because they have to. Said Mahongo. In other news, husband Mohal Motong recently turned 26 years old and celebrated his big day without his other half. So Meiza didn't even post about his birthday which took a lot of people by surprise seeing that Mohal gushed about him on his 48th birthday. Taking to social media on Mohal's birthday, Sam G63 spoke about award-winning South African telenovela The River and made no mention about hubby. Guys let's talk about two things. 1.  Swilly is driving me mad. How many times has Lindaiwi been playing him? The Idol's essay judge also advised upcoming actors to never take up a role in The River 1 Magic alongside Lindaiwi Dickena as they won't last. 2. If I had to be given an offer to play a role on The River, that is opposite Lindaiwi, I would never take it. You must know that you will never be on The River again and your role will last three days and then you are gone. I would rather stay by Mam Flores or by Cobra's place. At least you know that job-wise, your character will have longevity. Anything at the Dickenas, don't agree to those roles guys. If you want to have a job and money, refuse because Lindaiwi is not going anywhere. Lindaiwi murders anything, Lindaiwi devours everything. So, I'm talking on the professional level as an actor.  Continue, we are not jealous.


Hey everybody, Lance Coyke here. Today I want to discuss one of the favorite favorite muscles of any rowing variation and any coach around the lower fibers of the trapezius muscle. So the trapezius to recap some anatomy. We got two shoulder blades, and then the trapezius is like this little diamond here in the middle and attaches to both shoulder blades. It goes all the way up to the neck and it goes all the way down to the upper lower back, if that makes sense, the upper part of your lower back. Now the lower fibers, they connect to the middle part of the shoulder blade and they actually rotate the shoulder upward. So now it helps me bring my arms up because now my arm is pointed upward. That shoulder blade motion is like a third of the actual motion of your arms. So it doesn't actually all occur in the joint. It actually is shifting the entire complex of the joint itself and that scapular motion is required for good shoulder health. So when I do rowing variations, what I'm looking for is lower trap activation and good timing of everything. So when I do a row, if I'm noticing my shoulders shrugging up as I'm coming down or as I'm rowing up, then I have to think, okay, well, I want a little bit more lower trap. The first cue is let me set my shoulders down and try to squeeze that lower trap muscle a little bit more. And sometimes that's enough and that's okay.  That's exactly what you need. If you're not feeling that, then I have to start to think, why am I not feeling the lower trap? Generally, it's because I'm shifting the tension off of the upper back muscle and onto something else. It might be onto a spinal muscle, right? So this is the most common thing that you'll see. When I get my row, I might stick my chest out too much in an effort to get my shoulder blades together. And maybe this much is okay, but this much is too much. And that destabilizes my upper back. Maybe that takes the tension off of that trapezius muscle and puts it onto my spinal column muscles and increases the compression in your spine. So it's some optimal anyway. That's the whole nutshell. Those are the two major examples. You might have some asymmetries going on too, but that's a little too complicated for us to talk about on the video on YouTube. But hopefully that helps you kind of understand what's going on with the lower trap in the row. It's going to help me bring the shoulder blades back together, but it's also going to help me keep the shoulder blades set down, right? And so if I get both of those, I'm going to feel that low trap working during my row.


Friends are so important.  It is through these friendships that you learn how to properly communicate and where you learn to set your boundaries. Friendship teaches you about honesty and conflict. Friendship is love. A platonic love is different than a romantic or a familial one. It is carried by truth, honesty and a bond that is chosen and crafted by you and that other person. These bonds are fulfilling and can often last forever. It is a love without expectation or possession and a love that supports. So this is a letter to my friend. They aren't my best friend and communications are a little distant these days. But this is the kind of friend that will be dear to my heart forever. A friend who could understand me with a simple glance. A friend that I will truly never forget. You always knew the image of true love because it was always around you.  You always demanded their respect and in return you gave them your heart.  But there was a time where you demanded love from everyone but never gave it to yourself. There was a time you were lost. But when you found me it always felt like your knowledge was boundless. Like you could never be lost. And you were always honest and hard on yourself yet selfless with others. And you gave your all to everyone. You are fair and honorable. Most of all you asked for all of your friends to be compassionate. Almost like a prerequisite to be your friend. And you gave your all to me.  Just like that laugh.  You are erratic and you never seem to run out of that fuel. Until you did. Who could imagine that you were the fiery soul who sleeps ever so peacefully. And after some time you even found the love that you thought you'd never find. Even though I know you won't, don't ever change for anyone. May your warmth be felt by those who deserve you.  One that I'd wish for anyone to have.


and the corner is 10 yards off and I have a poster on the outside and the corner is at least three, four yards inside. And I'm like, there's no way that I'm getting inside of him and there's no way I'm even gonna have a chance at getting the ball. So I said, you know what? I said, in my head, I said, that's it. I'm just, I'm going behind them. I know I'm gonna get beat up.  But I said, man, I'm finna go behind. And I planted and I went behind the DB and I seen the ball come. And I said, this man just threw this ball. I said this man, and probably people have seen Aaron make a bunch of great throws, but to me, me and his connections, as much as we've done it, that's the greatest throw he's ever thrown to me. It was coming right behind the corner, right in the honey hole for a touchdown. And I'm like, this dude good.


Would Patty's pub serve four walls? Oh, yeah, absolutely. Yeah. Can we expect any product placement in the future? Absolutely. Disney won't see this, right? Disney sees everything. No, no. We will see it in rexum. Shove that whiskey down that mouse's throat. Great.  I wouldn't do that, Mickey. Disney.


to Soto and Martin on our relentless search for humanity and humility on our inclusive welcoming islands to Soto. Is that the right way to? That is a very complicated introduction. Yes. How do you do? Sort of okay. Sort of okay. Well, should we go to our first slide and get into that? Probably should. Okay. Let's go to the first slide. Martin just came back from his sabbatical in Germany in his homeland of Germany. And he's kind of in a post sabbatical stress or tension syndrome situation because while he was there, he was thinking he was going to a socialist nirvana where costs were under control and it was more possible to build things for the common person. And you said you were approached by a potential client to build a house on property that the client already owned. And you looked into building a house which may have been an A frame you said a very dramatic thing like that. So there's your weekly German? I can't remember what it was. It means all roof building. All roof house. All roof house. Meaning the whole thing is made of a roof or two roofs. But you discovered to your dismay that trying to build this affordable house, single family house was going to cost 500,000 euros. And was that just materials or construction as well? That was both excluding the land. Excluding the land, right. So it really wasn't. It was pretty much like it is on Oahu. And you had not found it as wonderful as you hoped it would be. No, the other event was our exotic escapeism expert, Suzanne, being a native of Bavaria. She's facing a similar thing to, and I call it the Department of the Varying Homeland's syndrome, where because of the same reasons that the locals, the more normal locals can't make it anymore, the government tries to keep them and helps them out. But even with a quarter of supporting them, you end up with a 1400 square foot slice of a row house for about a million euros, which is about the same as dollars. Right. So there we go. That formerly, to say the least, socialist sort of culture went away, right? So I'm coming back here, sort of sobered up. And let's go to the next slide. Because that was about, you know, we shouldn't even do, if we look at the bigger, biggest picture of the globe and we shouldn't do single family anymore. We should keep any land that we have unbuilt because we need it for anything else, but sprawling it, right? So we need to densify the cities and we need to basically build up. And we should also go back to renting, right? Because why does everyone have to own a piece of the earth and hold onto it in the most frantic way? Why don't we share the earth, right? And we are visitors and get away from this sort of paranoia idea of owning and having to have it. But that is here the next problem. These are rental prices here. And this is per square meter in euros. And so we got to convert that here. And Munich, where this is all happening on the personal side, is in the lower third, even. And that is 10 euros per square meter. So this translates into a dollar per square foot. Paris and Oslo and some other Scandinavian and metropolises are... You said London too. London too, half the highest, but they're not even reaching 30, meaning $3. And we get to... I mean, even the affordables here are pretty much like $4 or 40 euros per square meter, right? So that's where we're even topping that. And next picture, this is really sort of hurting me or gets very to my heart because as we talked a lot, I grew up like that. And in an urban fabric had my most beautiful parts of my childhood on that rented space out there in the attic with the roof terrace. And I let that inform my work. So the project at the bottom, we've been talking about at times here post occupancy evaluated. But that gets... That's the treetop. That's the treetop apartment. This is all getting tougher and tougher because as we said, if you have this discrepancy between that rents are not basically... People don't get paid proportionally more. So they can only afford so much and so little. And then the cost of renting and owning go exponentially through the roof. Then you get this discrepancy. And that means as a developer who we most likely like to not blame but to guilt, maybe, right? We can't even do this because even if you're not making the super profit and run away and get rich, right? If you try to do it in a reasonable way, you have a hard time because the cost of construction is so through the roof and out of control that the margin is just not working anymore. So we really need models. And while trying to get back to the paste here and being on a jet lag next picture, please here, I'm running in the morning and I run into a Rainbow Drive operator and owner Jim Kusukuma who according to a discussion that Kurt Sandburne and I had a while ago, we were saying he built the best piece of architecture on the island at the top right, which is his canopy addition to his facilities out there on Papahula Avenue. And he was saying, Martin, I just came back from Tokyo a couple of times and I thought about you because there's a guy who impressed me because he was able to make it to live on the dollar equivalent or the yen equivalent to a thousand dollars, including eating, which is his field of expertise and dwelling. But he says he shrinks his down his footprint of lodging even more like a square feet or something. So this reminds us of the metabolism movement of the capsule kind of, you know, whole trend. And he says, we got to get back to that, especially in Hawaii. We're climatically privileged. We could have the whole island be our living room. He practices that always meet him. He's out there on the beach and watches the surfers and surfs himself. And then, you know, that's his living room time in the morning. Right. So I, you know, Jim promised we're going to tackle that and address that and try to with emerging generation, take you up on your offer to do research on that one. But for the time being, let's follow my jet lag here. Next slide, because I was in jet lagging, couldn't sleep. So I was stumbling on our strip, which is Kalakawa Avenue. And you see the urban nomads coming in at night. If the police is not coming out at night, we should say. Exactly. And I feel increasingly bad because our promise that we made to people like Jeff up there in the in the left corner, who's an urban nomad of the finest kind, we haven't been able to provide solutions for him as we show in the top right as the stratosphere lanai growth that is stacking cargo or containers just like to a height on the ship. So we yet have to get there. And instead, I'm thinking I maybe have hallucinations. And there's some alien in the back there. Is this blue thing blue thing? So what is that? Let's get closer. Next picture. Next picture. Yes. And it's you can barely see. And this is interesting. We're like, comparing, you know, human activity to buildings activities, right? And this reminded us of the pre contact days of what you did it in the when it was dark, right? Absolutely. And back in those days, native Hawaiians had no virtually no light after sunset. You could build a big fire. But if you lit a kukui nut, there's barely any light at all.  Yeah. And the Waikiki Circle Tower that we did a show about that long ago is nicely within that tradition because people are mostly asleep in the middle of the night. So it's not there. But that blue thing out there, what in the world is that? So let's get going here. And we try to let's picture we try to identify where where it was in our walking encyclopedia. Don Hibbard is about to get us the data from the DPP. But he's so busy around teaching. Thank you, Don. And also preparing the national locomotive museum that you're involved to it will take a little longer. But we got pretty close and were able to sort of bracket the era of when it was built, right? Right. Because this one here was when Kennedy was cruising down that street and there was in 63. Right. That's in the summer of 1963. And few months before he was doing the same in Dallas, which was tragic and tragic as we know. That's right. And then the other sort of proof of evidence we found which is the next picture here. This is the when the Wi five O start and that was in 68. Right. The fall of 68. There we see it's already there. So somewhere in between it was built. Right. Right. That we found out. Yeah. And then let's go to the next slide. It's, you know, that kind of glow. We've been featuring a couple of incidents in the past. There was the sort of neon halo around the La Rue. Yeah, that's right. The Alamona building. Right. Seen in the opening of holy five Oh, exactly as much as the plinth of the outrigger on Kallakawa, not that far away across the street from from this project here. But these were like the sort of more innocent sort of like hey days of everything and showing off and neon. Exactly. In these days, it's probably LED. So it's environmentally a little bit more, but just still thinking about why are you like highlighting every slab of the lini of that building in such a pretty obnoxious way, right? So there must be a reason. So what makes this building so special in order to be justified to do well, we're going to see. So let's, you know, wake up here. Let's go to the next slide. And this is how the thing looks in the mornings. And we see there has been some makeup, you know, I've been doing some makeup artists was, I guess, brought it in to make a facade look more beautiful. And we will see what what that means in detail. And next picture here, it wasn't that I wasn't warned or prepared because you kindly mean, you meant well. Well, I need to let you know, you need to prepare me to sort of moderate the shock that I was then yes, getting into because you sent me this article sort of halfway through the sabbatical and it basically told the story that this was formerly an 88 room, small room hotel that a developer, a Japanese developer bought for 25 million and put another 50 million or twice as much into it to remodel it to basically make each floor one suite of 2250 hundred square feet. And that if you do the math means almost 6 million per floor per suite. And that wowed us. Well, and one of the things that I had sent to you was these smaller 1960s and 70s hotel buildings have smaller rooms than what people prefer now particularly bathrooms. There is no way to easily go in and remove those interior rooms, they are part of the structure, they are poured concrete. So that's why if they did this, that's why there was such a huge expense per floor. Absolutely. And then let's get to the next picture because we're like spying around and seeing what it is. So the sign was up. I'm not as fluent in Spanish as others as Susannas, for example.  And from Renault, this is the other sort of evolution there. There was a car that was launched to be the competitor to Lee Ayakaka's original Chrysler minivan, which I can see it looks very much like exactly in the mid eighties and it evolved pretty well except the very last facelift sort of like, but that's making it look more like an SUV. Exactly. And so that part they lose me on that one. But but sort of never mind. But so I know the term from there and it basically means space or in this case, pretty pathetically, space shifts, right? So that means the bigger the better. Yeah. And we go to the next slide here. So the this is sort of the makeup on it. They're putting rouge you you said. Yeah, right. Rouge is the stuff you put women put on. Yeah, sometimes there's this little sort of bedazzling. You can put a little glitter there too. Yeah. So this reminds us of that one. And you gotta wonder why and again, next picture is I mean, there's rouge and then there's sun lotion where there's sun protection that you got to put on primarily here. The the building is privileged because this is pretty much facing sort of southeast. So the building is lucky to have as cute and sexy cylindric neighbor next to it because it's going to shade it at some parts and points in the morning. But here not anymore. This is sort of like 11 ish or 12. And that way it gets pounded by the sun. And this reminds me of this sort of like, suntan intensifying lotion that people put on which every skin doctor says no, no, don't do that right. That kind of coconut oil or whatever it is. Yes. So that would be the analogy to that one. They're on black tiles. Right. They're glued onto it.  And they get tax, you know, support deductions for it. But here it's just about the surface, right? Correct. And so that's sort of unfortunate. It's a heat sink. It's a heat sink. It's going to conserve and put heat into the building, which then the AC has to cope with. Absolutely. The next picture here, you know, again, it's it's it's a building that has a nice integrity at the top left. We have tropical tutor, Bill had it Suzanne and me out and we were right on the other side of 1350 and I want a boulevard that is currently getting a facelift as well. They decided to do some parts in yellow. Yes. And so, you know, but but it is still the original concrete that just got some 10 on it, right? Yes. Yes. But here they're like in major parts covering up the buildings, the building and their pride themselves of having imported the most fancy materials from all over the world. And then again, thinking about the carbon footprint of shipping this stuff in makes you wonder makes you wonder why right, right. And let's go to the next page here. This is the entrance.  Right. Well, in this picture, we see there's a green wall on the left of the entrance. And that is in theory, not only to beautify things, but it gives off oxygen as well if you use living plants. Just a little bit down the street, the Waikiki Beachcomber Hotel remodeled its facade. And they put what looks like the green a green wall up above their entrance. It's fake. It's plastic. So it's an absolute antithesis of what green wall is and what it's supposed to do. We use fossil fuel to make plastic to put up to look like plants. Well, as we said, you know, if you would do this in Russia, because of exotic dreams of life, you know, but but here we have a 12 month growing cycle where you got to stop things from growing. You do plastic like there's no go right. And then they make this other wall, which is probably want to look like a volcano because it's slightly tilted and battered wall. And next page, they also which is very hip these days, they basically put green walls inside these poor walls and it's AC so they probably freeze the roots right right or whatever. And once you go outside next picture here, you got the real green in front. Right.  So I'm just giving him the benefit of doubt that it wasn't vodka in there. Yeah, right, right. So this guy is taking a break. Why? Because it's cool under the tree. Right. And at night next picture, the the greenery on the street right next on the other side of the entrance of the hotel. This this this green is nicely camouflaging and giving sort of protection to the urban nomads at night. And so is next picture here. My home, the Waikiki Grant that we did a show about a while ago here to give credits to the board and to Ray and to Stephen to everyone who brings back the lush nature and this is an exclusive inclusive welcoming green versus an exclusive because this is along the sidewalk and everyone can touch it and see it and feel it. Right. Yeah. And so next picture. So is the lobby the lobby which was sort of impressing you right because you said way back when that was built. Yeah, it was probably built around the same time. We know when this was built in the other one and it wouldn't surprise me if same architect Ernest Hara would be the architect, you know, of the two buildings. And so the lobby is open and everyone is welcome as long as she he behaves. And next picture.  Absolutely. On top of that. Absolutely. In this building that you've got people coming in and out of your your lobby to get to and to get out of exactly when potentially they are drunk. Yeah, yeah. And here this is our watchdog, you know, Morales who is nicely at nights in a very moderate of way trying to always basically work things out with people and it works pretty well. There is no security border or access controlled. You can actually walk up to any floor and knock on everyone's door. That's amazing these days. And it works, right? So why do we have this paranoia of being exclusive and being guarded off? You know, well, unfortunately, the richer you get, the more you have this paranoia, right? That's what I was going to say is the more you disconnect yourself from the real life in real people, which was your point. Yeah. Yeah. So let's go to the next slide, which is me having to thank my philanthropist patron, the owner of my unit who gives it to me for, you know, a steal almost for free if you consider the expenses he has. And again, I'm the beneficiary and I have this easy breezy, amazing tropical exotic lifestyle that you know, I wished I would find when I come to the islands, but I have in very few units, I have that. Here I have that. So how does that compare to the Aspasio? Yeah. Next picture here. Well, this is quite a different situation. And what I was going to say was as you just said, the idea of an open lobby versus a closed lobby connects to what your financial situation is. This is meant for the very upper upper sliver of people who are extremely wealthy, who can afford this to go from one comfortable enclosed situation in one country to another one here. And unfortunately, it's like you never even left because this interior looks like everything all over the world for anybody who's well to do. Yeah, yeah. Let's go to the next slide. Our fellow journalists from the star at the ties always make nice, jokey ironic sort of headlines. So here's the sweet life. There's an affinity pool that's probably going to put some weight on the building and a stressing that structural, you know, challenge that you're already pointed out. Let's go to the next slide and do what we occasionally do here do our little science demonstration because I'm going to wear my cap here and you got to demonstrate. So this is the this is the sun. So here's the sun shining from this angle and you can see that Martin's face is partly shaded by the cap. But if I come down like this when the sun is going down, you no longer has that benefit of the shade there and the direct sun. And you're you're the sunset sun now and this is direction. And this is if we could get to the picture 26 here. This is exactly what this facade is pretty much facing. And we've been saying, you know, being behind glass doesn't really help. It actually worsens that is a greenhouse. And what's that thing in the middle there? What did we find out? Well, you said that that is a metal screen, which looks decorative, but actually it shields the jacuzzi, which each one of the units has. I said, is it open to the open air? And you said to a limited degree because there's not that much of it that's open. So it's really for privacy, not for air circulation. And maybe it's also giving the Hawaiian blessing because maybe these days needs to have this pattern that's like, okay, we can check on Hawaiian. Yeah, exactly. So how do we know all this? Again, next picture here, thanks to our guys from the store advertiser. And we're really cracking up and almost Peter a pants about a certain passage in there. Oh, yeah. And that gets us to the next slide. Yeah. And the quote that was in the newspaper says the views are spectacular. The only thing in the way of the ocean is a banyan tree. Well, what he means is that he's saying that it's nicer than another building would be. But the way it's phrased, it almost sounds like well, if we just cut the tree down, you could look at the ocean completely without anything in the way. Well, the tree is not only a major aspect of Waikiki where the nightly hula show occurs, as you see in the picture. But it's also as we pointed out, something that shades the facade of the building when the sun gets low enough at a certain time of year. So you actually from a, from a post fossil tropical exotic attitude point of view, you want to be in the lower floors. You're shaking the natural protection. And then sins are, you know, friends from the Exotica movement, Martin Denny and Dennis Baxter and Arthur Layman were supposedly in the Queen K and listening to the exotic birds in the tree. They work this into their music. And we reminded ourselves that some kind of witchbirds, the mind of birds, the mind of birds gather in that banyan tree every night and scream until the sun goes down. That's a spectacle. And you don't get that at home wherever you come from. Exactly. So you don't want to block this out, right? So we always conclude with our fullness, polemic propositions. So let's get there. The next picture here. So this is juxtaposing the remodeling and even again, the three horizontal louvers below the slabs don't do anything as far as shading. They just hide the little LED gadgets in there, right? And we were pointing out in a couple of shows at the top how awesome that is to be up there in the breeze and be easy breezy and have as little as possible disconnect you from that. So really filigree metal guard rails have been really proven to be pretty good. And so let's get to the next picture, which also was our opening picture here because when our exotic escapism expert Suzanne was here some 20 years ago, and she was taking some surf lessons with Big Bear there at point. She was having the picture taken in front of the neighboring building, which is the parking garage for the hide and she called that a shadow house, right? Because it's got the shadowing of those vertical. Yeah, those verticals. We're saying the cars have it actually better than the people because they got the breeze and they got the shade. So I want to be your car, right? Rather than be in Espacio where you don't have that. Probably my parking rate is not anywhere close because at this point we got basically disclosed that the daily rates are like outrageous 3000 to $10,000 and that's sweet, right? Yeah, which is really like. So next picture here again is what we dream about is like when people come to Hawaii, present as something they don't have where they come from. And I think there was a show which I'm happy I was browsing through the schedule today and I heard about power greens or something like that. So some colleagues were talking about bringing food production into the vertical, right? So things like that, experience and mix the people who live here with the people who visit this sort of model of inclusivity we're kind of talking about. It's as if you live here for a short time. Exactly. And next page here. Again, this is sort of the suggestion and the recommendation of Tropical Tourist expert Suzanne, but he told me an interesting thing about the gentleman at the bottom left. Well, that's Prince Kuhio, who was a Hawaiian pure Hawaiian man. But as a youth, he was sent to a military school in California in the 1880s with his two brothers. And while they were very westernized, they also were so in contact with their Hawaiian culture that they introduced surfing to California in 1885 that surfboards made and went surfing. Yeah, well, California is a hot bit of surfing now, but it's all because of him and his brothers. Yeah, that's awesome. It is it is. He was an ambassador for both. Correct. And so he's depicted in his Hawaiian clothing. He's depicted in American Western clothing here. He's got on a Hawaiian cape as well. So it's the two cultures. And that's something we're going to be talking about in a future show. We're going to talk about skins. All right. Human skin, the clothing we wear and then what skins we live in as well as buildings. Can't wait for that because most difficult show to do but probably one of the most relevant. It will be. It will be. So next picture here is an event that was just last weekend where all of a sudden I was out swimming. So they were putting the stage together and a couple of tents and they had this sort of block party. And it filled up really like crazy. And it had like, you know, these these local acts here like this, I'm on a girl who played the ukulele so crazy as I've never you told me there are other ones that she learned from. Yeah, and she was telling the story that don ho was discovering her on the street and becoming her mentor. And again, this was a free event and it was sponsored by a couple of people. But one of them, which we had done the show about the the princess. I'll tell her right now. So maybe they have, if they haven't, please listen to the show we did and that we encourage you to stick with your tradition, right? And I see this as a positive sign of sort of a people power, a movement from from bottom up as keeping the Queens Beach public, and and including people and making this a free event and next and final picture here. We hope it's going to spill into the bigger macro fabric of Waikiki and doing all of that and more we're talking about. If you guys find the time our most activist journalist, Kurt had written these beautiful words. So if you can take the time before and push, sort of stop on hold and read through that we won't have the time because we're out of time. So thank you all for your attention. Thank you to Soto. Thank you. And looking forward to soon. I think we're on to something. So I think we spotted a project that is sort of trying to do things a little bit more along the lines we would hope. So let's do that next. All right, all right. And until then, please stay inclusively exotic, exotically inclusive. Bye bye.