Welcome, those of you who are here visiting for Open House, and welcome, of course, everybody else. We're really excited to welcome tonight Momoyo Kajima to present the work that she and her partner, Yoshiharu Tsukamoto, are engaged with under the famous name now of Atelibawa. We have the great pleasure to have Momoyo teaching at GESAP this semester. I'm really looking forward to involve her more in the future. I have secret plans, but after the lecture, I think it's fair to say that Atelibawa have inspired, led, and captured much of their generation's architectural ethos, its mode of being, of engaging discourse and practice, and its commitment to understanding and reimagining the world, whether cities, the environment, the social, the problem of scale, or more recently, the ecology of the rural through architecture and design. Just think of what comes to mind, to your mind, in terms of this particular generation of architect's work, reinventing the everyday, the return of typology, the interest in scale, mostly small, the re-engagement with the question of the city, with an architecture that is inseparable from both the idea of city and from the idea of the ordinary, as Enrique Walker would call it, the lived-in city, the city of constructed situations of social encounters and of hybridized objects, programs, and typologies that turn architectural concepts into enchantment, from the transforming of bicycles into mobile furniture to the strategic re-conceptualization of a leftover roof scape into a lyrical playground and park. Bauhaus is certainly an engaged form of practice, expanding architectural thinking to reread everything, while also devouring everything else with great precision and delicacy, but also with a veracious appetite and curiosity to re-enter architecture. This constant feedback loop between discourse and practice and between books and buildings is not unique, of course, but in the hands and minds of Momoyo and Yoshi, it becomes unbelievably rich in inventiveness while also cementing an undeniable continuity in their work and is a way to constitute a body of work. With every new building is a new book, with every new book, a new set of ideas, and with every new set of ideas, a new project, at once completely surprising, influential, and yet also undeniably consistent. Alongside their seminal projects, too many to name, furniture, houses, installations, buildings, parks, speculative projects, etc., are also the seminal books. In 2001, their pet architecture registered the potential of leftover space in Tokyo, and made it in Tokyo, rendered visible the possibilities of already existing hybrid conditions and programs to inform architecture. Both research projects turned publications into the condition of Tokyo, enabled them to theorize and then propose the design of what they termed micro-public spaces. In 2006, they published Post-Bubble City, and in 2007, they published Graphic Anatomy Volume 1, knowing there was another volume to come, an incredible in-depth forum into construction documents and specifications, turned poetics, as if the zooming into the layer detailing of their work opened up an entirely new world, a new understanding of their practice, and as a result of not God, but the beauties and pleasures and meanings of the ordinary. In 2010, they outlined their embrace of behaviorology and architecture as a manifesto for rendering inseparable the social from the physical, where one continuously informs and transforms the other. Much of that thinking, research, and writing transpires through their work, with a hinge, of course, with as hinge, of course, the unique forms of representations they have developed, drawings and models, and which have become signature of the office's practice, as well as a source of infatuation for students around the world. Just look at students drawings today, the sectional bird's eye, the axel, the black and white line drawing, the complex yet cute urban condition, or the whimsical architectural situation. Indeed, many of these can be traced directly to Bauer's representational practices, which are clearly bringing much design intelligence to the dense urban conditions we increasingly find ourselves in across the planet, and it seems like in tonight. More recently, they have turned their attention to the rural condition in Japan through their involvement in Odaka and its rebuilding, with architecture playing a critical role in reassembling a community and enabling it to imagine a different future for itself. A project that projects the future, but also builds on the richness of the natural resources and cultural resources, as well as on the history of its context. This is the topic of the studio. Momoyo is teaching this semester here at the school. It is entitled, Redesigning the Actor Network in Fukushima, and brings all her architectural design thinking to the ecology of rural livelihood in Japan. I won't say anymore, because I suspect this will be one of the principal topics of tonight's lecture. And so tonight, you are in fact having a glimpse both of Bauer and Momoyo's always challenging thinking and engaged process, but also of her kind of teaching pedagogy and a practice that are really committed and successfully expanding architecture's territory, its contributions, its possibilities, and of course its pleasures. So please join me in welcoming Momoyo. Thank you very much for having me to have a really great opportunity to present our project. And also teaching in Columbia University is also a very great experience. And I was also surprised at how small table for each student. But it's an urban context. It makes the student very united in among the studio. I think that is also the, I taught several different, the whole different school, but also this kind of density makes the student more kind of nice. Yeah, I realize. But I very expected what my students proposed to the final reviews. Okay, today I would like to introduce our recent method. The title will be Creating Better Accessibility to the Local Resources. Why we reach this kind of idea? So one photograph it shows is just after the 2011 earthquake in Japan. So the many fishermen village along the coast were damaged by tsunami. And these photographs were taken in around three months later after the disaster. And I was visiting with my students to have a kind of interview to the local fishermen to what they want to have in the future for the recovery. And the moment we are looking for some new residence area. And but also during this walk we saw a very beautiful forest in the back of the village. And we thought how we can use this forest industry. Because the forest were planted almost 50, 60 years ago by the fishermen's family. Because the land, originally land used as the vegetation. But after the accessibility is much easier to buy the car or a bus or another accessibility. It makes them to more focusing on the fishery. So in that sense they started to utilize other purpose for their vegetation garden or field. To plant the future resources for the building materials. And unfortunately it was not maintained by them. Because I think the fishery is much easier to get more income. So that's why they a little bit forgot to maintain on the forest. So I think this is of course the topic of the disaster tohoku area issue. But this kind of the problem of the forest, unused forests is now in Japan is very, very strong intention to recover. Or re-found as a future material or construction of the society itself. And for this recovery project we propose one project called the core house. It was used as a kind of local timber for the material. And also used for the local skill from the carpentry. And also we expect for the recovery after the disaster. The whole house was supported by this kind of the encouragement of the local industry. Or local carpentry or local resources to also be recovered as the same network. But unfortunately the last I think 20 or 30 years in Japan. So Japanese forest industry were very, very damaged by the North American imported timber for example. And also we a little bit forgotten the management of this kind of forest. And also this kind of context makes them to very weak point of the industry. So in the sense if we want to utilize as a recovery technique, so our method in the process supporting for the recovery of the disaster area. So in fact it's really difficult to utilize. And in this core house we propose also the fishermen wanted to have a mini, at first all their incomes to try to bring them their own business. So they don't utilize for the many money to the house at first I heard. So that's why we propose a minimum house at first they built where they will build. And then next income coming so they will add and finally so they will be reach the larger scale house. And we propose making by model house as office of the temple in the local area. It was also denation by some several company or several association. And we built and still this building were used as the communal center. And also we propose another area, Tsukahara area is a same area of what we are working on the studio. Columbia University studio, the Odaka area. And in this case I proposed at first the private single house as the core house. But finally at first we reached making this system to be the communal house. This is the opening day of the communal house with the habitants or village. And but unfortunately in now the after disaster so six years past now. But in fact it's a recovery process it's very very difficult, not so easy to manage because national government decided to make a kind of recovery for just five years. And this rural area has already industry, building industry were also very going to the very weak. Because of the decreasing of the population and the age the society itself. So it gives them to more weaker of the industry. So that's why so the now the recovery process the many for example housemaker or different industry coming from the outside of the area to support or to also the kind of new market so for them. To create a new market so then in fact if for example lift visual images is a 1960s. All house were made by traditional carpentry and every resources coming from the mountain or area. But today 2016 so we saw the very very different recovery from the original so former existing condition. It's also very like a new residence area the same as Tokyo for example. So we are still struggling so how it's called of course it's recovered in some sense. But maybe we miss something so instead of for example landscape or connection of the nature or culture etc. And now that I'm trying to give you some examples not only in Japan so some other things the last two or three years we didn't abroad. First one is in a Belgium project in this project it's very resources is kind of the water itself in Belgium has a many channels in the city. And the bridge has also the beautiful so channel channel town and for example 1976 at the moment the people swim in the channel so in the summer times. So that's why so you see the very very so kind of the public space in the channel so but unfortunately the because of the pollution of the water. The city were profiting studied to prohibited to the to the swimming so in the channels and people forgotten so the where is the channel possibility or what is the openness of the channel etc. And then but but the pollution are going to be done but a pollution is a is getting a lose what do you call pollution is water is much more cleaner than the 1976 and now the water is very good enough to clean so for swimming. The 2014 this is the city the the year the city study to decide to the people if a good water quality so people can start to swim. And this is a kind of like news weather news or water news for city so today you can swim or today is a little bit difficult etc. So they they made a kind of signal so in in in a channel so to and then we heard this kind of story so the city wanted to have a open water of the channel. So the our proposal is a making kind of platform for the this openness. But what I'd say who are used as a kind of tourism so for boating and and so we propose for the structure with the not all on to and also the in a channel so there are no. Roof so so that's why so we propose some very so light steel structure roof. And this is the view of the finalization the the pontoon were crossing the the breach under the breach and the one side of having the roof and the roof under the roof so that there is a sloping by the. Will access and also the stairs stairs. And the would take were utilized as kind of second hand would it's very so nicely so weathering and the people can enjoy that in the city so the water like like a beach. So today for example a red flag it's people cannot enter the water but the people can can can enjoy the sun so for example and this is opening day so it's still very cold day but they jump in the water. So very very in May it's very cold I think yeah and my this is also the kind of fast news for the how opening happens in the channel. And another project I explained about in the downshot in the Germany that it was happened on the same year. 2014. That theme is. In downshot there are very very very beautiful the architecture historical the heritage that it's called the material the hill a project and they have a very beautiful kind of artist residents and the museum and the house etc. And they are still very beautiful kept and and they want to have a kind of have a new world heritage submission as a 100th anniversary 100 years anniversary so that this kind of event or project kind of related to the this promotion of the city itself. Next to the next to the this residential area but me though so you will see. So there is some forest this forest were not used as in the exhibition space so the idea was. Now let's make a public space in the forest to to build by kind of DIY buildings by the by designed by the architect and artist. And it was happened in the summer school so it's in the six weeks in August and maybe June and August July and August and there's several architects and artists were invited to the support as a tutor. And he's the construction level. The Alex so the kind of the leader of the architect but he worked for as a carpentry and all students were camping in the site and at first they made our own cottages and also they made a workshop by themselves. And all building was done by the students so it's really rough and tough wild project I imagine but it's also very interesting so many many female students from the all over the world that coming and the very they are very enjoyed to to work hard so that is very impressive for me too. And also they made a nice shower booth. And also they made a kitchen so I'm still going so but they have a kitchen and every meal from the breakfast lunch and dinner so provide by their own so. And the ones so I was asked to buy making some event but I had at first I thought that I might have a lecture but not in fact I was asked to buy cooking Japanese food so that I made a pork miso soup maybe one hundred fifty people. And it's one story a strange story so that I asked the German students to buy the pork meat and I expect the small piece of the meat but they bought the so big pork meat and bring me to the kids. Wow how long it takes to cutting slice piece I took almost three hours for cutting so busy so but anyway so it's a very tasty it was tasty. Okay so then I spent maybe one two weeks there and so I had also a very good chance to opportunity to build out the main structure by the carpentry but the substructure all made by the students. And also the interesting the making the process they also make also the beautiful graphics in the some sign age or sometimes t-shirts or team t-shirts so in the site on the site so it's also very beautiful. And also the one of the construction level interior designers so she made she designed a beautiful bending chair collaborate with the furniture factory so that was made by also the collaboration with the student and company and the designer. So we after the making this chair so we can use also as a lecture. So it's also very interesting so still ongoing so but the people can enjoy the summer and also discussing so it's very one to one scale activities that happen on the site. And this is our project it's very simple so we call like a temple so it's a simple main structure that covering is the polycarbonate to waving board and then it could be open to the is a kind of balance or the top there are some stone so that it could be turned open with gravity. And even it's open so it's like a stage on the inside. So some people can play the music and around the building so people can enjoy the hearing the sounds and sometimes they have some big event for Yoshi is here anyway. So in a kind of visual so public viewing etc. And also night they have some small fire a camping fire so it's also very we had a fun time so at the night. And also this is another project that we now we back to the Japan so this project is the newest project so yesterday was opening day so that's why I want to. I want to show you so it's a very so tiny not huge building but it's very interesting framework of the kind of common common communal space. Mori means forest and Machia is a townhouse so that it's it's called kind of the townhouse for forest why so forest because Machia is a kind of typology of the we are very impressed recently last 10 years. This is a special typology in Japan so mostly the urban context narrow width and the long depth and then so always the facade maximizing of the using of the kind of quality of the life and also the sometimes they have a shop or factory in the house. So that means they are living and also they're working together in the house so the very so narrow and the small building but it has a many many different connection. And also the interesting was along the street that these type of you are repeated each each along the one by one so that means each face of the townhouse. Kind of connected to the street and the people can enjoy the differentiation of the each buildings as a facade. And we had studied about Machia in Kanazawa at first and after so we are also the very impressed at the possibility of the design of today's Machia. So the last traditional one was kind of it was founded almost a thousand years ago. So it's very long history so historical so building but but now in Tokyo so we have also similar structure of the land form and also the density of the city itself is makes much higher and higher. So that means now that we have a lot of the commission coming from the individual private owner who wants to have individual house for them. And in that sense sometimes the house have a face to the very narrow width and the long deep depth. And then so the we propose to thinking about the how did it existing typology with the disc in this context and also the how what we can do in the different from the existing were proposed to the new typology. So today I don't show the inside but mainly the facade could be also the kind of the nice face but also the interior space we try to make a more kind of horizontal and vertical connection in between the floor and floor with steps etc. And back to the forest at Machia. Why we call study to call this forest because the client is a shrine so all the shrine very close from the site. This is a very tensile shrine and they have a very beautiful the forest around the shrines because as a traditional shrine cultivated the future resources of the forest in the land. For example Issei or Isumo many shrines has a very weak forest or mountains so the forest and the shrine is very related to the kind of network of the culture. And that is a history and but this forest for example 1936. The area was still kept as a forest. But after just after the war already so this area was studied to urbanize or just settled by the some so merchant or kind of townhouse for the residents and shopping area. And but 1963 the shrine needs to survive to because of the changing the law and also the changing of the kind of land use so so that's why so they need to survive to sell their own forest to the area or some people who want to buy. And then so they get some income so from the selling money and then to they try to keep the land itself and the shrine and then and then today. Today the building stands on the here but originally it was a forest. So today is here so that means. But still shine shine always thinking about the how it is the neighbors and how we how they which kind of history they have before. So the project names try to remind the people to this kind of the historical transformation of the shrine. Because today the shrine is how can I say a little bit sometimes difficult to keep in the management. So because for example the in Europe sometimes the church management is very difficult to because everybody a little bit to focus on the kind of religious things or this kind of new media or new things happen. So the instead of these kind of things. But I think a Japanese line still try to keep some sort of the role of the unite of the mountain community. So that and also the dish line is a try to do this. So that's why so they want to have some new space for people to you could be utilized as more easy by them. And recently for example some of the young owner or young how do you call it. Kind of young shrines or owner so try to activate the relationship between the shrines and the people. So for example this is a they open the market in the shrine for us for example. And already so they started to kind of the new network in the local community. So this project we started to the kind of the making dialogue to or engagement of the people to how how through the project how the shrine and local people can engage in the building. So for example the pop-ups of the building or usage of the building we are discussing several time as a workshop. And finally so we reach for example the basement it will be happen in the kind of stock for the food in a disaster for example for the disaster moment. So for example earthquake if it happens so the people can come and take some food from the basement or they can cook each other or supported each other or exchange information etc. So this could be also the kind of private common kind of recovery center. And also the first floor they will have a kitchen on the secondary floor so they will have some small classroom space or gathering space for all town. So and then so this is the section we don't show the basement but there is a basement. And this stair coming up and the secondary floor and top there is some storage space but equally used as some hall or library space. And the side is not rectangle so it's more kind of cut it one side so the very interesting form. So we utilize as much as possible with the stairs.  And also we try to import it some material as a material point of view so this kind of structure normally easy to make by steel in Japan. But in this case we try to remind people of how it is a forest and the forest gives a sense of the timber structure. So that means and also the timber structure this kind of scale so now we got some new rule of the making or fire protection issue. So it's a little bit more kind of possibility to design by timber structure. So that's why so we try to propose a simple structure easy way but made by the whole timber structure timber. And this is a final just today yesterday yesterday yes yesterday yes and then so they have an opening party. And this is a building so pouring the maximum height on the urban court and this is entry. And so entry was painted just sliding door with the so sweet and then so it could be open totally. And they have some mark and also the this is a costume of the shrine people so they make some nice meal. And then the this they are going up and the stair has a window and in front of the window there are some small benches. Yoshi Yoshi and this is a second floor so window is very simple so just open to the with and back. And back so there are some symbolical color is a reminds also the kind of shrine and this panel could be close to be wall. And here there is some so void space. And in here so this is a ceremony of the opening of the building. It's a very Japanese. And this is a third floor so the ceiling is a follow the maximum height but it's more organic way and cover the many timber materials. And also the yesterday was happening the lecture by the history for the history. So many people watched the process of the building. And some of those door were taken from the shrine kind of second hand. We found a very nice piece of the lamp or old door utilizes for the new building. Okay. And now I showed another project in it's called the one K project. The area is called the. Katori area so very close. How can I say one hour far from Tokyo but it's not so accessible but just by the highway by car but it's very close from the Narita Airport. And the area has a many hill and the body so then the body part were utilized as a beautiful rice part. So this is a very beautiful landscape. It looks like but unfortunately this forest was also the abundance of looking so originally forest more have a more transparency of the. Between the tree and tree so but now they have a mini bush in a in a on a covering on the soil so that's why so it's not so beautiful looking. So unfortunately. And we work for this area so with the one NGO who ran the elderly house and also the daycare center before this project. And they want to have a kind of change the welfare service because in Japanese case and the welfare service are very very limited budget and also the. Always it's run by the subsidized of the government so and also very institutional framework they cannot do the not so much many exceptions unfortunately. But this energy or try to make more kind of encourage this kind of things because age society and we need more people to to come to join the this field younger generation. And also it's also very interesting chance to learning from the elderly people or learning from the disabled people to share the life was to share the society frames in community or as a one community. So this is also the very important role they felt. For more so activities and so that's why so they try to ask us to make some new building frame so for the activate this welfare service. The for example this building it's called the loving pork laboratory. So the ground floor they have a kind of factory. A sausage and the harm and the shovel shovel meat processing so we can see from the window. And but to this place. This place are also the good working place for the disabled people and normal people working together. So because of the now it's very difficult to find out the for the disabled people to to get the good enough new incomes. So that's why so they don't want to sell their some production as a label with making disabled people to etc. So just they want to sell the very tasty a delicious pork meat and then so the income coming the other quality and then so this income to provide many opportunity to work for everybody. That is their idea because of the one of the leader of the NGO he run the pork meat farm. So that's why so of course they had a pride and also that they are very loved to sell the good way. So so that is also my kind of double power so purpose of this project. And also that they try to have a kind of restaurant then for the with the shovel shovel meat and also sausage and also they have also office on so and some open space will be used for the everything so or more communal space. And building has many opportunity to give the people who has a kind of mentor program or or some so disabled things and for example he has some program but he can clean and he can walk as same as normal way. So so then this NGO to try to give them the maximum opportunity to to have a own work and also for example he is also some so program but also that he can work together and also he can support to the service of the restaurant. And also he did unfortunately as a as a building so this door is very big so it's a little bit heavy for sliding but he can help always to with smiling so to the guest. So but this is a good combination so. And this is an issue so for one K. After this loving pork laboratory project that they started to imagine another possibility because behind of the loving pork laboratory so there are many forest but it was also abundant. It was also very dark and not so used. So that every day so owner or leader of the NGO so they he's very young so around now the 35 years old. He he found out how how we can manage this forest and then he started to maintain the forest as a neighbor. But this is not to belong to them just the neighbors of the forest but they started to maintain the kind of some some emotional some idea. And then but after so the many neighbors the farmers asked to them to also maintain their own another forest. And then the it this kind of relation also things that reminds him to make a create the another job space for the everybody to take care of the forest to making firewood or some another furniture. To to to to to to to to yeah these kinds of activities will be happen in some workshop so. And also a workshop could be have also the daycare center because and now the Japanese daycare center is mostly so there is no program so just sitting and eating and chatting so. Or sometimes praying the card or etc so it's some some people have a very so boring to visit there. But some for example gentlemen old gentlemen they have a very happy to work with carpentry small carpentry or log or this kind of things. It's maybe also very interesting for them to come to the daycare center program. So that this is the building so in the model so there are some main workshop is happened here. And also there is some small furniture workshop and also here is kind of sweet potato cake cooking place. But this is also another sub production because this area also very famous on the making the sweet potato so good very good one. So that's why so the the NGO leaders studied to and also he loves the sweet potato that's why so. So he he thought it might be OK so to make a restaurant. So restaurants and also this this is the fire log a drying area. And also this is another maintenance part of the field for the forest for example. Very simple building so but the old element or resources coming from the. My closer local forest we ask to the many so collaborator later I will show. So for example how this kind of job could be happened. So for example firewood chopping is normally it's very difficult. Maokai we need some sort of power. But with this kind of dumping so machine so it's more easy and safety to push the bottom and just to collaborate with two people. So it's more kind of community communal or communication also the works could be. So the this energy or the thought that it might be bring this kind of machine. If they bring this machine to this work processing. So it could be also kind of the take a break the barrier of the working condition. So in a whole in a whole so young and old or my female or male etc. So that is they can give more opportunity to the brighter wide range of those people. And then so that this and always in their kind of management of the welfare service for disabled people working place. So they are always making kind of money also for for them so and my later I will show. But this is the kind of workshop so how for example forest leaking and also the slicing or chopping. These all process were into the dividing to the separate small the works for everybody. And for example this work could be possible for everybody. This work should be more technically or something like so we can see the how work could be shared to the everybody. And then so this is money. That's only all in the Japanese unfortunately but for example we make some money out for example photograph and how to utilize and how each order happens or something like so. And also that doing this working so we found that many resources were also that don't didn't take care for the for the local people. For example he is a forest industry so manager. He cut the many tree but mostly tree timber material are not used for the nothing so it's really so just left. So that we found this kind of resources. And also that we found the many mill factory existing in the area because that means maybe so 40 30 years ago or 20 years ago. The area was more and more so activated the forest industry so small business more individual business. So that's why so this project could be also related to this kind of forest industry management and also that is a local wood mill factory to give them some opportunity to do. And this is after network on this project. This one K project and this is a loving pork factory project and how related each and also that these factory could be given the some exchangeable program from urban and rural. And also that this one K project also related to the local mill factory or farmers or forest manager so so on. So so that means if we make a building but we can represent of the how network were existing and how what what is the opportunity to create or recreate or redesign of the network as a building. So this is still ongoing so not fix the final detail but we try to utilize as a piece of the wood and we observe the size of the wood or thinking of this kind of so joinery or system etc. So to to fit to the condition point. So this is my final project. Now I'm we are back into sorry back into the Tohoku area. So this project after the 2011 so file firstly so just after the three three days after the disaster. We started to discuss how we can create a platform for the recovery as a group of the architects. Now it's called Arcade project and Arcade has almost 300 architects that must have a meet of this platform and then we collaborate to study to exchange the idea or etc. And then this is one of the project of the Arcade produce to create a kind of network project among the 15 different architects group and I was a part of this. This called Oshika Peninsula that it has almost 30 different small and big fishermen villages. For example here is maybe habitat around 2000 or 3000 or before maybe so 10,000 but now they're around 2000 or 3000. But for example smallest one is just I think 30 people or something like so very different sides of the fisherman's village and I worked for these three villages. And for example Yoshiharu my partner working for this different side of the villages. But today I showed one of these, Momonora. And in Arcade program so we had many research at first like interview to each habitat from the fisherman's villages. And we asked them to do what they want in the future and how recovery they wish to be. So after this kind of interview or ankit so we started to understand how fisherman village culture is very very rich it was. And still so fisherman has many many skills. For example they can boat, they can boat or shipping and also they can catch a fish and they can read the weather. And sometimes they can have a management of the cooking and also they can do manage of the forest too. I think the fisherman is a very very talented person so who can have a lot of knowledge of the life. And then so I was or architects are very very mostly our group are very impressed by them so because they are strong, fisherman very strong and very individually and some sympathy we felt as an architect too. And then so this is a kind of several so we had several meetings in the community. And for example this is the house it was renovated after the tsunami so he is a leader local leader. He is now the 88 years old at that moment maybe five years ago so it was a little bit younger. But many of them they are aged and also but they are very strong, they are very strong. And for example this is my students and I'm somewhere I don't know, somewhere I am. But we are discussing once a month to what will be happen and maybe so first or secondary meeting that they started to say about the lack of the next generation for the fisherman. And this point everybody started to think about how we can bring the new comma for the fisherman to the area. So because of the average of the age of fisherman this area around 65 at the moment. So they are retired I think in the middle of the 70s so maybe in 10 years most of the fisherman will be gone or will be died. So that's why so if they have a lot of traditional technology or kind of innovative new technology but they couldn't pass to the next generation. So that is worried about there by worried from them so. So that's why so we started to think about making fisherman's school not as building at first, more the program so with among the community as an event. And this was happened at first 2013 August. The program was run for three days program. For example first day we walk in community area my disaster area so there is very empty. But he tried to explain what's happened in a disaster and before the disaster what happened what was it for example. And also the fisherman could be teacher in the school but it is almost the first time because fisherman in college or pedagogy means just they say to younger so look me just nothing to say. So something like always observation or looking is one of the method of the teaching or learning so each other. So that means almost the first things to how to explain how to teach or how to learn or so among the students and the fishermen too. And also we had a practice for the fishing and also also the enjoyable the seafood for example with a cooking technique. And also during this making the fisherman's school so we made a textbook. Now the first is just the 10 pages but after five years and now we had almost 50 or 60 pages so collecting the many different type of the fishing. So now I have many knowledge. I don't know how to utilize but but yeah yeah so I have a lot of the things that in my in my head. So this kind of seasonal issue is also very important. For example this fish coming up to the ocean in this moment and everybody knows at this time is for example crab is very famous or this time the flat fish. Or this time that the sea breeze coming so every every my fisherman to spend as a seasonal so time schedule. And at first just I requested the fish and months to teach to the students my students mostly they have a three variation. So one is just after the school around 20 years old and the middle is a 40 years old. They want to change the career to be more fishing or fisherman or new life for example. And the third one is after the retirement for example they want to have another more natural life. So the student most of these three generation and about the middle of maybe two three times we spend this program in two years. We suddenly so understand so if we continue to this program so we need more reaction from the students and we change a little bit programs to always we try to request to the student to propose to the fisherman's village. Some some possibility or new program for example. But he is working at the time so he's working with the United Nations for example in Japan. And he also had a family to be because he working for the for example Africa or South Asia or many countries to support it to the kind of development. So this kind of experience also had he had some knowledge of the idea to supporting. That's why so he participate this school and the proposed them to have a kind of making a new framework for doing the exchangeable programs. And also that we once we did cooking cooking recipe development. Now it's very now everybody is very hungry so I don't I'm very sorry so far. But it looks very yeah it's very nice for example. This is the summer all materials coming from the area. For example this is walnut with some fish and fish and also this is tomato and fish. I'm very hungry. And so fishing and mushroom and so it's very wonderful. So but at first the fishermen they didn't have an also familiar to the European type of the taste the cooking. But after these they are very happy to understand. Well it's the first time to eat the pizza fish and fish or something. So these kind of things make them more encouraged to do something new. And and also the one of the problem of this area is for example I think mostly the disaster area has the same problem. For example the lower part originally so the area all residents having the many kind of lower part were occupied by residential so small building. But for example this area the tsunami has a 16 meter high so that means all lower part were washed away so the old house were gone so by tsunami. So that means the area were very very dangerous area for living so. But this tsunami is every thousand year happens so. So that is also the kind of a strong tsunami and very so not certain so the kind of very so special so tsunami. But the people cannot leave anymore the area. So that's why so people have to look some new place for living so on the hill so. And but on the hill it's covered the forest and the hill there are no. Lord to the to the area so that's access no access so they need to make a flat land and also they need to make access and as a new planning. So this kind of planning process and also the making the structure or constructions process it also takes a time. So that this kind of delay of the recovery or time of the recovery also make them so very difficult to leave or back also. But but because this beach had many lower parts that's why so. My inner factor even newcomer coming as a program of the Fisherman Fisherman school so they couldn't find any places for living. So these projects remind us to the how okay next step so we need to make some land for newcomers. And then at first we started to make a kind of finding the ancient mountain route to encourage as a tourist trip or tourist kind of route hiking for example. And we test several events for walking or hiking. And it's also the run with the Ministry National Ministry Environmental Ministry. And also that we in the in advance 7th Fisherman school so we discussing with also the local people and the students to think about how utilize the mountain sites. So and we focus in the three position on the hill and we made a model. So my students made a whole model but all these kind of small layout is did the other this as a workshop. So that is also very interesting. I also understand how utilize a flat part in nature. So people can imagine that from the and duration of the land or geography of the land the geography remind them to also the even just some sense of the camping or hiking location. And one of these we propose making the camping area as a newcomer area or testing the newcomer area. And this is the one of the seat after the walking after the workshop that my students made. And then now as we started to testing the kind of how utilize a mountain or how maintain the mountain with the collaboration with the volunteer and combining the Fisherman school. So now the ocean and mountains are very range of the activities are very so wide but it's a very interesting program. So last winter we did. And in this program so for example we fishing and also we cut in the tree. And after that we dry the tree and also mailing to we asked to the meeting. And also after that we make we design the furniture and then in a workshop when we made a furniture by our own so. This is also the each student made a different furniture and yes. And now this program is will be realized as supporting for the supporting was by one NPO. This NPO was run by the very famous musician. They started to almost 10 years ago so started to make a create the kind of natural kind of recovery or ecological activities in the NPO. And we asked them to support this program because existing forest was originally it was a field for the fishermen. And then we when we visit the forest we still have some sort of the stone wall in between and stepping and like a terrace. And this proposal made by us and to create using the existing step as kind of a cottage main house and cottages and camping site. And then now we started to construct time by time so it's sometimes we asked the volunteer to join our project. And the forest this was a forest and very dark we couldn't see the any ocean but after the cutting the tree and we create a nice view to the ocean. And then now the design of main building but it's small. So small but but for example 10 tatami room and kitchen and office and the toilet and the bathroom my big communal bathroom. So it has a connected by transparent roof and also behind there is two cottages and these we expect two more cottages. All cottages design I asked the young generation architect to propose the DIY building. So all timber coming from this forest and also we ask them to utilize the whole material. And for example they propose me to the kind of tent atmosphere that double double story building along the slope. And also they propose some making charcoal stove and charcoal for example facade timber board for outside material. Or these also another project by the two other architects. So we will have in this in this summer we will have some summer workshop or summer school similar framework of like Austin what I show you the in Germany project. So it will be happen in this summer so we need participants from maybe all over the world. So if you are interested please submit this program. And OK so this is summarize all the idea what now we are doing. But this is a kind of summary of the whole things. But we today I explain the resources and the resources means the nature and the human or also the skill or many knowledges. And but in fact the many other things have a kind of boundary. The boundary given sometimes institutional things or system of society itself or a lot of knowledge sometimes. So it gives them to have a war. So because 20th century our society are very industrialized. And that this this industry the given that given the society to make a kind of section small section. And my kind of special technology to enclose to for each specialized profession or etc. And but before maybe industrialization so many people can do everything for example not too high skill sometimes but they can do for example they can make a house they can make a close they can make a cooking. Or they can make a yeah everything so sometimes. But this industrial society give us a more kind of rich or quality of the life. But somehow so we had some lack of the different levels of quality of the life. So now for example why we are going to the rural area. So because the rural area had to still keep in the some sort of the skill or knowledge of the living condition. And also the more for example urban context we can find also some interesting kind of knowledge of course. But in this case so we can learn a lot of things this kind of as ethnographical point of view. And we can bring this knowledge into some sort of the in between the industry society. And my son graphic also a traditional local one. So I think mostly our proposal so not back to the history more than learning the history to come back the kind of make make a more connection. This is also the one of the method of the 21st century in the future. So I hope you enjoyed. Thank you very much. I think you made everyone hungry. Everybody hungry. Thank you for this fantastic tour. It was it was really a journey. Actually because of course is you know I started my introduction reminiscing in a way of about you know your thinking and practice that was so incredibly embedded within the density of Tokyo and the hybridity of its conditions and you know finding inspiration and evidence. And then and then and then of course you're invited to practice elsewhere. And the question is you know this obsession with Tokyo how does it translate elsewhere. And in fact it does translate you you find it you know in the beautiful pier that you design and bruise you know the this platform is going underneath the bridge and and sort of there's a kind of three dimensionality to it even though it's quite. It's it's quite flat but the roof covers just one part of it and then there is this kind of really nice touch with the flags and there's a narrative and and and kind of you know highlighting the everyday transformation of the water through that kind of visual visual sign that's also architectural. There's also the little camp the DIY camp where you know you're drifting away from Tokyo but nevertheless your little greenhouse structure. You know it transforms and there's a lot of intelligence in terms of its use and its its flexibility and it's a you know a small space that can perform many things and it's typological and. And same thing with the with the little forest building that you called you know where there's this kind of sectional quality and and and but you also start to see that in fact your engagement you know sort of moving from the density of the city through the density of the forest. You know you're starting to find you're starting to do your diagram right you're starting to find clues in the forest that that comes back to inform the work in the city. The you know that that structure is made out of timber there's a kind of renewed consciousness of resources and so you're hybridizing the the kind of multiple program and the use and the typology with the question of wood and you know your your section. You know that your beautiful section of the village in Fukushima you know from the house to the forest that becomes a section in your project in the city. So you're starting to do that and and I think that and then there are these kinds of obsessions right food and and the forest and process and the network. And and and I really and your fascination with these loops of productions and like taking us through the narrative of who's doing what work and where do the sweet potatoes come from and and you know where do they get. So you know as an architect you're taking your architectural thinking and you're you know kind of thinking through all these processes and all these situations and you're creating a physical environment for them and a campus and which is the same as when you know we think about. It's the same as how you thought about Tokyo and the systems and the and the life within within the structures and how the two are intertwined. And and of course the last diagram clarifies everything but somehow three quarters through the or halfway through I was thinking you know it is true because actually. And it's when you started to talk about the fishermen that you know there are very many different kinds of fishermen and it is amazing how how sort of how our life has been reduced to so few choices like in the in the world with so many choices hundreds of types of cereal we have so few choices of the ways that we do things the ways that we engage one another. And and it's become a problem because what are we going to do when the robots are going to take over I mean right then that that's the you know the last what's happening now in the world with this is is you know what what are we going to do. Like and actually you know what are the jobs of the future when when artificial intelligence comes in but also you know what do we do after shopping like like what is the city after shopping. I mean Amazon is taking care of shopping so what do we do and it does seem that you're you're kind of finding in the rural these you're expanding again like no no you can fish this way or that way. Or this way and then you can. So it's not about the potatoes. It's about re expanding right the everyday life and what we could do and and we had a conversation before we you know earlier this afternoon and you were saying you know for the first time you have people who are 80 and people who are you know three or five you know is there is there an exchange there that that is is a is a form of work or form of pleasure or form of of education or form of. So and and I was of course also thinking about you know I you know when you when you had your participatory DIY I was thinking about Akosanti and so Larry and you know building your own kind of utopia but I was then thinking about of course there is a long legacy which you're really part of when the metabolists were not only thinking about the city they were thinking about I mean Kikutake's Ocean City had the fish farm and and even though it was dense food was integrated or or Kurokawa's agricultural city and so anyway I mean this is kind of what you know I think I think as the the lecture unfolded it really became clear how there's a richness in the same way that you brought a richness of your analysis of Tokyo and the urban density. It's almost like the urban density was where we thought the culture of congestion exists but now it's become so heterogeneous that we have to rediscover heterogeneity and diversity and density somewhere else and I don't know if you wanted to like. I mean it kind of made sense and and so so what are the jobs of the future in cities or you know I mean but you know or or how do you see further that thinking now informing how we organize ourselves in cities or. Yeah it's a I don't yeah I don't know exactly must still continue to the working with fishermen but for example now 80 80 years old very cool guy. I like because of the he's cool very for example and I can learn for example he when he cut the fish so it's really slice very carefully and very nice and best sashimi I think whatever hard for example so something like so but if he was a he was a he's not running the restaurant just he he's fun or he for his life. So the but we can learn from him so. Yeah for example the in the forest industry so for example we we taking out of the skin of the for example see that tree by hand might also sometimes we cut the tree. I don't I have a backache so I don't ask to the student or with a participant or to do so to bring. So when you take Momo your studio be ready to bring bring up to the together so one two three something like so but. My it's a it's a high kind of so it's very nice experience people can learn by various of physical tactical. How can I say physical thank you very much physical sense of the hand. And for example I like also the doing for example researches and for example like a major in Tokyo. We walk many many days that time so I was students and I'm very have a lot of time to to walk around maybe so I spend almost. Two three weeks or riding the bicycle or walking or driving so different method and it's like a kind of summer vacation in the childhood. So looking for like some special insects or something like so that is almost hunting so in but this kind of very cool physical research. It's also help us understanding so and yeah I well I'm and also the when we go to the mountain I see also a lot of the difference now. For example this tree is planted by when we which period for example or which kind of tree we're planting. And also that if we walk several time for example in in a for example Fisherman's Village in new residence area mostly so it was expected by the Mark Hillie area that we have to walk around sort of which places. It's good or best or something like this kind of several several experience that brings us to the some knowledge in in some brain or also physical condition. So I think yeah of course computer is also very good to kind of gather my connecting the by the kind of information. Of course this is also very important so I email and also I do in the Skype but it's also very important to meet directly or feeling the physical life and etc. And also the for example now the 90 or 80 years old guy they didn't use the computer. That's why so if I tried we may try to meet him. We need without computer to discuss with them and just to jump in them their world and the talk started to and so that is also kind of I feel the kind of the last moment so we can reach them. Because for example in Japanese case also the around the 60 years old but they are also the more 70 also 70 years old. That means already so after World War II my baby boomer generation they already a little bit change. As a culture or my physical sense I think but I think if you have some chance to meet 80 years or 90 years 100 years old. So it's it's another it's a it's history right. I mean it's kind of really record that oral history and it's reminds me also we had a show last year here in collaboration with the Canadian Center for architecture called the other architect. That you know moment which really starts in the 60s of you know these you know these architects who really start to engage with participatory design and community engagement but but also get into process right. So it's not not so much the obsession with the object but but almost the obsession with the process and and you know you and your you know with this kind of designing of relationships and processes. And so it is a moment where you're in now and you know do you miss does it do you miss the object at times or or is that your object at this at this time and and you know is the book way to kind of representation of these processes a way to to kind of render it more you know tangible. So I think about as you know after so we are discussing so what is it is the form or how for example we use the word or the behavior. For example every for example building or some physical element could be related to the nature or related to the people or related to the history transformation. And in that means I we are my bubble is always tried to find in the meaning but the meaning is always the coming of the relationship between something and then. And then so we try to grab the this what is the meaning of the things or what is the effect of the things and if we can start to imagine every form or every element or every materiality could be effect in history. I don't 100 years ago or today or future so we can design more I think rich quality of the using so and then so that this imagination is also very important for design for us. Because for example what is related to the Fisherman's story story back to the Fisherman's but for example Fisherman's they don't see in the sea in the ocean in the water but they imagine totally the Fisherman's activity or landscape in context on the ball from the boat. So that is a very interesting so something like a similar so that's why so when I spoke to with this 80 80 years old fisherman so he understood what I try to say always. So that is I think my he's also very clever captain varies on the knowledge of also captain but I think I feel so he can imagine so many things and I want to be also the train. So to be more many different kind of things I think I need more experience that's why so I if I start to for example talk to the Fisherman for example of course they are at first very different society on different type of people but he explained several time more now the I also started to imagine the in the water for example so that is also very interesting so.  And I wanted to I was curious about you know this is something that came up with the conversation with Lee who last week but almost the architects need to. Kind of design their client also I mean it's amazing to me that you started with so many houses and you know and then but rather than you know the typical trajectory. Certainly here you know it would be like you start with the house and you end with luxury condos and you know you you guys started with the house and you're ending with NGOs and and kind of got you know government work and. Sort of you know community work and I mean you're you're also kind of you've launched a process that is no bowling and getting you it seems you know you're you're also designing a process by which you're. Invoking the clients that you want or was that was that something that was intentional. It's also always a client gave us more kind of new experiment or a new experience as to so and some rich client or some they are if they have some profession so different professions that they gave us so new kind of idea or lifestyle. And also different context give us also kind of notice or knowledge of the life. So yeah that is also very very interesting so for then also the when we designed several houses now almost 50 60 so the individuals from and big side different area but for example now that we had a many. Many so kind of project coming from the client for example now but there is also the kind of general. Social aspect in the in the in the commission for example. Of course at the age of us or what most of them mostly is I think now that for example many clients who want to have a renovation of the all their parents house. So because mostly the house were located in rural area. And and then they already moved to the album so some Tokyo or some Osaka some area but they need to take care of their parents house for example. And that means they are their parents or maybe so 80 90 or sometimes already they are dying. So the abandoned house or vacant house or will be vacant. So in a sense that they need to think about the reuse or demolished or changing the kind of house as their lifestyle. So so that's why so yeah this is also that today's individual houses issues in Japan. So that is also very interesting kind of research in some moment why we started to that for example town house issue. Machia issue but that time so we had a really really mostly the land were very small and the narrow and longs. The many houses coming in some certain five years or so that we started to think about how we create this framework of the individual houses. Commitment and to to into the framework of the designs or something like so. And then now I think the next step maybe so we are thinking the reform or transformation of the existing structure. So this is also the kind of the research. And then now that we last week so we then we break down the existing old structure that farmhouse. It was around 100 to 100 years over the 100 years ago. It was built and but we break down at first but we utilize as a main structure. For the future house. So but in that case it's for example the carpentry group the construction company. So they said during the process former they had a many this kind of project. But the recent they didn't have not so much this kind of project. That means they lost all the chance of using the technology. But we need to we need to so going so. So maybe so we we started to propose as architecture building or architecture work. This kind of using the existing structure to do using the new new frame. So maybe so I don't know some other architects or some other people are very interesting. And then starting to the using the also the existing structure. That's it also kind of new develop my new idea for making the building. Yeah. So it's it's well as you know as her hair or terapilus who's directs the preservation program here. Preservation certainly probably one of the most exciting kind of experimental space right now for architecture. Yeah. It's really interesting to hear you engage it as well. And it's also interesting for me that you know I mentioned it also in my introduction and and it came up you know a little bit today in conversation. You know and I'm wondering whether it bothers you better. You know this kind of abandonment of large business right is kind of like exhaustion that I think you know many of our generation have felt. And and kind of this this kind of wanting to get back to a scale where certain narratives human narratives kind of kind of make sense. And I guess the only question then would be you know is the impact enough or how do you measure impact or right in terms of. You know the impact of the small let's say whether it can it can add up or. Small yeah. Small project or small scale. Small scale. Or whether that's even important. Maybe it's not important right. Maybe it's also the ideas that come out of it. Small scale is really how can I say difficult to design in fact. I think we need the detail and we need to the strategy or also the kind of scale controlled by my thinking. And so that we train the small site for example and urban context like in New York maybe so you need also a lot of the technology or kind of manner of the making building. So this urban context also makes us more kind of a lot of knowledge before developing. So and then with this kind of knowledge to back to the some rural area or this small scale could be also used at this knowledge to the large scale. So I think that is also one of the things but one maybe so one of the things is what is the difficult sometimes a big project needs more people. And in that sense and we sometimes collaborate with the large design architects group for example. So that maybe we also open to the collaboration and if we have some for in project or overseas project we also are working with the local architect together. So this is also very fun for get exchange of knowledge. So I should I think I should open it up if any of you have questions. So. So thank you. It was very it was very beautiful to hear in the one cable project about the attention to the workforce which also are getting into here with the big offices. And like the distribution of the work who gets to do what the community aspects. And I would like if you if you're able to talk a little bit about how the internal work is in your office like which is it just architects employed and what what is the relationship between the people you employ and yourself. Building. So last but I couldn't hear building. How is your office designs in terms of the kind of workforce workforce in our office. Yeah. Our office is very not so big office. Yeah. Just run to my two other partner. Now the Yoshi Haru and also another young architect my younger architect but he has a many career with us. So the Yoichi Tamai that we are three partners. And also the now that we have another eight architects and also my parents is counting. And as a kind of practice for. And also the Yoshi have a laboratory in the Tokyo Tech. And he has a maybe in a laboratory under 30 students from the bachelor to doctor and also the researcher. And I have a run of the laboratory in the University of Tsukuba. Now I have a student maybe 10 around. And today I didn't show but so we we are working the release of parallel. So studying in or teaching in university. And in Japanese case a laboratory system is a very different from US frame. So US as a many a same semester unit and divided to the more time to the talk with the different professor or talk to the different tutor. But for example in Japanese case for example master thesis they write one in one laboratory. So in the summer of the bachelor students the study to the bachelor thesis so in my laboratory. So that means that they spend at least for example until master so they spent three years in my laboratory. So that is really like a not children but kind of a very long span dialogue. Very so discuss I and also student and also some of them they are going to the doctor course. So in that sense I think almost they spent eight or 10 years in our laboratory. So it's I think it's more kind of very deep and collaborative but influenced each other. So that I for example today I didn't show any project about the hospital. But I also working a lot of the hospital design issue in my university. But it's also the interest of influenced from my student doctor thesis. So I collaborate with her a lot of things. So and also the yeah this kind of things that I was also influenced by the student a lot. But also the I influenced them to also a lot maybe. So the my Yoshi has also many doctor students and also they have also the nice some so special aspect to a special theme from each. And so this also these kind of things makes us also very interesting collaboration. Nothing. Hi. Hi. Thank you. You mentioned at one point I think during the shrine project that you know perhaps there's a connection between the kind of dilapidation of the forest and is other distractions now in our contemporary society including technology. So I was curious to you know considering this hybrid between 20th and 21st century how do you factor in the media technologies that we have like smartphones and internet. Yeah. For example this traditional scale of the timber structure is very kind of limited of the length of the beam length of the height etc. And also the fire fire code or fire protection code. It's also sometimes very difficult to realize the in the urban context. But now some of the new material coming and also the scale of the beams for example sometimes a laminate timber that could be make a larger scale for making a larger building. So in that sense the building originally scale was just made in concrete or steel. But now we can make with timber or other materials. And then one of the good things that timber is we can use also the surface of the surface of the for example furniture or more warm and very kind of very warm surface and nice looking etc. And also I think mostly Japanese building sometimes we take off the shoes in the house. So that's kind of touching on the surface in interior. So it's also for Japanese interior kind of sense of the interior is also very important to keep in such a large scale with timber. And also timber it makes us also very good for a lot of the in Japan we had many humid in the summer time. So the rainy season so its effect also the good kind of some sense of the control of the humidity. So and also we had a very natural forest or good forest for the making things. So now the government of course supported the many subsidizing so for the created a new innovation of the timber. But also it's also it's very so fun for thinking so to the possibility. And I think maybe we are not only just the technology issue. We try to combine the kind of interior space and the structure and for say the how continuous to thinking that relate to each other. That sense I think timber is one of the interesting material now so for us too. So but but of course I'm still in the I like still in the concrete too so my house is still in the concrete. So but it depends. OK I think we're going to thank Momoyo for a fantastic lecture. Thank you.


Alex yn ychydig yn blaen��ol gyntaf, ond drwy'n mynd y cwm iawn. Dyma'r wybodaeth. Mae'n gwych yn rhoi ddod nhw ac yn gwneud ychydig, felly mae'n gwneud ond o'r cyd-2. Felly, eich cyd-2 wedi mewn gwneud i ddod o'r cyd-3, wrth gwrs wych yn dod yn ni'n gwneud, flavored divaeth, mae'n pob yn gwneud i dda'w ddod, i ddod o'ch ddod o'i ddod ond, boeddu'n gandallu gyda'r teimwyr neu ddod yn gweld mewn gwneud, a yn y bwrw o'r falch, ac yn ymwy 그림 o'ch wahanol. Felly dyna dzywi'n bwrw, ac mae'n gweithio'n hynny yn dweud i ffwg. Rwy'n g weld hyn yn cyffaint, ac ni'n ddïnogon. Rydych chi'n dweud, mae'r ddau yn amdiynau. Elinodd, dyma, oherwydd tynnu oherwydd, ymwysig ai bod rhywfydd ymgynnu. Gwsiau chi'n bwysig. Yn ystyn tîm, mae'n fawr oedlau. Mae'r fawr oedlau gwirio'n fwy mwy. First half we did really well and controlled the game. We had chances. We were unlucky that we didn't go in that half-time a few up and then we put in a shift second half and like you said it was disappointing that we couldn't go over the line but I think we showed good heart and it's definitely something that we can build on. And your first test of the atmosphere at Bobby Barrow to the, how was that for you? Oh yeah, it was amazing. It's always lovely to hear the fans behind you and the sport here was amazing once again so yeah, delighted and really good. Back in the side today, back in the start in 11, obviously disappointing in the end of the game but we're happy to show the 18,000 fans what you're capable of. Yeah of course, anytime we play for this club, especially here, unbelievable feeling like a league two to have 18,000 is amazing. The sport is so good and I think if you can get the support going like we did in the first half, it helps us massively. You can see the pressure that it puts on the other team and although they had good travelling support I think our support was better. And on a personal note as well, you getting to where the captain's armband today, was that a real moment of pride for you?  The clubs, I've been here a long time, I know what the club means to the fans and it does mean a lot to me. We'll go through some sticky patches together but the fans always stay with us. I thought they were excellent today and then like I said before we just need to get that run going. If we can get that run going of three, four or two, three wins, I think it'll be massive for us. We were ahead in the game, a few minutes long we'd have walked away with all three points. Are there some positives we can take? I think there's massive positives. Created some great chances, stick them away to different scoreline. I think all in all we've had three very good chances. Created some good situations, just that final pass. I think as a team you could see we were all playing for each other and that spirit was there so it's always a good sign. But it's gone now, massive game next week against Stevenage. We've just got to dust ourselves down and go through what we can improve on and go again. How we defended in the second half, we didn't give in, we stuck together and I think we were just unlucky one moment and they scored but it's definitely something we can build on and we showed good heart for the majority of the half so yeah, definitely positive so we can take it. I think for the majority of the game it was good. I think for the majority of the game it was good, especially first half dominant in that shape. We got in behind them a lot, Andy was very good up front for us. I think from our point of view we just need to learn and see games out because it's happened a few times this season now and it's frustrating. Is it a case of focusing on that and bushing down ready to go for Stevenage next week, a massive game? Yeah of course, I think we've got a tough run at the minute and we saw Saturday, Tuesdays, everyone's got to be ready, everyone's going to play their part and we've just got to be ready for next week because it's going to be a big game for us. Just go again, we've got to show the same spirit, the same heart and go out there with our chest held high and ready to push and if we play the way we did today I'm sure we'll put up a good fight and get a few points.


تفتّه آدك الأيام فتّى الحمد لله رب العالمين والصلاة والسلام على أشرف الأمبياء والمرسلين سيدنا ونبينا محمد وعلى آله وصحبه والتابعين لهم بإحسان إلى يوم الدين أما بعد اللهم معلمنا ما ينفعنا وزيدنا علم ينفعنا ولا تجعل فيه ما علمتنا وبالا علينا اللهم مشرح صدري ويسر لي أمر واحل العقدة من ليساني يفقه قولي إن شاء الله يتعالى today we're going to start the sharah of the كتاب الأسول الستة لشيخ الإسلام محمد بن عبد الوهاب رحمه الله the book is written by الشيخ محمد بن عبد الوهاب رحمه الله and we're going to be relying on the explanation put on by الشيخ محمد بن صالح العثيمين رحمه الله ورحمة واسعة ما يالله تبارك ويتعالى بما سيبقون بوث of the two نعم قال المؤلف وشيخ الإسلام بسم الله الرحمن الرحيم من عجاب العجاب وأكبر الآيات الدالة على قدرة الملك الغلاب الستة أسول بينها بينها الله تعالى بيانا واضحا للعوام فوق ما يظن الضان ثم بعد هذا غلط فيها كثير من أذكية العالم وأقلائي بن آدم إلا أكل القليل يتكلم بشيخ الإسلام محمد بن عبد الوهاب قال المؤلف ووثا الشيخ الإسلام الشيخ المسلم بسم الله الرحمن الرحيم بدأت بعمل في قسم الله بسم الله الرحمن الرحيم من أعجابي من أعجاب العجاب من أعجاب العجاب من أعجاب العجاب شيء هو أكبر الآيات الدالة ومن one of the greatest signs that indicates على قدرة الملك الغلاب the ability of the king الله تعالى is ستة أسول six principles بيانا الله الله تعالى is clarified بيانا is a clarity واضح أنها is clear للعوامي to the general mass فوق أبض ما يظنه that which he thinks أضانون those who think ثم بعد هذا بعد هذا is what after Allah clarified it ماذا؟ هذا غالط فيها many people have done mistake كثير and a lot of people have done mistake من أذكياء العالم from the most intellectual people وعقلاء بني آدم and the most smartest of the children of Adam إلا أقل القليل only a little from the little now we're going to stand over it bit by bit what sheikh bin Uthaymeen said sheikh started his book by saying بسم الله الرحمن الرحيم the word بسم الله the bad that's in بسم الله the bad that is in بسم الله there are many views regarding it there are many views regarding the bad in بسم الله what is it some of the scholars they said that the bad in بسم الله is some of them they said and some of them they said and some said سؤال استعانة والمصاحبة some said that the bad in بسم الله is what المصالستعانة ask a ask بسم الله that bad it means asking الله سبحانه وتعالى for aid and help مصاحبة is companionship companion امام الزمخشري صاحب الكشاف زمخشري صاحب الكشاف he's a معتزلي he's a haad he's a kitab الكشاف in it is what there are a lot of concept of the معتزلي there is a lot in it قد لا يستطيع أن يعرفها not many people are able to know it in that book of زمخشري in his book الكشاف there are a concept of the معتزلي that many people can't identify و لذلك صراج الدين البلقيني with me he said I extracted what was in the book الكشاف من اعتزالية I took out the معتزال that was in the book الكشاف بالمناقش with a magnifier meaning it was so minute hard to tell and this shows you that it was something he used to hide he used to slide it in slowly into the people and you know what's shocking زمخشري took the view that بسم الله as مصاحبة and he didn't when he used the word استعالة for a particular belief that grammatical reason now somebody might think that according to the grammarians the معتزيلة believed that the actions are not created by Allah so for you to say استعالة means you're asking Allah from aid and they don't believe that they believe every single person he comes with his own actions and that you're singular in your actions and Allah did not create it that's what they believe the معتزيلة and that we don't need aid from Allah even though that the معتزيلة is the closest of the view and it's the closest of it الشيخ بن عثمير رحم الله he said بسم الله ابتد المؤلف for the author started sorry بسم الله before I go to the speech بحر فجر we explained it it's either استعالة or معتزيلة those are the two views that stand good then the word بس we finished them back إسم in the Arabic language إسم in the Arabic language comes from one of two meanings it either comes from the word سمون or it comes from وثم it either comes from the word سمو and سمو means علو something that's high something that's high or it comes from the word وثم and وثم is a sign it's a sign and every single person his name is a sign for him for him to be identified so the word إسم it's disputed what is it rooted from some say it's مشتق من سمو it's extracted from the word سمو and sometimes it's extracted from the word واسمي and those are the two views that stand شق بن عثمير رحم الله he said ابتد المؤلف the author started رحمه الله started كتابه his book بالبسملة he started his book with what with بسملة so those of you brothers who have the book and he doesn't have no تشكيل it's an opportunity to put the تشكيل on there ابتد المؤلف the author started رحمه الله كتابه his book بالبسملة he started with the بسم الله why اقتداء and following بكتاب الله he's following the book of Allah الله's book what surah does it start with صورة الفاتحة when the surah to the Fatiha start with بسملة that's the first thing so he's following the book of Allah فإنه فإنه the Quran مبدو بالبسملة the Quran is starting مبدو it starts with what بالبسملة that's the first thing he's for copy the second reason is وقتداء برسول الله he's following the messenger فإنه يبدأ كتابه فإنه يبدأ كتبه the messenger he started but he used to start his letters that he wrote ورسائله بالبسملة the prophet the letters that he wrote to the leaders he used to start with بالبسملة وذلك if you look at the letter he wrote صحيح البخاري كتاب باب البد الوحي the prophet he started by saying بسم الله الرحمن الرحيم من محمد رسول الله صلى الله عليه وسلم الهرق العظيم الروم so the prophet started with بسم الله the prophet started with what بسم الله and the messenger used to start so the sheikh starting his book with بسم الله he's following the messenger in this عليه صلى الله عليه وسلم very good we understand that now the second point that we need to know this is the second point we said that the word باب بسم الله is a particle it's a particle and this particle what it does is it only comes before a noun every time you see the باب whenever comes after it is a it's a noun and in the Arabic language it is known as a حرف جر one of the signs to identify a noun is what before it is a what حرف جر whenever comes after it's a noun that's one of the ways to identify it but it's not the best sign it's not the best sign to identify a noun the best so a noun is إسناد إليه when something is attributed to it و لذلك من إمارك يسأل والحرف منه معرب و ممنى لا يسأل و أعيده كلمة و القول و كلمة بها كلام قد يؤم بالجر والتنوين والندى و ألو مصند للإسم تميز الحصل بتافعالت و أتت و يفعلي و نون أكبل لنه فعلوا ينجلي إذا حرف جر هل يمكنك أن تدفع و تقول لك هذا is a حرف جر يجب عليك أن تدفع حرف جر يجب عليك أن تدفع حرف جر لذلك when we call that letter نحن ندفع حرف جر it doesn't only just come before a noun but it also comes before a noun and when it comes to the noun it makes the noun a كسر so look what we do right now we say what forced the me to have a كسر and what forced it to have a جر that's better for us to say now what's forced it to have a جر the بأ which is before it that's what forced it to be taken so the بأ determines what comes after it to have a حرف to have a جر very good now the scholars they say every جر and a مجرور are attached to something they have to be attached and the اسب is the اسب مجرور so this is called جر and this is called مجرور بسم what is bism attached to in the name of what is it attached to what is it attached to what is it connected to that's the scholars what they talk about are you with me والجار the جار is what on top of it right at the top the بأ is the جار here متعلق is attached بفعل it's attached to a verb pay attention to this I want you guys to all understand it because it's a bit of a grammar it's attached to a what the حرف جر and the اسب مجرور the جار and the مجرور both of them the بأ and the اسب are both attached to a verb the واب is attached to I'm going to tell you what واب is attached to مؤائم حظوف so the first thing it's attached to is a verb you underline it number one that's verb second thing is محظوف that verb is hidden we can't see that verb number three مؤخير the verb is delayed it's put behind where should have the verb been where should have the verb been it should have been at the front but the verb is put at the back مناسبين be fitting this للمقام that مناسب للمقام means that that verb is befitting for whatever position you're in wherever position that you're in that type of verb is used تقديره هنا and the verb that is befitting here is بسم الله in the name of Allah I can't say بسم الله أأكل in the name of Allah I eat because he's not eating that's not the verb befitting for what he's doing now محمد م. عبد الوهاب that the verb is befitting for him now is what he's writing so pay attention شيخيا he's saying بسم الله in the name of Allah what verb is attached to so it's attached to verb what writing شيخ بن عثيمين he chose the view that says that the جار and the مجرور is attached to a verb very good محذوف in very good مؤخر in very good ليدول على الحص so we're not starting any other person's name except Allah that's what we're saying delayed if we put it forward it means I am in the name of Allah I start then in the name of Allah I start then it will just have that you start in the name of Allah and also in the name of anybody other than Allah so the reason why that verb is delayed is so it can show what exclusivity that you are not starting or no one else's name except who so it's a why is it محذوف why don't just think it's محذوف for any reason the reason why it's محذوف is because the person has a choice for whichever verb they want to use they just look at the time wherever verb because if you write the verb for them then that would mean that they would have to always use that verb that's why the verb is hidden so every situation when you're sleeping and you say بسم الله the verb that's befitting here is what when you're sleeping when you're writing you say بسم الله what's the verb that's befitting I'm writing when you're eating what verb is befitting I'm eating when you're drinking what verb is befitting in the name of Allah I'm drinking so that's why it's محذوف very good the sheikh that's the issue of him right now that he could be questioned for is that he chose مناسب للمقام it's hidden so it can be general so it can be what so it can be general that's why it's hidden so there's no it's better that it's general what do I mean by general every time the word that's befitted is that's the best one isn't that befitted in the name of Allah I do this I do the supplies on sleeping when you're drinking it applies on everything does it not so for example in the name of Allah so you say بسم الله أفعل أفعل applies on eating applies on drinking applies on everything because it's عام it's better it is better but there is a خلاف among the grammarians regarding that we're not going to go into it good is that well understood by everybody why didn't we make it a noun why is going to explain to you why is it that they did not choose a اسم the thing that's hidden why did not become a noun he's going to tell you وقدرناه فعلا the thing that we used is a verb the reason is because لأن الأصلة because the original essence of an action is a verb the original action the original essence of every action is a verb the شيخ now going to explain to you why did he delay it for again he's explaining to you why وقدرناه مؤخرا and we placed it late we put it behind because why لفائدة تاني for two benefits for two benefits the first one is to look for baraka in starting in whose name that we don't put anything before Allah's name that we look for baraka in starting in the name of Allah that we don't say a verb before Allah's name that Allah's name gets given presidents over everything else the second reason is so we can benefit benefit exclusivity if you delay something لأن التقديم المتعليق به يفيد الحصر because putting forward what that جار ومجرور is attached to it benefits what exclusivity because what it should have been is فعل فعل and the مفعول right but now the فعل got put forward and the جار ومجرور came before it are you with me so it can show exclusivity so it can show exclusivity then the شخص now telling us وقدرناه مناسبا and that's why he chose a view لأنه أدل على المراد because it is most indication of the meaning that we want are you with me فلو قلنا مثلا if we was to say for example عندما نريد أن نقرأ if we said when we want to read نبتديو أو نفعلو he said شخص said he is trying to refuse the usage of a general verb with some grammarians hold that view he said I want the verb that is most befitting for that place because he said if I say for example if we say مثلا نقرأ we read a book and we say بسم الله in the name of Allah we start he said that which we are starting with so it is better that we say in the name of Allah we are reading it becomes more clearer to the people لكن بسم الله نقرأ but if we say in the name of Allah we are reading أدل على المراد it is most indicating in the intention or what we are trying to do so he is trying to say that the general verb isn't what isn't the right one because it doesn't indicate explicitly that which we are trying to do بسم الله so far we have taken now بسم الله where do you take what all that which we took is only بسم when you take Allah الله الله إذا لفضل جلالا عالم على الباري the name Allah it is referred to أثلاث ضل جلالا the word جلالا it means the majestic it is the name which is the majestic name of Allah جل وعلا وهو الاسم الذي تتبعه جميع الأسماع pay attention the name Allah who all of the names of Allah follow this name are you with me all of the names of Allah which name does it follow would you ever say when you say Allah is the رحمان right when you say Allah is the رحمان all of the names of Allah which name does it follow so you say Allah is غفور Allah is the رحيم Allah is عزيز does that make sense but شيخ ام نحتي مين is always known for his heart very masha Allah his knowledge of vastness and he brings sometimes if you read his explanation he brings اشكالات he brings something that might trick you or might even break that principle that he just brought just to make you show you that this doesn't still go against my principle now he is going to bring you something that is going to seem to you that Allah's name Allah is following other names of his he says to you and جميع الأسماء and all of the names of Allah it follows all of the names follow it all of Allah's names they follow that name of Allah all of the names they follow the word Allah حتى even إنه في قولي تعالى even in the speech of Allah now let's read this ayah and then you'll be amazed كتاب أنزل له إليك لتخرج الناس من الظلمات إلى النور بإذن ربهم إلى صراط العزيز الحميد الله he Allah's name what's happening right now العزيز and الحميد are you with me شغم العثمين is going to explain it to you اللهم في السماوات وما في الأرض الآية شغم العثمين he's going to he's going to miss that point we don't mean miss that point he's going to dodge that way of thinking that لا نقول إنه لفضل جلالة الله we won't say the name of Allah here is a sifa are you with me if we say it's a sifa then the sifa follows the what if we say it's a sifa what does the sifa follow the sifa follows the mousoof so that would mean Allah's name is following so he said we won't say that بل نقوله rather we will say هي عطفو بيانين إتي عطفو بيانين إتصد دائنة جروبية the name of Allah here is not a sifa it's عطفو بيان it's clarifying what we've previously mentioned why لأن لا لأن لا يكون لفضل جلالة تابعا تباعية ناعة للمنعوتي as I just explained to you so it doesn't become that Allah's name is following the ناعة follows the منعوتي اما صفة موسوف ناعة means sifa by the way he said we're missing we're trying to go away from that according to the grammarians صفة and ناعة mean the same according to the أصولين لكن لا according to the أصولين صفة and ناعة means two different things but according to the grammarians ناعة and صفة are the same they both mean description good we've finished it well Allah ولي هذا قال العلماء as they said أعرف المعارف أعرف المعارف لفظ الله the most known name is the word of Allah لأنه لا يدل على أحد يصيب الله أزوجا the name that Allah is most known for is the name of Allah because no one can take that name it doesn't show anybody else and you know what's amazing subhan Allah all of the tyrant that ever came and claimed that they were Allah and they should be worshipped none of them ever gave themselves that name الله protected anyone from that name ولا فرعون ولا ها رأمان ولا قا ولا المرود and whoever all of them who came never no one of them ever said Allah they never took that name الله protected it from them سبحانه وتعالى so we took Allah قوله الرحمن الشخصر الرحمن now brothers there are two stance we can take regarding the name الرحمن and الرحيم are you guys with me الرحمن and الرحيم there are two positions we can take regarding it الرحمن it's a noun it's a name من الأسمائي from the names المختصة بالله in which Allah is specific to to him بالله لا يطلق على غيره it is not referred to لا يطلق it is not referred to anyone other than Allah ومعنى هو pay attention one of the views are you with me ومعنى هو means what that المتصف بالرحمة الواسعة are you with me then Allah is mercy is vast pay attention so the first view is that الرحمن means a mercy that encompasses everyone believer and nonbeliever pay attention and الرحيم is what اسم يطلق على الله عز وجل وعلى غيره the word الرحيم it's a name that is referred to Allah and also other than Allah لأن الشخصر ومعنى هو the meaning of it is ذرحمة الواسلة that is connected to a particular people so الرحيم means what sorry الرحيم means what الرحيم means الله تعالى is only merciful to the believers that's one view are you with me so based on that brothers what did both of those names become they became سفات which are فعالية characteristics which are actions are you with me so الرحمن is a sifa فعالية and الرحيم is what but the difference between the two is what one is vast the disbeliever enter it are you with me and that is the name الرحمن and الرحيم is what and الرحيم is what الرحيم is specific to the believers as Allah said in the Quran وكان بالمؤمنين رحيمة to the believers Allah is what very good where did the sheikh where did we get the word الرحمن where did we get the name الرحمن is that Allah's mercy is vast الرحمن the word the way we realize we know that is because according to the Arabic the Arabic the Arabic morphological structure tells us that if a a noun it comes in the what in the form of فعالان pay attention if it comes in that form فعالان it shows what that it's vast and that it is سعى like for example the people say what عطشان غضبان غضبان is it's a person who is excessively angry غضبان because it came in what form it came in the form of فعالان the name الرحمن الرحمن الرحمن it came in that form so it shows Allah's mercy is what it is to everybody so when we say رجل غضبان it means that this man he is full with anger the last point that I want to also mention here إن شاء الله تعالى الرحيم is what it's specifically to who to the believers that's one view that the sheikhs take the other view is as follows الرحمن is سفة ذاتية الرحمن is what it means it's a characteristic that stands within Allah it's within him are you with me like knowledge like Allah hearing when we say this characteristic is what it's a sifa which is سفة and الرحمن is what سفة فعلي it's a sifa سفة فعليya meaning actions which Allah does سبحانه وتعالى but Muslim or non-Muslims it doesn't matter it's a sifa it's a sifa it's an action


Hey, everybody, it's Greg Matty here. And in this video, I want to talk to you about two quick things. So number one is the Photo Plus show in New York City. The dates are October 25th to October 27th, 2018. If you plan on going to Photo Plus, let me know in the comments section below. If you want to do a meet and greet or a meetup or a photo walk, let me know in the comments section as well. And we could set something like that up. Now, two is the future direction of my channel. I want to know what you'd like to see. Do you want to see more photography related content? How do you feel about seeing more videography based type content as well as what types of tutorials? So get specific exactly what it is that you would like to see. Now, I'm also thinking about doing more gear reviews in the future. If that interests you, put a comment down below. What type of gear reviews you'd like to see, whether it be camera reviews, gear reviews, that sort of thing. All right, I want to thank you right now for being part of this community and supporting my channel. And I'd like to help you out by giving you more content that you'd like to see. I know there's tons of photography channels out there. I'm subscribed to tons of them myself. And I'd like to tailor my channel more towards what you'd like to see. So if you want to see more live streams where we can interact live, if you want to see more in-depth lighting tutorials, or if you want to see more Photoshop or Capture One, more gear reviews, or if you want to get more into videography. So the types of cameras we use on our behind the scene shoots, the settings of our cameras, the color profiles, the editing, the multicam setups, the sound equipment we use, the process for all of those videos. If you'd like to see more of that, or if you'd like to see more of YouTube-based type content, so how you can start your own YouTube channel. So anything like that, let me know in the comments section below. I'll put a list together of future videos, and then I'll start getting those out to you next week and so on. All right, so it's all depending on you and the comments that you leave below. So let me know what you want to see so I can better tailor my content to stuff that you really want to see and that you're interested in watching. All right, well, thanks for sporting my channel so far. I want to say thanks for being a subscriber and watching my videos, and I'll see you in the next one.