situation project is foreign Refugio the end already foreign it is La Cabana is circumstances [Music] architecture a particular reflections context of ernestos Aviation foreign situallo is important is foreign foreign historic since uh do nothing else um purple um foreign citizens foreign but naturally is a very wide world also I mean for us nature is not only about plants of course it's plants is but it's more about the yes the climate about the the general surrounding about the people also so we will see that I mean about them also about the timing I mean the time
passing through the to the buildings for us is nature there's a lot of effects that are you can call them nature and those effects in the in the of course in the architecture for us are kind of the most important ones I mean it's the only ones where normally we work with so it's I mean if depending where we are [Music] which is the different project where we're working with we always try to understand the nature the surrounding but even the the history of those things but even the climate how it works but even the
the possibility to to to generate or if it doesn't it's really something interesting to generate a kind of new nature is [Music] producer it's a completely immersive field it's a re-examining the idea of the block so it's no longer a parameter Block it's not a Podium with the tower it's very exhilarating also it can be very common it's like going to the park because it has that kind of rock like landscape like quality fluid quality I think the idea was going to make a completely seamless building so the landscape literally because of the edge of
the building and it becomes like a mountain [Music] it was very important that whatever we propose actually breaks away from the rigid monumentalist Soviet architecture and we wanted to um reflect azerbaijan's sensual side [Music] corner and this building changes with every angle every turn it reveals something new and unexpected it's one of the most remarkable structures I've ever seen [Music] there's a Romanticism involved and we wanted to do something very essential and at the same time but we want to do something very strong traces of zaha's buildings their outlines and curves can be found in
more ancient surfaces look closely and you'll see in this Arabic calligraphy familiar shapes carved before us is a line of fluid forms like zaha buildings set in stone fluidity in architecture in this region always existed so if you look at like the Islamic architectures Interiors you always see the calligraphy or ornamental floral patterns running through in all these interior surfaces from carpets to walls to ceiling to dome and you know within our case I mean we we use fluid spaces which is continuously running and without being iconographic or without looking at the past can relate
to the Region's understanding of architecture so our office uh here in Copenhagen we have maybe 25 different nationalities one of the advantages of having multiple people collaborating from different cultures and different backgrounds is that the tendency to take things for granted diminishes because nobody has exactly the same references by bringing people together from different backgrounds everything gets questioned nothing is taken for granted and you end up turning more Stones than you would otherwise uh and you end up having these accidental discoveries a good design is a design that is informed by specific information what kind
of a climate do you have what kind of a building code do you have what kind of a social behavior do you have and would you like to promote so that everything you do is actually done for specific purpose because I think good design is careful bad design is careless I think what's what's in a bizarre way unique about our work is that we actually do what we say so that each project somehow starts we start by diving into the specific situation what's the what's the CD what's the landscape what's the climate uh what do
the neighbors look like what has to happen here like we try to look at all these practicalities and we also try to see what do people normally do like how would you normally build this kind of school so in the end you can say like our buildings end up looking different because they perform different so I think the starting point is always to try to establish what are the key criteria what is the most important question and once you've identified the question all you need to do is answer it but you won't arrive at the
right answer in the first go so what you have to do is test and see how it actually works once you put the the hypothesis into uh into its consequence whenever we start a project we will try to analyze what could be the key criteria in this specific situation what's the most important issue and then we try to make little design ideas that respond to those criteria and then we try to mate the ideas we try to see if we can combine maximum density with maximum views and sunlight and see what what does that look
like so almost in this sort of darwinian Evolution we sort of Select and combine different criteria different parental ideas get different Offspring some of them turn into mutants and some of them turn into really interesting hybrids so it becomes like this sort of uh evolutionary process but it's also a quite wasteful process you have to examine and investigate and test all these ideas and and my general principle is um the more waste you produce in the design process the less waste you'll end up building in the city
