Podcast appearances and mentions of Santiago Calatrava

Nach einer verheerenden Flut 1957 verlegte Valencia kurzerhand den Fluss Turia, der bis dahin durch ihr Zentrum floss. Und schuf im einstigen Flussbett einen echten place to go für die Stadt: einen 16 Kilometer langen Park mit der Stadt der Künste und Wissenschaften. Hier baute Santiago Calatrava, geboren und aufgewachsen in Valencia und heute für seine Architektur auf der ganzen Welt bekannt. Was er mit diesen Bauten bezwecken wollte und was du sonst noch alles im Turia-Park tun kannst: Das verraten dir die beiden plazy-Gründerinnen Kathrin Sander und Inka Schmeling in dieser Episode – wie immer kurz und knapp in unter 10 Minuten.

Si los marcianos aterrizaran en Valencia, seguro que lo harían en la Ciudad de las Artes y las Ciencias. En el último Extra de cine, David Botello (@DavidBotello4) y Esther Sánchez (@estesan1969), junto a la directora Mar Olid y Ainara Ariztoy, te traen a este paraíso arquitectónico de Santiago Calatrava, que deja con la boca abierta a turistas y fotógrafos y ha convertido Valencia en un plató futurista de otro nivel. Porque parece sacado de una peli de ciencia ficción, pero es tan real que ha sido escenario de Tomorrowland, de Westworld y hasta de Andor, una serie del universo Star Wars. Si quieres acompañarlos, ¡súbete a la Historia!

Oggi con Matteo e Raffaele facciamo un bel giro d'Italia, un po' in autobus, un po' in treno. Ma c'è un colpo di scena! Dove? Chi? Come? Trascrizione interattiva e Vocab Helper Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership Come scaricare la trascrizione Apri l'episodio in Transcript Player (https://play.easyitalian.fm/episodes/) Scarica come HTML (https://www.dropbox.com/scl/fi/t6rdrebszx77r5d6xwg7i/easyitalianpodcast152_transcript.html?rlkey=9mkr17vumb42fxohmy3onyi8g&st=3vl90hev&dl=1) Scarica come PDF (https://www.dropbox.com/scl/fi/0x1l219o8j1tlifcyhuv8/easyitalianpodcast152_transcript.pdf?rlkey=evmdruuu8y0insvshiyo6ce1v&st=dlvfpb8m&dl=1) Vocabolario Scarica come text file (https://www.dropbox.com/scl/fi/d9axrfbstqzeh1kj2mpof/easyitalianpodcast152_vocab.txt?rlkey=qmakhgvt1h5egdp5jatqyoctw&st=s6qosig3&dl=1) Scarica come text file with semicolons (https://www.dropbox.com/scl/fi/p11epld3u2q5djxenomcm/easyitalianpodcast152_vocab-semicolon.txt?rlkey=c66oyhl98msptdv4nns4ritle&st=0igf16hs&dl=1) (per app che utilizzano flashcard) Iscriviti usando il tuo feed RSS privatoper vedere la trascrizione e il vocab helper subito sulla tua applicazione per ascoltare i podcast sul tuo cellulare. Note dell'episodio Italian Conversation Phrases (For Absolute Beginners) - https://www.youtube.com/watch?v=xqCiQc7auqU Iniziamo con una parola un po' strana usata subito da Matteo: Cioncarsi - vuol dire mozzare e si usa, specialmente al sud, in frasi come: mi sono cioncato di freddo - che vuol dire mi sono spezzato, mozzato dal freddo. Ma "bando alle ciance"! iniziamo con la puntata, con un famoso ponte, in una famosa città, disegnato da un famoso architetto. Indovinato? Il ponte di Calatrava a Venezia. Un bel ponte, ma a quanto pare un po' pericoloso. E quindi sostituiranno il vetro con pietra. E quindi niente più ponte di vetro! https://arte.sky.it/news/2024/venezia-ponte-calatrava-pietra Altre parola usata da Matteo, oggi è in grande spolvero... Annoso - che è durato o dura da molti anni. Poi vi portiamo in giro per l'Italia, questa volta in autobus, per alcuni comodo ed economico, per altri un po' più scomodo, soprattutto se ti trovi su quello sbagliato e sei costretto a scendere in mezzo all'autostrada. Cose da pazzi! Ma a chi è successo? Curiosi? Concludiamo con un piccolo borgo in Sicilia, un borgo d'arte che è stato una ottima idea di un imprenditore. Ma come è andata la storia? Trascrizione Matteo: [0:23] Buongiorno! Raffaele: [0:24] Buongiorno, Matteo! Matteo: [0:25] Come va? Raffaele: [0:26] Anche a te la sigla fa i capricci? Matteo: [0:29] No. Perché? Che succede? Raffaele: [0:31] Un po' ballerina questa sigla. Mi andava veloce, mi andava lenta... Matteo: [0:36] È il freddo, il freddo ha congelato tutti i collegamenti e quindi è un po' ballerino tutto internet oggi. Raffaele: [0:46] E sì, freddo, vento, stamattina c'è tantissimo vento qui a Napoli, nuvoloni che coprono il sole, ieri c'erano nuvoloni che coprivano le stelle. Non riuscivo a vedere le stelle. Matteo: [0:59] Invece noi qui le vediamo ma ci cionchiamo di freddo. Forse questo è anche un po' dialettale come modo di dire. Raffaele: [1:12] E credo sia solo comprensibili ai campani. Matteo: [1:15] Sì. E comunque abbiamo molto freddo, ovviamente rispetto a quello che c'è di solito, non rispetto... (Non sento mai freddo, neanche quando racconto le peggiori freddure.) Raffaele: [1:25] Ma chi è? Abbiamo invitato qualcuno al podcast e non lo so? Matteo: [1:30] No, sta succedendo di tutto... Il mio tablet che uso per prendere gli appunti per la nostra puntata, ha deciso di rispondere a quello che stavo dicendo, non so per quale motivo. Quindi lui non ha freddo, però io sì. Raffaele: [1:50] Mattinata complicata, eh, Matteo? Matteo: [1:52] Molto complicata, molto complicata. Raffaele: [1:55] In tutto questo io ti avevo fatto l'assist per le stelle: non vuoi raccontarci qualcosa che riguarda alcune stelle? Matteo: [2:02] Voglio proprio raccontarvi qualcosa. Prima di partire volevamo dirvi di lasciarci tante stelle, perché così anche Raffaele che non può vederle perché è nuvoloso e non riesce a vederle... ma anche per diffondere di più il podcast e cercare di farlo sentire a tutti e ascoltare a tutti. Quindi tante stelline e lasciateci anche una bella review e in questo modo potremo diffondere il podcast di Easy Italian a tutti. Ma ora partiamo! Raffaele: [2:47] E dove andiamo? Matteo: [2:49] Partiamo da nord, vicino casa. Raffaele: [2:52] Partiamo da nord, sì, diciamo che questa puntata sarà un lungo viaggio, come spesso facciamo, da nord a sud. Partiamo da nord, partiamo da Venezia. Se fa freddo a Napoli, potete immaginare a Venezia. Matteo: [3:08] E quando fa freddo, troppo freddo, soprattutto in città d'acqua... Raffaele: [3:13] Poi è una città molto umida, è una città lagunare, quindi potete immaginare che soprattutto di notte e nelle prime ore del mattino si forma sempre un po' di ghiaccio, ma non in tutta la città, ma in un punto particolare. Dobbiamo parlare, dobbiamo affrontare il problema del ponte di Calatrava. Conosci quest'opera? Matteo: [3:37] Sì, abbastanza famosa e anche quasi subito visibile a Venezia. Raffaele: [3:46] Se arrivi dalla stazione, sì. Matteo: [3:47] Sì, sì, è un po' strano. (Perché strano?) Beh, perché rispetto a tutta Venezia, è molto moderno. Raffaele: [4:00] Eh sì. Noi parliamo di Venezia, uno si aspetta di sentir parlare di arte, di storia... Invece qui parliamo di architettura e design. E non vuol dire che Venezia non può essere moderna, però è un matrimonio non sempre facilissimo. E il design secondo me non è neanche il problema maggiore di questo ponte, Allora, in ordine, come dici tu, si vede subito se arrivi alla stazione di Santa Lucia, perché questo ponte collega proprio la stazione a Piazzale Roma. Ha diversi nomi, in realtà si chiama Ponte della Costituzione, lo chiamano quasi tutti Ponte di Calatrava perché l'architetto è quello che oggi si chiama un archistar, cioè un architetto star, ovvero Santiago Calatrava. Spagnolo. Ma in tanti lo chiamano il ponte di vetro, perché una delle caratteristiche di questo ponte super moderno è che è fatto tutto in [vetro] ed acciaio. Anche i gradini sono in buona parte fatti di vetro. E già insomma con la premessa che abbiamo fatto all'inizio con il freddo e il ghiaccio, sai già dove stiamo andando a scivolare... Matteo: [5:26] Scivoliamo tutti quanti sul ponte che diventa improvvisamente un ottimo punto per gli slittini. Raffaele: [5:33] È proprio quello che hanno affermato negli anni diversi cittadini: sembra quasi una disciplina delle olimpiadi invernali. Prova a non scivolare sul ponte di Calatrava, se arrivi dall'altro lato vinci un premio. Alcuni hanno fatto i paragoni con le piste di pattinaggio. Insomma è un ponte che, ti devo dire la verità, non è nato benissimo. Già dal principio i costi sono stati molto elevati, già di base sono stati più alti di quello che era stato messo a preventivo, si è arrivati a superare la decina di milioni di euro per un ponte di circa 100 metri. E insomma anche per il discorso artistico che dicevamo inizialmente, che fa un po' a cazzotti questa struttura super moderna con una città storica come Venezia. Ma questo ponte è tornato a far parlare di sé proprio nelle ultime settimane perché le persone continuano a scivolare, continuano a cadere. Matteo: [6:40] E non vincono nessuna medaglia... Perché dicono "Scusate, però qua facciamo questa disciplina olimpica ma almeno una medaglia alla fine..." Raffaele: [6:49] Pensa che negli anni per aiutare i partecipanti [di] questa disciplina le hanno provate tutte. Hanno provato a mettere del sale sui gradini per evitare la formazione di ghiaccio ma niente da fare. Hanno persino messo, sai, queste striscioline ruvide antiscivolo che trovi spesso nelle stazioni? Le hanno messe proprio sui gradini. E tu puoi immaginare, un ponte che è costato sopra i 10 milioni di euro e poi metterci lo scotch sopra, non è proprio il massimo. E nonostante tutto si scivolava e le strisce non aderivano bene. E quindi Matteo c'è stata un'unica soluzione da prendere in considerazione. (Tolgono il ponte!) No, non è una soluzione così drastica, sarebbe davvero un peccato. Però tolgono una parte del ponte, tolgono i gradini in vetro, che saranno sostituiti con dei gradini in pietra. Sì, una pietra molto particolare che prende il nome di trachite... Io non so come funziona la trachite: mi auguro che non faccia scivolare la gente. Matteo: [8:01] Quella che conosco io è una scocciatura: ti fa male la gola, non riesci a parlare... Raffaele: [8:08] Matteo, quella è la tracheite, che è l'infiammazione della trachea, che è una parte della gola. Ma questa che mettono a Venezia non è il mal di gola a terra... ma è la pietra per evitare che le persone... scivolino... è scivolata anche la mia lingua. E quindi alla fine un'altra spesa, quindi un milione e mezzo di euro. Una spesa extra che si aggiunge al fatto che originariamente questo ponte era stato pensato anche per far attraversare i disabili. C'era una cosiddetta ovovia, ovvero una sorta di trenino a forma di uovo, per trasportare persone disabili da un lato all'altro. Ha avuto più problemi del ponte questa ovovia ed è stata rimossa qualche anno fa. Che ne pensi tu di tutta questa storia? Matteo: [9:06] E mi dispiace, è un ponte che non decolla, che da un certo punto di vista è buono, però non so. Il problema è che quando si vuole fare qualcosa di artistico e contemporaneamente utile, ci vogliono altro che i Calatrava, ci vogliono i Da Vinci. Cioè nel senso, non basta essere un archistar, devi essere quasi un genio per riuscire ad arrivare a creare qualcosa di artisticamente bello e contemporaneamente utile per una città che ospita migliaia, anzi milioni di persone all'anno. Quindi non stiamo parlando di un paesino o di una città normale, stiamo parlando di Venezia. Raffaele: [10:04] Io penso che il punto sia sempre quello. Adesso non mi voglio sostituire agli architetti, ma io penso che il punto sia sempre quello che quando fai un'opera d'arte che viene esposta in un museo, allora deve essere bella o suscitare una riflessione. Ma in questo caso stiamo parlando di architettura pratica, un ponte sul quale le persone ci dovranno salire, dovranno salire e scendere senza cadere, quindi bisognerebbe sempre mettere al primo posto la praticità di un'opera e al secondo posto tutti gli abbellimenti architettonici e così via. Se facciamo il contrario rischiamo di dover fare le cose due volte o persino più volte. Matteo: [10:52] Sì, purtroppo è un problema, un annoso problema, un problema... questo annoso già lo abbiamo incontrato. Raffaele: [11:04] Che vuol dire annoso? Ecco qua, lo hai detto, adesso annoso cosa vuol dire? Matteo: [11:09] Che è un problema che c'è da tanto tempo, da anni, cioè... che... no? Raffaele: [11:15] Sì, sì, sì, che si trascina da molto tempo. Matteo: [11:18] Che si trascina da molto tempo per, in questo caso anni, direi anche secoli. E ovvero il riuscire a far coesistere arte e utilità, però secondo il mio modestissimo e ignorante parere se si vuole fare una cosa del genere si dovrebbe prima partire dall'utilità, come hai detto tu, e poi abbellire questa utilità. Nel momento in cui si fa il contrario, e in questo caso capisco anche perché si fa il contrario, perché Calatrava ha un suo stile, e parte dal suo stile. Raffaele: [11:58] Sì, ma sai, a Venezia i ponti ci sono sempre stati. Poche città come Venezia al mondo sanno fare i ponti. Perché prendere un architetto che ha come particolarità quella di fare ponti ultramoderni in vetro e acciaio, quando bastava fa re un ponte più semplice eumile, più economico, magari anche abbellito esteticamente, ma più in sintonia con l'estetica della città e più pratico per i cittadini stessi? Matteo: [12:30] È vero, bastava andare un po' in giro per l'Italia, forse trovavamo anche qualche esempio giusto. Raffaele: [12:38] Ci sto. Torniamo indietro, non attraversiamo il ponte, torniamo in stazione ma invece del treno, prendiamo un autobus. Matteo: [12:51] Allora, in autobus in giro per l'Italia è una cosa simpatica, però è stancante, eh? Vi avverto... Raffaele: [12:59] Fino a un certo punto. Matteo: [13:01] È un po' stancante. Raffaele: [13:03] C'è però chi lo deve fare, che non ha tante alternative. Certo, l'alternativa è sempre il treno, ma il treno per lunghi tragitti è sicuramente una forma più cara rispetto all'autobus. Oggi si può viaggiare in autobus comodi, seduti, con la presa della corrente, con il wifi, da nord a sud grazie a compagnie come... Flixbus. Matteo: [13:30] Questa puntata non è sponsorizzata da Flixbus, vogliamo specificare. Lo capirete più avanti. Raffaele: [13:39] Sì, sì, non siamo stati pagati né per parlarne bene né per parlarne male, a dir la verità. Però questa storia riguarda proprio un viaggio della speranza, un viaggio in autobus. Parliamo di un giovane ragazzo pugliese, Giuseppe De Nicolo, che è un 19enne pugliese che è andato in Trentino-Alto Adige per lavorare durante le vacanze [natalizie]. Finite queste sue settimane lavorative, decide di ritornare a casa. E prenoto un autobus che da Trento, quindi estremo nord, l'avrebbe dovuto portare a casa vicino Bari. Purtroppo però i giorni delle vacanze sono giorni di molto traffico, poi ecco c'è il freddo, il ghiaccio e così via... Gli autobus in quelle giornate subivano dei fortissimi ritardi. Fatto sta che l'autobus prenotato di fatto viene annullato, non partirà. E Giuseppe si trova nella difficoltà di capire come fare adesso per tornare a casa. Era tra l'altro un autobus notturno, quindi senza prenotazione alberghiera per la notte, come fai? Trova un'alternativa: c'è un altro autobus che fa la stessa tratta, però con cambio autobus a Bologna. Quindi Trento-Bologna, a Bologna scendi, prendi un altro autobus e fai Bologna-Bari. Tutti contenti, no? Matteo: [15:12] Eh, sì? Raffaele: [15:14] Il problema è che il biglietto era valido solo per quella corsa senza cambi. E allora l'autista di questo autobus Trento-Bologna con il controllore cominciano a fare un po' di storie: "non sarebbe questo l'autobus giusto, bisogna sentire il centralino, fai così, sali a bordo, poi vediamo..." Mai fidarsi di qualcuno che dice poi vediamo. (Poi vediamo...) Parte tranquillamente l'autobus, nel frattempo è difficile mettersi in contatto con il numero verde di Flixbus persino per l'autista stesso. Ma quando risponde il centralino, gli dicono: "Sì, effettivamente, c'è un problema: il ragazzo non può stare a bordo, non ha un biglietto valido, non sarebbe mai dovuto salire a bordo". (Ahia!) A questo punto autista e controllore comunicano la notizia al ragazzo e il ragazzo dice: "Adesso che volete fare? Mica mi potete abbandonare qui sull'autostrada?" "Ah no? E se facciamo proprio così?" Il ragazzo minaccia di chiamare i carabinieri per vedere chi ha ragione. Chiamano i carabinieri effettivamente. Secondo te i carabinieri cosa hanno detto? Matteo: [16:31] "Non lo sappiamo". Raffaele: [16:32] "Mi dispiace, non possiamo aiutarvi, non possiamo occuparci di questo." A questo punto però l'autista e il controllore sono arrabbiatissimi, alla più vicina corsia d'emergenza accostano, davanti agli occhi di tutti gli altri passeggeri che non hanno fatto nulla tra l'altro, fanno scendere il ragazzo, gli danno il bagaglio e lo abbandonano in autostrada. Matteo: [16:57] Ma in corsia d'emergenza? Raffaele: [16:58] Eh sì. Matteo: [17:00] Vabbè, però mi sembra una cosa ridicola. Raffaele: [17:01] Lui fortunatamente riesce a raggiungere la stazione di servizio, chiama un Uber e si fa portare a Bologna. E da qui prenota un treno che lo porta vicino casa, a Molfetta. Matteo: [17:15] Allora, qui c'è un problema fondamentale, che non capisco perché non lo abbiano lasciato alla prima stazione di servizio. Che stava facendo? Stava facendo impazzire tutti? Urlava? Era un pericolo? Raffaele: [17:33] Può darsi che stavano... i toni si stavano alzando, e a dir la verità questa corsetta emergenza era poco prima di una stazione di servizio. Quindi non credo il ragazzo abbia dovuto fare dei chilometri. Però comunque è stato abbandonato in autostrada un cliente, alla fine, perché il ragazzo aveva un obiettivo valido e l'autobus era stato cancellato non per suo volere. Ma si può fare una cosa del genere? . Matteo: [17:59] Evidentemente sì, nel senso che... Raffaele: [18:02] Nel senso che l'hanno fatta, quindi si può fare. (L'hanno fatto, esatto.) Fisicamente è possibile. Matteo: [18:08] Però l'errore grande è stato probabilmente farlo entrare, cioè nel senso, non puoi arrabbiarti con qualcuno che è sul tuo autobus dopo che lo hai fatto entrare. Raffaele: [18:20] Esatto, quindi l'autista e il controllore hanno fatto due errori gravi. Il primo forse dettato dalla volontà di aiutare, il secondo proprio cattivo nell'animo, perché non si fa, non si abbandona una persona in autostrada, è pericoloso e tra l'altro penso sia proprio vietato dal codice della strada. Il ragazzo fortunatamente è riuscito a tornare a casa, ma ha contattato i media per diffondere questa notizia e ha anche protestato nei confronti della compagnia. Flixbus ha risposto e ha sospeso l'autista e il controllore dicendo però che il ragazzo non sarebbe mai dovuto salire su quell'autobus, perché non aveva il titolo adatto a salire. Quindi come dire hanno sbagliato autista e controllore ma sbagliato anche il ragazzo che non doveva essere lì. Che è una, come dire, una soluzione che non so quanto mi fa contento. Matteo: [19:19] Sì, diciamo che è un po' scaricare responsabilità: la responsabilità è dell'azienda. Raffaele: [19:27] Punto, punto, non facciamo scaricabarile. Matteo: [19:30] Esatto, la responsabilità dell'azienda e se proprio dobbiamo andare a cercare un errore, l'errore più grande dell'azienda è stato quello di formare male il controllore e l'autista in modo da non dare a loro la conoscenza per dire al ragazzo "non puoi salire". Raffaele: [19:55] Esatto. Matteo: [19:55] Quindi l'errore più grande è quello, è l'unico errore. Perché poi se l'autista non sapeva bene cosa fare... Ha fatto un gesto umano facendolo salire. Poi c'è stata un'escalation, però il gesto era ovviamente umano, perché non c'era una regola ben scritta. Quindi colpa dell'azienda, non incolpiamo gli autisti. Raffaele: [20:23] Io ci metto il carico e ti dico che un altro disservizio dell'azienda è il fatto che il numero verde non rispondeva, non c'era nessuno disponibile, nessuno che sapesse dare una risposta alle domande in primis dell'autista e del controllore e poi anche del ragazzo. Il ragazzo quando è sceso in corsia d'emergenza stava ancora al telefono provando a contattare il servizio clienti di Flixbus. E io sono un po' preoccupato perché ilmese prossimo dovrei prendere un autobus Flixbus... Matteo: [20:55] E noi non vediamo l'ora di sentire la tua esperienza. Raffaele: [20:58] Vi racconterò, se tornerò a casa. Matteo: [21:01] Sì, sicuramente. Raffaele: [21:02] Nel frattempo, invece di scendere a Bari, noi proseguiamo, passiamo anche lo stretto di Messina e andiamo in Sicilia. Matteo: [21:18] Oh, che bello, anche perché penso che in Sicilia ci sarà anche una buona temperatura adesso, rispetto a Milano. Raffaele: [21:27] Ti faccio sapere subito. Palermo meteo: 11 gradi e pioggia, non benissimo. Diciamo che tutta l'Italia è attraversata da questa ondata di freddo. (Sì.) Però sopra i dieci non si sta male. Matteo: [21:44] Eh, direi. Raffaele: [21:46] E io ti porto in una cittadina vicino Palermo, ti porto in uno dei borghi più piccoli d'Italia. In termini di abitanti parliamo soltanto di venti abitanti. Matteo: [22:02] Venti? Raffaele: [22:03] Soltanto venti. E sono tanti rispetto a quelli che ci vivevano circa trent'anni fa, che era soltanto una famiglia, quindi suppongo quattro o cinque persone. Matteo: [22:14] Quindi una famiglia in un bor.... un borgo per una famiglia. Bello, però... Raffaele: [22:19] Un borgo unifamiliare. Il borgo è davvero piccolissimo, parliamo di due, tre strade. Per farti capire meglio dove siamo, siamo a circa 30 chilometri da Palermo. La cittadina si chiama Partinico, ma questo borgo si chiama Borgo Parrini. Matteo: [22:39] Nome interessante. Raffaele: [22:41] Eh sì, perché ha un significato in siciliano. I parrini in siciliano sono i preti, i sacerdoti. E questo nome ci racconta un po' la storia del borgo un po' isolato, perché era il borgo dei gesuiti che si erano stabiliti fuori Palermo, quindi dei preti. Parliamo del '500-'600. A fine Settecento i gesuiti vengono espulsi da quello che all'epoca era il regno di Napoli e il regno di Sicilia, e quindi il borgo diventa in pratica abbandonato. E ti ripeto, fino a trenta anni fa ci viveva solo una famiglia, la famiglia Gaglio, di cui però faceva parte Giuseppe, Giuseppe Gaglio, che ha un'idea interessante. Siccome tutte le casette di questo borgo erano in vendita più o meno a un euro, dice: "ma sai che faccio? Ne compro io la buona parte, le ristrutturo e ne faccio un'attrazione turistica artistica." Ispirato alle città del Mediterraneo e alla storia della Sicilia, decide di abbellirle in maniera artistica. Quindi ceramiche colorate, pittura dai colori molto forti, richiami a figure artistiche dell'area mediterranea ma un po' anche a livello internazionale. E questo posto trent'anni dopo prende il soprannome della piccola Barcellona, perché buona parte delle ricostruzioni in ceramica sono ispirate ad Antoni Gaudi, il padre del modernismo, se lo vogliamo chiamare così. Matteo: [24:24] Bello, beh in effetti è molto bello, è molto affascinante e caratteristico il borgo. Tu sei mai stato? Raffaele: [24:34] No, io non sono... mi vergogno a dirlo tantissimo... Non sono mai stato in Sicilia, Matteo... Matteo: [24:42] Ma come? Io non sono stato lì, però in Sicilia sì. Ma è strano, Napoli-Sicilia non è una cosa impensabile. Raffaele: [24:52] Allora in autobus, no. In treno, è difficile anche se si fa. In nave sarebbe la cosa più facile. C'è anche l'aereo adesso, ce ne sono tanti. Il punto sai qual è? Che dovendo prendere un mezzo di trasporto come l'aereo, o come la nave, a me non piace tantissimo viaggiare in nave. Però c'è sempre l'idea che se devo prendere un aereo, vado all'estero. Anche quando facciamo i preventivi per viaggi durante l'anno, c'è sempre qualcosa che mi fa dire: "vabbè, ma a questo punto vado a... una città estera, in una città estera." Matteo: [25:24] Ma come? Questa è una cosa che tutti i nostri ascoltatori ti diranno: "Ma no!" Raffaele: [25:30] Però anche loro poi vogliono viaggiare in Italia [all'estero], è un po' quello, no? (Eh sì, in effetti sì.) Però ci metterò una pezza, come si dice: prometto che a breve andrò in Sicilia, anzi possiamo fare una cosa, Matteo. Possiamo andare insieme, possiamo fare le nostre vacanze durante l'anno tutti quanti in Sicilia: un bel team retreat di Easy Italian in Sicilia. Matteo: [25:53] In Sicilia, bah, possiamo provare. Non lo so, vediamo, ché... fa caldo. Raffaele: [26:01] Tornando a Borgo Parrini, Matteo, che ne pensi di questa idea di Giuseppe Gaglio, che da solo ha praticamente ridato vita a questo borgo, borgo che è diventata una delle attrazioni della Sicilia, e uno dei posti più fotografati e condivisi sui social di tutta la Sicilia. Matteo: [26:23] Mi sembra un'ottima idea, è un ottimo modo per prendere, rendere qualcosa di ormai morto, una cosa di nuovo viva e utile. Anche per, come dire... Queste cose secondo me sono anche utili forse per alleggerire il peso turistico che ha Palermo e cercare di reindirizzarlo anche in altri luoghi lì vicino. Raffaele: [26:55] Sì, tra l'altro è un'escursione interessantissima, anche perché è vicino Palermo, a conti fatti, ma vicino anche l'aeroporto e altre cittadine come Terrasini e Castellammare del Golfo, quindi si presta benissimo ad essere visitato anche solo in una giornata. E poi il tocco extra dell'imprenditore Gaglio, che all'interno di alcune di queste abitazioni ristrutturate artisticamente ci ha aperto dei musei, come il Museo dei Pupi, ad esempio, che sono le tipiche marionette siciliane. Matteo: [27:33] Molto bello. Peccato che c'è un piccolo colpo di scena. (Che succede?) Il colpo di scena è che il signor Giuseppe Gallio è indagato. Raffaele: [27:47] Ah! Che è successo? Matteo: [27:51] Hai capito? Hanno fatto tutto. Ha fatto il ponte, cioè il ponte, mi sono confuso. Ha fatto il villaggio, ha creato i musei: è indagato per corruzione. Raffaele: [28:05] Oh no, arrestato per corruzione. Matteo: [28:07] Mannaggia, non si riescono a fare due cose positive in Italia che poi esce fuori qualcosa di non proprio pulito. Raffaele: [28:18] Hai proprio ragione, vedi? In Italia è difficile fare due cose buone positive una dietro l'altra. Detto questo, il borgo non è arrestato. Matteo: [28:28] Il borgo è visibile, visitabile: visitatelo. Raffaele: [28:32] Mi hai lasciato con l'amaro in bocca, Matteo, con questa notizia. Matteo: [28:36] Direi di parlare di questo colpo di scena nel nostro privé. E continuiamo. Anche perché sono curioso di sapere l'effetto che ha fatto su di te. (Eh sì.) Ho lasciato. questa notizia proprio alla fine fine, Raffaele non sapeva questa cosa. Raffaele: [28:55] Parliamone di là, vai: attraversa il ponte di vetro e vieni nella nostra sala VIP. (Senza scivolare!) Non scivolare! Diamo un grosso abbraccio a tutti i nostri ascoltatori. Matteo: [29:06] Mi raccomando, tante stelline e tante review. Raffaele: [29:09] Ciao! Matteo: [29:10] Ciao!

Today, we connect with Shannon Phillips, the Chief Operating Officer of the McConnell Foundation, which is dedicated to enriching the community through philanthropy and innovative projects. We'll learn about the McConnell Foundation and explore its impact on our city. From its origins to its ongoing initiatives, we'll uncover why the McConnell Foundation is important to the Redding community.We'll also discuss one of Redding's architectural marvels—the Sundial Bridge. Designed by the renowned Santiago Calatrava, this iconic structure is more than just a pedestrian bridge; it symbolizes innovation and sustainability. Its bold and beautiful design draws visitors and locals alike year-round.After 30 years with the McConnell Foundation, Shannon is the perfect person to explain the foundation's history and mission and the little-known stories of how the Sundial Bridge came to Redding.Learn more about the McConnell Foundation >>Sundial Bridge 20 Year Celebration >>Read the transcript >>Contact the City of Redding Podcast Team Email us at podcast@cityofredding.org Connect with us on Facebook, Twitter and Instagram Visit the City of Redding website Love the podcast? The best way to spread the word is to rate and review!

Aunque la abundancia de agua dulce y buenos pastos explica el topónimo en lengua nativa –significa "tierra agradable"–, los habitantes de la Milwaukee de hoy probablemente subrayen otras virtudes de su ciudad. Por ejemplo la gran oferta cultural, con eventos tan relevantes como el Summerfest (uno de los festivales de música más grandes del mundo) y museos de la talla del Milwaukee Public Museum, el de arte –diseñado en parte por Santiago Calatrava– y el dedicado a las motocicletas Harley-Davidson, originarias de aquí. También es muy relevante su cultura cervecera, con decenas de empresas dedicadas a la elaboración de esta bebida traída por los primeros pobladores europeos, de nacionalidad alemana y polaca. Marcas tan arraigadas como Miller o Pabst sirven millones de litros de espumoso orgullo local por todo el mundo. Nuestro paseo sonoro por las calles de Milwaukee lo guía la profesora y DJ Jessica Andolina. Caminamos desde el enorme ayuntamiento de estilo neorrenacentista flamenco hasta la orilla del lago Michigan, un auténtico mar de interior que conecta Wisconsin con otros estados y ciudades tan importantes como Chicago. Contamos también con el artista e investigador de tecnologías de realidad virtual David Glowacki; el chef y propietario del restaurante Amilinda, Gregory León; la profesora de la Universidad de Wisconsin-Milwaukee Tatiana Joseph; y las españolas residentes Carmen Carcía Sirera y Patricia Gabarra.Escuchar audio

TCW Podcast Episode 204 - Exploring the Mass Effect   In part one of a two-part exploration of the original Mass Effect trilogy, the game emerges as a synthesis of diverse influences from literary books, video games, art styles, TV shows, and movies. Drawing heavily from Bablyon 5 and the TV series 24, the main framework of Mass Effect reflects a blend of narrative inspirations. The art style, inspired by luminaries such as architect Santiago Calatrava, futurist Syd Mead, and John Harris, contributes to the game's visually captivating universe. The initial year of development was dedicated to crafting a compelling hard sci-fi universe. A key goal was to imbue the game with cinematic qualities and broaden its audience appeal, challenging the conventions of RPGs at the time. The innovative use of a dialog wheel, featuring concise words to convey dialog choices, coupled with full voice acting for both player characters and the main protagonist, marked significant strides in the gaming landscape.   KOTR in 3 Minutes: https://www.youtube.com/watch?v=oTCSPo7ZuSE SCTV YouTube Channel: https://www.youtube.com/channel/UCFb0L4MQziTjEsJKTbFgm8Q The Wild Life - Rick Moranis: https://www.youtube.com/watch?v=6mM9qvLYeI8 Rick Moranis - SNL: https://www.youtube.com/watch?v=Xzeyvaj1FiM "The Final Hours of Mass Effect 3": https://me3finalhours.com/#:~:text=Q%3A%20What%20is%20the%20Final,creative%20process%20behind%20the%20games. The Complete Deus Ex Retrospective: https://www.youtube.com/watch?v=1yD54ndTFVU StarFlight: https://www.youtube.com/watch?v=foX2Mn1TIzk Hard VS Soft Sci-Fi - What do they mean?: https://www.youtube.com/watch?v=Vsbm2YDhItM The Physics of Space Battles: https://www.youtube.com/watch?v=ZFOuxAx-dkc The Truth About Space War: https://www.youtube.com/watch?v=9Xs3mGhQGxM Syd Mead - Visual Futurism: https://www.youtube.com/watch?v=LuMIrHlAf2Q Mr Spock Attempts Mind Meld with V'ger: https://www.youtube.com/watch?v=0qpO47Iskac Santiago Calatrava: https://calatrava.com/ Santiago Calatrava: A selection of projects from all around the world: https://www.youtube.com/watch?v=JEjJXEwicuA Babylon 5 - Everything You Didn't Know: https://www.youtube.com/watch?v=50xmPWmLUko John Harris - Beyond the Horizon: https://www.youtube.com/watch?v=yTuZlYJOw-Q Book Notes Mass - The Art of John Harris: https://adamrowe.substack.com/p/book-notes-mass-the-art-of-john-harris 24's Jack Bauer: https://www.youtube.com/watch?v=pKKTkTMAJBw Mass Effect 2006 E3 Trailer: https://www.youtube.com/watch?v=LCvCvqbn4qY Mass Effect 1 - Gameplay: https://www.youtube.com/watch?v=BT5HhrIQfrY   New episodes are on the 1st and 15th of every month!   TCW Email: feedback@theycreateworlds.com  Twitter: @tcwpodcast Patreon: https://www.patreon.com/theycreateworlds Alex's Video Game History Blog: http://videogamehistorian.wordpress.com Alex's book, published Dec 2019, is available at CRC Press and at major on-line retailers: http://bit.ly/TCWBOOK1     Intro Music: Josh Woodward - Airplane Mode -  Music - "Airplane Mode" by Josh Woodward. Free download: http://joshwoodward.com/song/AirplaneMode  Outro Music: RolemMusic - Bacterial Love: http://freemusicarchive.org/music/Rolemusic/Pop_Singles_Compilation_2014/01_rolemusic_-_bacterial_love    Copyright: Attribution: http://creativecommons.org/licenses/by/4.0/

ART PRECEDES SCIENCE. Santiago Calatrava is a visionary architect, a structural engineer, a sculptor, and a painter based in Switzerland. In his architecture he has merged advanced engineering solutions with dramatic visual statements.

Architect, Author and Advocate, Alicia Ponce is the founder and principal of APMonarch. Since 2007, Alicia's expertise and passion for sustainability have supported many clients in designing radically better projects. Her reputation for resilient and eco-conscious architecture secured APMonarch's role as the Sustainability Architect and direct protégé to Santiago Calatrava and his firm's design proposal for the 2019 O'Hare International Airport Global Terminal. The international competition drew 1,200 teams and five were selected for the final presentation.Alicia has a bigger purpose and her passion for advocating and lifting other Latinas led her to start her own nonprofit Arquitina.org  which led her to write her story about her purposeful journey to architecture, entrepreneurship, and connection with nature and help others do the same in  Latinas in Architecture Books volumes 1 and 2 Listen to her and learn more at https://www.arquitina.org

Al sureste de Roma, próximo al barrio de Tor Vegata, hay lo que se conoce como un punto de interés turístico. La Vela, como se le llama a un edificio que lleva la firma de Santiago Calatrava. El objetivo de aquel proyecto era servir como Ciudad del Deporte durante el pasado Mundial de Natación de 2009 pero nunca se alcanzó tal meta y, ahora, lleva años abandonada. Santiago Calatrava, uno de los arquitectos más conocidos en España y el mundo entero –entre la gente de a pie– tiene una lista nutrida de proyectos inacabados, porque la pesadilla del arquitecto valenciano son los sobrecostes. Ocurrió con el puente de la Constitución (Venecia), el Palacio de Congresos de Oviedo, el Obelisco de Plaza de Castilla (Madrid), y, también con la Ciudad de las Artes y las Ciencias; uno de los proyectos más emblemáticos del artista y que contribuyó a situar a Valencia en el mapa. Esto nos ha llevado a preguntarnos si es Calatrava el héroe o el villano de la arquitectura española. Por eso, Hoy en El Debate, charlamos con Jorge Javier Camacho, arquitecto fundador de cmA Arquitectos y profesor de Proyectos en el CES-CEU Arquitectura y en la Escuela Politécnica Superior de la USP; y con Mónica Alberola Peiró, del estudio Alberola Martorell, profesora asociada de Proyectos en la Universidad Politécnica de Madrid, e Investigadora del Grupo Teoría y Crítica del Proyecto y de la Arquitectura Moderna y Contemporánea en la misma Universidad.See omnystudio.com/listener for privacy information.

El Auditorio de Tenerife Adán Martín es mucho más que una empresa pública del Cabildo de Tenerife. Es el símbolo de desarrollo de una ciudad y de una isla, no solo en su forma sino también en su fondo. Esta insigne obra de arquitectura expresionista de Santiago Calatrava, nacida el 26 de septiembre de 2003, se ha convertido en un símbolo cultural no solo para la población tinerfeña y el conjunto de la ciudadanía canaria, sino que, además, se ha situado como referente artístico, cultural y social a nivel europeo e internacional. Este emblemático edificio ha cumplido 20 años de su inauguración este pasado mes de septiembre. En todo este espacio de tiempo la obra de Calatrava ha sido testigo infatigable de acontecimientos que nos han marcado como pueblo.

Every country has a national dish, and Spain is no exception. The dish that most people associate with Spain is the rice dish known as paella.  Paella is, on the one hand, very simple, and on the other hand, very complex and confusing.  It also has a surprising history touching on almost every major period in Spanish history.  Learn more about paella, the national dish of Spain, and how it might technically even be Spanish on this episode of Everything Everywhere Daily. Sponsors The Tourist Office of Spain This episode is sponsored by the Tourist Office of Spain.  There are many great places to visit in Spain, but one of my favorites has to be Valencia. Valencia was the first place I ever visited in Spain, and it has a special meaning for me.  It also happens to be the home of paella, as well as one of my favorite restaurants in Spain, Casa Montaña.  You can also visit the famous City of Arts and Sciences and view the exceptional structures designed by the Valencian architect Santiago Calatrava. If you've seen a recent science fiction TV or movie, there is a good chance they had a scent shot there.  And, if you happen to be in Valencia at noon on a Thursday, you can also witness the meeting of the Valencia Water Tribunal, the world's oldest continuously operating democratic body.  If you want to plan your trip to Valencia or anywhere in Spain, you can get all the information you need at Spain.info.  Once again, that is Spain.info. Subscribe to the podcast!  https://link.chtbl.com/EverythingEverywhere?sid=ShowNotes -------------------------------- Executive Producer: Charles Daniel Associate Producers: Peter Bennett & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Si es tu primera vez aquí. O si ya has estado, pero como si lo fuera. Te mando esta postal sonora de Nueva York desde el Oculus. El Oculus es un monumento a la vida, como pretendía su arquitecto, el español Santiago Calatrava. En un lugar, el World Trade Center, donde hace años se vivió el horror. Por este intercambiador de transportes, con forma de esqueleto de dinosaurio, pasan todos los días miles de pasajeros a lo largo de sus once líneas de metro y del tren que conecta con Nueva Jersey. Justo encima de la estación más cara del mundo, un luminoso vestíbulo de mármol blanco alberga un centro comercial con tiendas de ropa cara. En cada uno de los extremos, dos balcones permiten contemplar el trasiego de personas apresurándose para no perder el tren. Te asomas a uno de ellos, para tener una visión panorámica del lugar. Es amplio y, sobre todo, muy luminoso. El reflejo del sol a través de sus cristaleras acentúa esa sensación. Es común que hablemos de nuestras primeras veces, pero no lo hagamos de las últimas. Por una cuestión meramente vital: tenemos ajustado nuestro reloj biológico como una cuenta hacia adelante, desde una fecha que conocemos perfectamente, el día de nuestro nacimiento, y que celebramos cada año. Pero ese contador no existe hacia atrás, no hay un reloj de arena hacia un día que no sabemos cuándo llegará. La única certeza que tenemos es que llegará. Por eso, somos plenamente conscientes de las primeras veces, pero no de la últimas. De la primera vez que nos enamoramos. O de la primera vez que volamos en avión. O de la primera en que vimos un eclipse de sol. No sabemos cuándo será la última. Eso nos impide sentirla con tanta plenitud como la primera. Gracias por escucharme. Un abrazo desde Nueva York.

Episode: "Perspectives on Luxury with Robert Charles" Host: Nikki Klugh Welcome to Create Your Sacred Space Podcast with Nikki Klugh. the podcast that unveils the soul of architecture and design. Join us as we explore the passion, creativity, and purpose behind the most inspiring spaces and projects and dive deep with those who create them consistently. I'm your host, Nikki Klugh, and I'll be your guide as we journey through the hearts and minds of sacred space architects and designers who are driven by compassion and authenticity. _________________________________________________ Robert Charles Bio: Robert Otis Charles was born in the projects of East Orange, New Jersey. He is a descendant of Costa Rican and West-Indian parents. Robert is the second youngest of four children. Robert established his career based on his creative talents. He developed his passion for multi-disciplinary creativity around the age of five. He held on to his creativity because he was very limited in his physical ability because of his long-term battle with chronic asthma and his encounter with bone cancer at age 21. Robert drew with crayons; built with his beloved Lego and wooden blocks; built go-carts and tree houses of wood; built scale models; supported his father in providing professional photography; and initiated an ongoing livelihood with the trumpet all before his teenage years. He was introduced to architecture by his older sibling and developed a distinct love for architectural design at the age of twelve. His father, (Neil Charles, Sr.), kindled his fire for drawing with excellence. “Pop” Charles purchased Robert's first drafting table shortly after his demonstrated commitment to architecture, drawing, and building. Robert's father continually invested in his career from his youth and procured a large loan that initiated his architectural college training. Robert was educated at Florida Agricultural & Mechanical University where he received both his undergraduate and professional degrees in Architecture. He has received several architectural awards including the distinguished Alpha Roe Chi Medal of Leadership, Service, and Merit, and led design on award-winning projects over his 30-year career. He is a current member of the American Institute of Architects and the lead design architect at LBA Architects. Also, in 1998, Robert established ROC STUDIOS INTERNATIONAL, INC which is his own multi-disciplinary design studio. His studio provides visual arts, creative branding, and professional photography. The following famous architects and artists influence his style of designing buildings and producing graphic works. The architects that inspire Robert are Frank Lloyd Wright, Kenzo Tange, Le Corbusier, Richard Meier, Frank Gehry, Santiago Calatrava, Eliel Saarinen, and Alvar Aalto. Artists like Salvador Dali, Pablo Picasso, Paul Cezanne, and Georges Braque inspire Robert's style of producing abstract graphics. Photographers such as Neil Charles, Sr., Ansel Adams, David Eggleston, and a host of others influence Robert's photography. Prominent political officials, doctors, lawyers, architects, business leaders, bishops, pastors, other artists, organizations, churches, and the general public have collected his artworks and photography. His works have also been displayed in public facilities including those that he designed. Robert is a passionate man who is a joyfully exuberant nerd and enjoys staying fit, public speaking, and playing his horns. Robert readily acknowledges his many blessings including his creatively gifted wife (Shantae). __________________________________________ Thank you for being a part of our heart-centered community, and until next time, may your life be filled with sacred spaces that reflect the beauty of your soul. Remember, FIRST We shape our buildings; thereafter they shape us.

¿Sabías que los edificios y espacios que nos rodean pueden afectar nuestro bienestar mental?  Ewdina Gonzalez una destacada arquitecta puertorriqueña, nos revelará cómo la Neuroarquitectura integra principios de neurociencia en el diseño de estructuras para potenciar la concentración, reducir el estrés y fomentar una mayor felicidad.  En esta entrevista hablamo de cómo la Arquitectura de Puerto Rico ha evolucionado para adaptarse a las necesidades de nuestra cultura y cómo influye directamente en nuestra calidad de vida.En tiempos de cambios y desafíos, la salud mental se convierte en una prioridad para Puerto Rico. Ewdina Gonzalez nos revelará cómo los diseños inteligentes pueden contribuir a una mejor calidad de vida y cómo la arquitectura puede convertirse en una herramienta para el bienestar colectivo.¡No te pierdas esta oportunidad única de expandir tus horizontes arquitectónicos y descubrir cómo los edificios pueden ser más que estructuras físicas! Te esperamos en este episodio junto a la inspiradora Edwina Gonzalez, para explorar el poder de la Neuroarquitectura en nuestra amada isla.¿ Te gustaría ser parte de la Ruta Ganadora? Deja tu Info.https://forms.gle/vjB87SFim8SDQhaJ8Episodio traído a ustedes por @drawisco. Si tienes niños con mocos, ella puede atenderlos desde la comodidad de tu hogar.https://www.canva.com/design/DAEZIH9npKE/b6FsHMt2yjlRKgC9fAib7w/view?website#2022Así optimizo mi salud, enfoque y longevidadhttps://fbuy.io/persona/8zzg3ywmSOLO queda 1 espacio de Coaching Personal con Carlos Figueroa, más detalles aquí https://linktr.ee/CarlosFigueroaAñade 10 horas a tu semana!!! Guía Gratis. https://mailchi.mp/07bcc6ddabe1/10horasmasatusemanaAquí está tu oportunidad de pertenecer a un mastermindhttps://mailchi.mp/a6e84aac8950/levomastermindConsigue las gorras de Carlos con Free ShippingVe a www.woodbrandpr.com y utiliza el código GTDRedes Carloshttp://www.tiktok.com/carlosefigueroaprhttp://www.instagram.com/carlosefigueroaRedes Gana Tu Díahttp://www.instagram.com/ganatudia http://www.tiktok.com/ganatudiahttp://www.ganatudia.cominfo@ganatudia.com

Due to the 1950 Federal Housing Authority and Veterans Administration loan programs, suburbs on Long Island and New Jersey were growing at 10 times the rate of downtown areas in New York City. Levittown in Nassau County is perhaps the most quintessential example of the outcome of those loan programs. Totaling 17,400 homes built on 4,000 acres of potato fields, Levittown was marketed as a safe, peaceful escape from the city. But, like most things that seem too good to be true, there was something nefarious behind-the-scenes: the loan programs had race-based underwriting guidelines and deed covenants that shut out BIPOC communities. Almost 75 years later, the boom of these cul-de-sac neighborhoods are at the root of many of the pressing urban planning issues we face today, including excessive traffic, housing affordability, racial discrimination, and the persistence of poverty. In this conversation with Kenneth Namkung, Founder of Monument Office and Senior Associate at Perkins Eastman, we explore the history of single family developments in the New York City area. We also dive into the details of his Suburbanism installation, designed for 32nd Street leading into Herald Square in Manhattan. The installation focuses on taking up negative space in an urban area and evoking the history and memory of the American suburb for those who previously lived there. Kenneth also discusses his inspiration for the design and reflects on the project as a Korean immigrant who grew up in a suburban area. We also touch on the impact of the American interstate system, redlining, and changes to tax codes in the 1980s, all of which all contributed to the creation of the American suburb we know today. About the Guest:Kenneth is the founder and designer at Monument Office, a research and design firm based in Brooklyn, New York. His work focuses on the interplay between architecture, public space, and memory. Currently, he is a Senior Associate at Perkins Eastman. Previously, he was a Senior Project Designer for NBBJ design and worked at Studio Link-Arc, Ennead Architects, and Santiago Calatrava. He began his career at Rafael Viñoly Architects. He is a graduate of the School of Architecture at MIT and the University of Virginia. Topics Covered:The rise of single family developments in the New York City areaThe major influence of Levittown on housing Kenneth's inspiration for the Suburbanism installation in Herald SquareWho lives in the American suburbs? How suburbs have transformed over timeSpecific architecture types found in the American suburb Effects of the pandemic on suburban housingResources Mentioned: Why Buying a House Today Is So Much Harder Than in 1950 Patrick Sisson Revolutionary Road by Richard YatesAbout Your HostAtif Qadir is the Founder of Commonplace, a company dedicated to tackling one of the biggest barriers to more inclusive, affordable, and sustainable development: improving access to capital. Commonplace helps impact-driven developers and capital providers with shared values discover and connect with each other.Connect with Kenneth Namkung Connect with Kenneth on LinkedInLearn more about

This week we're celebrating our THIRTIETH EPISODE! To celebrate, we're going back into The B1M archives and looking at one of last years smash-hit videos "The Secret Subway That Could Save New York". The Interborough Express would fill a huge gap in the city's transit needs. However, no project is affordable or straight forward in the Big Apple.Later in the show, we chat about a boulevard in Düsseldorf that's intended to resemble a light-filled canyon. Designed by Santiago Calatrava, "Calatrava Boulevard" will modernise the space between Königsallee Boulevard, Königstrasse, and Steinstrasse in the heart of the city. Also, we talk about Chicago's iconic Tribune Tower finding new life as a luxury residential development. Built in the early 1920s, the neo-gothic building on North Michigan Avenue was home to the Chicago Tribune newspaper between 1925 and 2018. Now Solomon Cordwell Buenz (SCB) has worked with developers CIM Group and Golub and Company to repurpose the 34-storey structure and create 162 residential units, retaining its original lobby and the famous Chicago Tribune sign. We end the show with an email sent in by Noa from Sweden AND a lovely Apple Podcasts review that includes the question "...outside of The UK, which is your favourite European City architecturally?" - it gets spicy.Get in touch! Podcast@TheB1M.comwww.TheB1M.com Hosted on Acast. See acast.com/privacy for more information.

When you think of Milwaukee's architecture, chances are your mind goes to the Milwaukee Art Museum expansion designed by world-famous architect Santiago Calatrava. But did you know Milwaukee almost green-lit four more Calatrava-designed buildings, skywalks and bridges? On this episode, Bobby and Nate talk through each plan, and they share as much as they know about why they didn't materialize.

AndrewMaus: https://www.amazon.com/Complete-Maus-Art-Spiegelman/dp/0679406417Shieldaig Kosher Whiskey: https://www.totalwine.com/spirits/scotch/blended-scotch/shieldaig-kosher-blended-malt-scotch-whisky/p/240582750Slyrs Whiskey: https://slyrs.com/en/Pop Culture Wish ListLaurenHere To Slay: https://www.unstablegames.com/collections/here-to-slayThe Crown: https://www.imdb.com/title/tt4786824/?ref_=fn_al_tt_1Andor: https://www.imdb.com/title/tt9253284/?ref_=nv_sr_srsg_0D&D One Shot: https://www.youtube.com/watch?v=4lHQpzKS8EcSantiago Calatrava: https://calatrava.com/Milwaukee Art Museum: https://mam.org/info/calatrava.phpPatrickThe Watcher: https://www.imdb.com/title/tt14852808/?ref_=nv_sr_srsg_0Pokemon Go: https://pokemongolive.com/en/Open Street Map: https://www.openstreetmap.orgYoutube Premium: https://www.youtube.com/premiumTwitch - Live Every Monday at 7pmhttps://www.twitch.tv/mof1podcast

¡Queridas amigas, estamos de vuelta con un episodio arquitectónico! Carmen y Jaume del Punto Gordo nos acompañan en este especial sobre el arquitecto e ingeniero valenciano, Santiago Calatrava

This October, the Milwaukee Art Museum marked the 20th anniversary (one year belated due to covid) of the completion of architect Santiago Calatrava's iconic design. Calatrava himself was in town for the occasion and spoke to co-host Bobby Tanzilo. In this episode, Bobby shares his experience meeting the world-famous architect, and we discuss the lasting impact of the Calatrava design.More at OnMilwaukee: https://onmilwaukee.com/articles/milwaukee-talks-calatrava

"À propos", c'est le podcast quotidien du Soir pour s'informer, décrypter et s'inspirer.Vladimir Poutine a décrété une "mobilisation partielle" des hommes en âge de combattre pour renforcer l'armée qui combat en Ukraine. Cela concerne 300.000 réservistes. Une annonce qui intervient alors que le chef du Kremlin subit une contre-offensive en Ukraine. Est-ce une démonstration de force ou un aveu de faiblesse ? On décrypte avec William Bourton, chef du service Opinions et débats. L'architecte espagnol Santiago Calatrava n'aurait pas dû construire la gare de Mons. C'est en tout cas l'avis de la Cour des comptes. Elle publie un rapport qui épingle les travers du dossier : un concours d'architecture hors des clous, un budget mal estimé, l'absence de suivi, des archives et des documents qui manquent… Eric Deffet, journaliste au service politique, l'a lu. Il nous explique. Dix mille personnes ont défilé hier matin dans Bruxelles. Une action menée par les principaux syndicats du pays avec en sous-titre la crise des prix de l'énergie et le pouvoir d'achat. Baptiste Gillot s'est rendu parmi les manifestants L'exposition qui fera revivre Johnny Hallyday est en cours de montage. Elle prend vie dans les ateliers du coproducteur, Tempora, avant de s'installer au Heysel fin décembre. Laeticia Hallyday est passée à Bruxelles pour la présenter. Son interview signée Thierry Coljon est à lire dans Le Soir. Nous on s'est glissé dans les pas de Thierry pour voir à quoi allait ressembler l'expo. "À propos", c'est notre sélection, du lundi au vendredi dès 7 heures sur Le Soir et votre plateforme de podcasts préférée. Retrouvez tous les podcasts du journal «Le Soir» sur https://podcasts.lesoir.bePrésentation : Pierre Fagnart, Sandrine Puissant

L'architecte espagnol Santiago Calatrava n'aurait pas dû construire la gare de Mons. La Cour des comptes publie un rapport qui épingle les travers du dossier: un concours d'architecture hors des clous, un budget mal estimé, l'absence de suivi, des archives et des documents qui manquent… Eric Deffet, journaliste au service politique, l'a lu. Il nous explique.Un podcast réalisé pour Le Soir par Sandrine Puissant.

Spanish architect Santiago Calatrava visited Milwaukee this week to celebrate the 20th anniversary of his addition to the Milwaukee Art Museum.

"Corsage" - Auftaktfilm beim Münchner Filmfest // Heute hier morgen dort: Der Liedermacher Hannes Wader wird 80 // Jenseits von Hellas: Der Architekt und Künstler Santiago Calatrava in der Glyptothek München // Die Open-Air Wanderausstellung "Passt scho" über bayerische Befindlichkeiten // Musik: Der Nino aus Wien: "Eis Zeit"

EPISODE 58 | Spanish Caravan (Travelogue 3) Spain is a fascinating country - rich in variety and history, and it's fair share of high weirdness. We travel to Madrid, Catalonia and Valencia for statues to Lucifer, UFOs, haunted metro stations, abandoned villages, tomato fights and much more. Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee. #ConspiracyClearinghouse #sharingiscaring #donations #support #buymeacoffee You can also SUBSCRIBE to this podcast. Review us here or on IMDb! SECTIONS 01:38 - A Spain Primer 03:25 - Comunidad de Madrid 04:29 - Fallen Angel (Ángel Caído), Air Crash, Sobrino de Botín (oldest restaurant) 06:54 - Iron security bollards secret code 10:10 - Chamberi Ghost Station, around town, La Plaza de la Luna (Kcymaerxthaere) 12:20 - Cueva de la Luna (Titulcia) 14:46 - Monumento a Los Ojos (Ambite) 16:11 - Parque De Los Castillos (Alcorcón), Ummo UFOs & the Cafe of the Happy Whale 21:03 - Catalunya (Catalonia) - Around Barcelona 22:57 - Rocafort Metro Station (haunted), Barcelona Supercomputing Center & MareNostrum 25:52 - Arús Public Library (secrets of the Freemasons), the Spanish Inquisition (Plaça del Rei) 29:29 - The Calder Mercury Fountain (Joan Miró Foundation, Montjuïc Mountain) 31:16 - Parador de Cardona (haunted room 712) 34:13 - Tió de Nadal & the Caganer (Catalonian Christmas butt stuff) 36:52 - Comunidad Valenciana - Valencia, Paella, horchata, Santiago Calatrava & the Holy Grail 38:44 - La Tomatina Festival (Buñol) 40:30 - The abandoned village of La Cornudilla (Requena) 42:53 - The Colony of Santa Eulalia, Sax, & Villena - Bronze Age treasure & the Moors and Christians Festival Music by Fanette Ronjat More Info: The Bear and the Strawberry Tree – Historical Madrid Unusual things to do in Madrid on City Unscripted 5 hidden gems in Madrid 15 unique things in Madrid The Fallen Angel Air Crash sculpture Sobrino de Botín restaurant Madrid Security Bollards Chamberi metro museum La Plaza de la Luna (Kcymaerxthaere) A Weirdness Travelogue: Henges, Tiles & Plaques Cueva de la Luna restaurant Cueva de la Luna webpage (in Spanish) Monumento a los Ojos (in Spanish) Monument of Eyes pdf of tiles MAVA museum website Ummo Hoax on Encyclopedia.com UMMO: the great UFO fraud forged in Spain Ummo Wiki (in French)  The Enchanted Forest of Òrrius Mysterious places in Spain 33 unusual things in Barcelona Cool activities and places in Barcelona 10 Must See Gaudi Buildings in Barcelona Gaudi Barcelona El Bosc de les Fades Barcelona's remarkable history of rebirth and transformation The Peculiar Architecture And Design of Eixample Leche de Pantera: Revenge of the Pink Panther Haunted places in Barcelona Barcelona urban legends Barcelona Supercomputing Center Barcelona Supercomputing Center virtual tour Arús Public Library Inquisition's Blazon Executioner's house (in Spanish) Calder Mercury Fountain: The World's Most Beautiful Yet Deadly Monument Joan Miró Foundation  Cardona Salt Mountain Parador de Cardona Tio de Nadal & the Caganer Valencia Cathedral  Turia Park in Valencia City of Arts & Sciences Secret Valencia 16 Unusual Things to Do in Valencia 25 Best Things to Do in Valencia. The Ultimate Travel Guide La Tomatina La Cornudilla article (in Spanish) The strange events in Cornudilla (in Spanish) España vaciada on Wikipedia 15 must-see places in Alicante 46 Fun Things to Do in Alicante Colony of Santa Eulalia Sax Tourism Guide on Spain Made Simple Villena Treasure Moors and Christians Festval in Villena Moors and Christians website Follow us on social for extra goodies: Facebook (including upcoming conspiracy-themed events) Twitter YouTube (extra videos on the topic, Old Time Radio shows, music playlists and more) Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a 2022 Gold Quill Award, the 2021 AVA Digital Award Gold, 2021 Silver Davey Award & 2020 Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER.

每日英語跟讀 Ep.K347: Venice Gets a Grip on a Star Architect's Slippery Bridge   As tourists wandered obliviously on the glass floor of the footbridge, locals proceeded with caution. Venetians made sure to walk on the narrow stone strip at the center, some lifting fogged glasses to keep their eyes on the ground. When a visitor tripped, they barely lifted their gaze. 當遊客在人行天橋的玻璃地板上徘徊時，當地人小心翼翼地繼續前進。威尼斯人確保走在中心的狹窄石帶上，有些人舉起霧玻璃，把眼睛放在地上。當一個訪客被絆倒時，他們幾乎沒有抬起目光。 “That is not a bridge,” said Angelo Xalle, 71, a retired port worker who recalled helping people with broken chins or foreheads get up from its sleek floor. “It's a trap.” 「這不是座橋」，71歲退休港口員工薩爾說，他回想起幫助因滑溜橋面而跌斷下巴或額頭的人起身，「這是個陷阱」。 The bridge, Ponte della Costituzione, by star architect Santiago Calatrava, is a multimillion-dollar work of glass and steel that opened in 2008. Its smooth curve above the Grand Canal, near Venice's train station, was meant to symbolize the city's embrace of modernity, but it has become better known as a stage for ruinous tumbles and dangerous slips. 這座橋由明星建築師聖地牙哥·卡拉特拉瓦（Santiago Calatrava）設計，是一座價值數百萬美元的玻璃和鋼鐵作品，於2008年開放。它在威尼斯火車站附近的大運河上方的平滑曲線象徵著這座城市對現代性的擁抱，但它已成為一個眾所周知的毀滅性翻滾和危險滑倒的舞臺。 Now, after years of protests and problems, the city has decided to replace the translucent glass with less slippery — and less glamorous — trachyte stone. 現在，在多年的抗議和各種問題後，市政府決定以比較不滑、也沒那麼美麗的粗面岩，取代透明玻璃。 “People hurt themselves, and they sue the administration,” said Francesca Zaccariotto, Venice's public works official. “We have to intervene.” 「民眾受傷，他們就告政府」，威尼斯公共事務官員札卡里歐托說，「我們必須介入」。 The city's decision to allocate 500,000 euros, or about $565,000, to replace the bridge's glass section comes after several failed attempts to limit slips with resin and nonslip stickers. Last month, as the winter cold and rains made the floor especially dangerous, officials placed keep-off signs on the glass portion of the bridge, which is most of it. 該市決定撥款50萬歐元，約合565000美元，以取代橋樑的玻璃部分，此前幾次嘗試用樹脂和防滑貼紙限制滑倒失敗。上個月，由於冬季的寒冷和降雨使地板特別危險，官員們在橋的玻璃部分放置了防範標誌，這是大部分。 Acclaimed around the world for work including the World Trade Center Transportation Hub in New York, Calatrava was commissioned to design the bridge in 1999. When it opened nine years later, after protests about delays and soaring costs, complaints about falls began quickly. 卡拉特拉瓦（Calatrava）的作品享譽全球，包括紐約的世界貿易中心交通樞紐，於1999年受委託設計這座橋。九年後，當它開業時，在抗議延誤和成本飆升之後，關於跌倒的抱怨迅速開始。 Protests intensified in 2013, when the city installed a cable car on the bridge to make it more accessible. The red, round cabin — not designed by Calatrava — cost about 1.5 million euros, was slow to cross the bridge and became unbearably hot in the summer. It was later dismantled. 抗議活動在2013年加劇，當時該市在橋上安裝了纜車，使其更容易進入。紅色的圓形機艙 - 不是由Calatrava設計的 - 耗資約150萬歐元，過橋的速度很慢，夏天變得難以忍受。它後來被拆除。 In 2018, the city replaced some of the slabs of glass with trachyte, but during the pandemic, when national television filmed people walking over the bridge to illustrate the return to normalcy after a lockdown, it inevitably caught someone slipping. Last year, the administration gathered the funds to fully replace the glass. 2018年，該市用粗面岩取代了一些玻璃板，但在疫情期間，當國家電視台拍攝人們走過橋以說明封鎖后恢復正常時，它不可避免地抓住了某人滑倒。去年，政府籌集資金以完全更換玻璃。 “We can't always do poetry,” Zaccariotto said. “We must give security.” 「我們不能老是搞浪漫」，札卡里歐托說，「我們必須保障安全」。Source article: https://udn.com/news/story/6904/6076910

Si te preguntabas por qué ya no puedes escuchar Gente 2020 aquí, es porque estamos en exclusiva en Podimo. Nueva temporada con invitadas TOP: artistas, médicas, cómicas... vamos, saca el mezcalito y sintoniza porque no te lo puedes perder

El majestuoso edificio diseñado por el arquitecto valenciano Santiago Calatrava se presenta como una gran escultura de alto contenido simbólico.

Synopsis On today's date in 2001, the Present Music ensemble premiered a new piece of music entitled “Flight Box” at the grand opening celebrations for a new art museum in Milwaukee, Wisconsin. The building was designed by Santiago Calatrava, and its roof looks a little like the wings of a large, graceful bird in flight—at least that's the impression that composer Kamran Ince got viewing the new structure on several visits to Milwaukee. Kamran Ince was born in Montana in 1960 to American and Turkish parents and lived in Turkey between 1966 and 1980. Not surprisingly, elements of traditional Turkish music crop up in his original works, including “Flight Box,” which was composed while Ince flew between America and Europe some seven times while working on the new piece. Ince says he completed “Flight Box” early in 2001,  and many months before the September 11th terrorist attacks in New York and Washington, D.C. Its October premiere, coming just one month after those traumatic events, added some sinister overtones to the work's title, but Ince insists it was based on his own, far happier memories of flying, or, as he put it, “it's the diary of a flight that safely reaches its destination.” Music Played in Today's Program Kamran Ince (b. 1960) — Flight Box (Present Music Ensemble; Kevin Stalheim, cond.) Present Music 6509

George Smart is the founder and executive director of USModernist, which is an award-winning nonprofit educational archive for the documentation, preservation, and promotion of residential Modernist architecture. In this free floating, fun, and inspiring conversation, we cover the philosophy and art form of Modernism, how a house “can live back at you”, the geniuses of Bjarke Ingels and Santiago Calatrava, the history of the butterfly chair and the intricate relationship between Modernism and jazz. With 8,000 houses and nearly 3.1 million pages of 20th-century architecture magazines, USModernist is America's largest open digital archive of Modernist houses and their architects. The organization has won 16 local, state, and national awards, including the 2016 AIA Institute Honors for Collaborative and Professional Achievement, the AIA's highest award for non-architects.  Photo by Elizabeth Galecke      

if you are mad at the editing it's because i was basically blackout on the second pass because CHAUVIN IS GUILTY BITCH also send us your best winamp skins get hyped for Guest Crit: https://twitter.com/guestcrit go read https://failedarchitecture.com/ follow kevin and michael: https://twitter.com/kvnrogan https://twitter.com/freecondo Our Patreon: https://www.patreon.com/wtyppod​ Our Merch: https://www.solidaritysuperstore.com/wtypp we are working on international shipping Send us stuff! our address: Well There's Your Podcasting Company PO Box 40178 Philadelphia, PA 19106 YOU ALREADY SENT US ANTHRAX so please don't bother in the future thanks

Weekly Soul, Jazz and dance music show hosted by Robbie Duncan. This week featuring Mara TK, Chicago Soul Jazz Collective, Roska, Uncle_EL,The Vision, Rochelle Jordan. DJ Bookings: https://djrobbieduncan.com/bookings Highly Medicated - Mara TK https://maratk.bandcamp.com/album/bad-meditation Her eyes are blue and sometimes gray - Chicago Soul Jazz Collective It Takes A Spark To Start A Fire by Chicago Soul Jazz Collective https://chicagosouljazzcollective.bandcamp.com/track/her-eyes-are-blue-and-sometimes-gray Some Other Time - Ayo Awosika https://ayoawosika.bandcamp.com All Along - Rochell Jordan https://rochellejordan.bandcamp.com 7 Even - Uncle EL https://uncle-el.bandcamp.com/album/blk-mgc-symbl Running ft. Chrystal & Simbad (SMBD Remix) - Roska RKS Presents: UK Funky Collection Vol 2 https://roskakickssnares.bandcamp.com Down - The Vision https://thevision.bandcamp.com Remember - The Vision https://thevision.bandcamp.com Falling In Love - Lucky Daye https://soundcloud.com/luckydaye Unfolding - Uncle EL & A. Billi Free https://uncle-el.bandcamp.com/album/blk-mgc-symbl This weeks cover art picture taken outside Museu de les Ciències, Valencia. The spectacular building designed by Santiago Calatrava contains over 26,000 square metres of exhibitions on current scientific and technical matters. Museu de les Ciències Príncipe Felipe https://goo.gl/maps/CfAvmMTK2xJ9kf7q7

Siamo arrivati a 20! Hai mai visto quella vela bianca che svetta solitaria a sud-est di Roma? È una struttura dell'architetto Santiago Calatrava e fa parte di un gigante complesso sportivo iniziato nei primi anni 2000, ma ad oggi ancora non concluso. Andiamo a conoscerne la storia! Per capire chi è Calatrava abbiamo invitato un ospite speciale: la nostra amica Chiara Virgili del podcast Dannati Architetti. Inoltre, parliamo dei Mondiali di Nuoto 2009, di milioni e milioni di euro e facciamo un tuffo nella serie tv di Suburra. Seguite Roma Oltre le Mura su Instagram @roma_oltrelemura– Per ancora più fatti e curiosità su ogni puntata – E per chiacchierare direttamente con i conduttori Erik e Marta. Ora Roma ha il suo podcast: Roma oltre le mura - Roma è sì Fontana di Trevi e Colosseo, ma è anche molto di più. Roma oltre le mura focalizza sugli aspetti della città che spesso sfuggono al primo sguardo Roma oltre le mura spinge gli ascoltatori di fermarsi e guardare Roma con occhi nuovi e scoprire tutto quello che si trova a Roma - oltre le mura. Roma Oltre le Mura e una produzione CapraBalodis. Per informazioni o collaborazioni contattate: ciao@caprabalodis.it

Você já pensou como é o dia a dia no escritório de um Star Architect? Nesse episódio recebemos o Marcio Uehara, um arquiteto que ouviu nosso episódio sobre o Santiago Calatrava e veio contar sua...

"L'interesse internazionale mostrato dai principali musei e istituzioni culturali, nonché una continua attenzione della stampa, sono giustificati dall'originalità della sua ricerca e della specifica identità di un lavoro che rifugge da qualsiasi etichetta, proiettandosi su diversi scenari e differenti livelli interpretativi, specchio di una duttilità mentale e operativa che muove dalla scultura al design, dall'architettura all'ingegneria, dalla ricerca figurativa alla sapienza strutturale, dall'espressione stilistica alla scienza del calcolo, dall'antropomorfismo alla sapienza tecnologica. L'immagine armoniosa di organismi in movimento struttura compositivamente un'enfasi espressiva che si manifesta in tutte le sue più importanti realizzazioni: dai sinuosi basculaggi delle aperture della fabbrica Ernsting's, alle raffinate membrature curvilinee a sezione variabile degli svariati progetti realizzati in tutto il mondo, fino all'appassionante successione di ponti vertebrati".Santiago Calatrava - Treccani- In memoria di Federica e Francesco -

Amado por muitos, odiado por alguns. Santiago Calatrava é um arquiteto polêmico e inspirador. Nesse episódio descubra sua metodologia criativa e algumas de suas maiores obras. Parceria: Tigre Metais. Não deixem de conferir nossos descontos:...

The Out of Band Show is back, offering a range of topics from consoles to microwaves! Join Ryan and Eric as they discuss the pros and cons of building a gaming computer versus purchasing a new PS5. Meanwhile, walk through the kitchen with Bailey as he argues about the devices in his kitchen. And Aaraf? Well, he's somewhere near a brick wall. Check out the Out of Band website here: https://oob.show Creator - Aaraf Khondaker: twitch.tv/gink0e Editor/Music - Bailey Conradt: baileyconradt.com Music/Hot Take Specialist - Eric Maccoux: maccoux.com Creator - Ryan Werner: rswerner.com

Jean Parker Phifer, New York based architect and author of Public Art New York, reads a selection about the New York Times Capsule, designed by Santiago Calatrava. This capsule is made of welded stainless steel, and is described by the artist as resembling a flower. It contains diverse artifacts of the late 20th century and will be permanently on display atop a polished black granite base until the year 3000, at which time the capsule will be opened. Derived from a sculpture series that explores the formal properties of folded spherical frames, the form of the capsule has been sliced through horizontally, forming two halves. The four top segments are hinged to the bottom four. The cavities of the segments are hollow and together contain about 50 cubic feet of storage space, allowing four tall containers to be housed inside. The items were selected from suggestions by visitors to the Museum of Natural History and the New York Times web site. They were treated with preservative, surrounded with a layer of Nanopore insulation, packed in special steel containers, and sealed.

Architetto conosciuto in Italia per le numerose cause e problemi nei suoi progetti che però, sono indubbiamente altamente spettacolari! #arhitettura #santiagocalatrava #calatrava #biografie #pontedivenezia #valencia

Todays guest is Douglas Sum. He comes with a wealth of knowledge within the facade, or 'building skin' space. With an education from the University of Hong Kong, Douglas has gone on to work with international design firms all across the pacific rim & MENA region and currently is an Associate, Façade Service Group Leader for Aurecon, a global engineering, design and advisory company. A few of his milestone projects would be the Hong Kong Disneyland, The Viceroy on the Dubai Palm, the Dubai Metro and the current tallest building in the World - the Burj Khalifa in our very own backyard. Also, he has worked as the facade-consultant team-leader on currently, another super tall, ‘cable-stayed' building in Dubai – the Dubai Creek Harbour Tower which is designed by the famous Spanish architect Santiago Calatrava. Douglas has held various leadership roles with both consultants and contractors, giving him a unique perspective of design, execution and supervision. He also brings vast knowledge across design management of the same. Currently, his interests expand to innovation and seeking any opportunities to reform the façade design entirely, by using the latest digital technology. Douglas is very active in both the professional and academic space of engineering facades. Having spoken at multiple summits across the globe, Douglas believes in educating the sector and pushing the boundaries of what can be achieved in this space. Its an honor to have him the studio today. To stay updated with our weekly episodes, please follow us on your favorite streaming platform Follow us on our socials The aForm Show - Instagram | LinkedIN Audio by Strum@ease - Instagram | Youtube . . Follow our awesome guests! Douglas Sum - LinkedIN . . Big S/O to our friends & supporters Inscape Education Management - Instagram | Facebook | LinkedIN Orange Design Group - Instagram | LinkedIN . . Want to get on the show or know someone who should be? Email us at hello@aform.studio --- Send in a voice message: https://podcasters.spotify.com/pod/show/theaformshow/message

No matter how difficult our job, there are ways to view our work and daily responsibilities that can bring out the best in us, and draw us closer to God. Listen in to learn how to be encouraged when our 9 - 5 activities are getting us down. Our relationship with our work is one of the key relationships of life. How we view what we do to earn a living tells a lot about ourselves. Some of us are blessed to be in a career we absolutely love, while others are in jobs or activities during the day that are very unsatisfying and drain the life right out of us. If the former is true for you, and you love what you do for 8 hours or more a day, listening to today’s episode may give you some insight into the people who are so different form you. It may give you some ideas to help them. But if the later describes you, where your job or daytime activities are something you dread, and are anything but fulfilling, today’s episode may offer a new way of looking at things that could change your outlook. Either way, listen in. I’ll start with a story. Our daughter and her family were in town recently for our grandson Nathan’s spring break. They came from their home in warm South Carolina to Wisconsin in April. It snowed the 2nd day they were here. They really do love us. How many people do you know who go north for spring break? For those listeners in other parts of the world outside of Wisconsin, our state is just north of Illinois where you’ll find Chicago. Wisconsin is the only state in our nation with “sin” in its name. Wis-con-SIN. Maybe that’s why we get snow in April. I live very near to the city of Milwaukee, which is about 75 miles north of Chicago, and is home to what I consider the most beautiful building in the entire state. The Milwaukee Art Museum, or what most people call it around here, simply The Calatrava. It’s named after the Spanish architect who designed a major addition to the museum, Santiago Calatrava. It was his first designed building in the US, shortly before his career skyrocketed with other beautiful structures all over the world. Each day, beginning from the night before to 10am each morning, The Calatrava here in town looks like a large white sailing ship ready to launch eastward into Lake Michigan, just several hundred yards away from its western shore. Then at exactly 10am, what looked like two white sails of this ship, slowly separate and open on its north and south sides to transform this ship into a beautiful white bird. The sails become wings. It’s breathtaking to watch. Later in the day, at 5pm, the two wings, gradually close to transform the bird back into the shape of a sailing vessel. It’s quite stunning. A true thing of beauty. The inside of this museum addition is just as beautiful. White marble floors and walls. Even the underground parking garage is all white, and it somehow lets in ambient light from outside into its cavern underground. The garage itself is worth visiting. One day during our daughter’s visit we visited The Calatrava, walking through the rooms of a traveling art exhibit, looking at paintings. And reading the description about each one. It was very quiet and peaceful. At one point I saw two gray-haired women thoroughly engaged with one particular painting. The taller of the two pointing to an specific spot on the painting, and whispering to her companion who smiled and nodded. I wanted to eavesdrop, but I think they have rules against that kind of thing in art museums. After looking at all the paintings, and wandering through the gift shop, we went downstairs to eat lunch in The Calatrava cafe. Our conversation started with how much we all liked the museum building itself, and then the paintings, and the people they depicted. Our daughter Jennifer then commented, “I felt sorry for the guards watching over each area where paintings hung. That’s got to be a really hard and boring job.” My thoughts exactly. Dressed in black pants, a cheap black suit coat, white shirt, black tie, black shoes, and black horned rim glasses. Watching to make sure no one stole any of these 6 x 8’ canvas paintings. Watching to make sure no one sprays paint on the 18th century-portraits, like someone did a few years ago on Michelangelo’s Pieta in St. Peter’s Basilica in the Rome. The guard’s job is to look for manifestations of the worst of the human condition, and then to stop such expressions. Their job is to not trust people. All day long, do not trust people. 10am - 5pm, “My job is not to trust people, to be suspicious of human beings.” What a contrast to the beauty of the art and the building they were looking out for. Daughter Jennifer’s observation reminded me of comment from a former pastor I talked to about four years ago. I was on the pastoral search team for our church and I made a call to this ex-pastor I knew, living out of state. I had spoken to him several years prior when he contacted me for help in dealing with a messy church situation. He had succeeded his father as pastor of a congregation of about 200. His father had served the church for over 30 years, and was dearly loved by the congregation. His son, not so much. Factions developed and he was beside himself in handling all the drama. He eventually resigned and found another ministry job, but not as a pastor. Several years had past by the time I called him, and he was doing well in his new position, but I contacted him to see if he would be interested in getting back in the saddle again as a pastor of our 200+ member congregation. He heard me out as I explained our congregation’s need and what we were looking for. When I asked him if he would be interested in pursing this further, he said he’d have to think and pray about it for a few days, and then he concluded with a sentence I still find a bit haunting, “I don’t know if I want to get back into the toughest job in America.” I never called him back to follow up. We have listeners in 25 countries around the globe who I’m sure could care less about the toughest job in America. You may be one of those listeners. But please hang around because today’s episode is not about America, nor about being a pastor. It’s about the human condition that sparked such a comment from my ex-pastor friend. He went through a gut-wrenching mess at his last church, and my heart went out to him. He clearly was still quite raw from the experience several years back. But is being a pastor “the toughest job in America?” Really? I know what you’re thinking now, and I am thinking the same thing. But let’s extend a little grace to the guy. His comment reflects several relationship dynamics at play in how we relate to what we do for a living, or how we spend our days making a contribution to our world. Here’s dynamic #1. When we’ve been through a really tough job situation, where we’ve suffered a lot of hurt, frustration, and disappointment. It’s easy to blame other people, and the job itself, as the source of my problem, rather than to consider the possibility I was simply not a good match to handle the challenges of that situation. I didn’t have the skills or interest to meet those challenges. Rather than saying being a pastor is the toughest job in America, a more accurate statement would be “Being a pastor AT THAT CHURCH was the toughest job in the world FOR ME at THAT TIME IN MY LIFE.” There’s no joy in being in a job where our interests and skill set is not a fit for the job. Another dynamic is that we tend to think the job we have is so unique and different to the jobs other people have, and that what we do is so much harder than what others do. The reality is: We are not nearly as unique as we think we are. As a teacher right out of college, for example, I felt I accountable to my students, to their parents, to my principle, and to the school board. Way too many “bosses” to please. People just didn’t understand how difficult this is. No one has as many people to be accountable to as a teacher. When I was a salesman, no one could appreciate how hard that was, either. No one else I knew was working on commission. No one else I knew had to deal with closing a sale from a pay phone while on vacation in a remote area of Wisconsin with one’s family. People just didn’t understand how difficult this is. As a business owner, no one else I knew had to be concerned about meeting payroll. With having enough cash in the bank so employees could cash their paychecks. No one else I knew had to fire an employee. People just didn’t understand how difficult this is. The reality is, other jobs are just as difficult as the ones I had, and many are much harder. And while the details may be different, other jobs had similar challenges. Mine were just not that unique. But we all tend to think they are. It’s dangerous to compare the difficulty of our job with the difficulty of jobs other people have. To say my job is harder than your job is to compare and evaluate myself in comparison with another person. Don’t do that. It’s envy and it’s wrong. And it’s sin. It’s also prideful, for it presupposes one accurately knows how difficult someone else’s job is. Dynamic #3 is that almost always, the job we have is the product of a choice we make. If our job is so distressing and hard, we need to quit and get another one. It may be difficult and scary to do this. There may be financial considerations. I might have to move across the country. But it’s all still a choice. No one is forcing anyone to have the job they have. We often think we don’t have a choice. But we most always do. We have more choices than we think. Accept responsibility for our own choices. And the last dynamic is that every behavior has a payoff, a benefit to it, otherwise we wouldn’t engage in that behavior. If someone chooses to be a guard at an art museum, or a pastor, there’s a benefit to it. It may certainly not be something WE want, but for the people who engage in them, there’s a payoff. Maybe the payoff to the museum guard is part-time income in a stress-free environment, boring as it is, to pay off student-loan debt. Maybe the payoff to my ex-pastor friend was to please his pastor father, who wanted his legacy carried on by his son. I don’t know what the payoffs could be. I’m just speculating and wondering. What I do know for sure is every behavior has a payoff. The challenge is knowing what that payoff could be. So what are we to do if we find ourselves in the Toughest Job in America? I have several ideas. Examine ourselves to better understand our gifts and talents, along with our limitations. To what extent can I reflect the image of God well in my current job, given how God has wired me? Re-assess the job we are in. What are the needs of the position, and how do my abilities and interests fit the needs of the job? To what extent am I using the gifts God has given me to make a positive difference in this job? If I’m not a fit, why am I staying in this job? What is keeping me for making a change? What’s the payoff to me? Is God trying to teach me something about my character while in this difficult job? Is it possible God wants me to remain i n the “toughest job in America” for reasons I don’t quite understand yet? Ask God for wisdom and discernment about my career. To what extent am I doing my job well to please God? To what extent am I trusting God to help me with the difficulties of my job? Am I willing to trust God to open up doors to a new job? These 4 ideas are all about bringing our relationship with God to bear on our relationship with our job and activities during our waking hours. He’s a resource we tend to forget is available to us in dealing with our relationship with our career. It doesn’t have to be that way. The choice is ours. If we were to do the things I just mentioned, and call upon God to help us with our work life, we wouldn’t feel the urge to compare ourselves with others, to evaluate them in comparison to our self. We’d have more compassion for others in their work, when we see their gifting and talents not matching the requirements of the work they’ve been called upon to do. We’d be grateful for whatever blessings our employment provides us. Before I close, here’s the he main take-away from today’s episode, our show in a sentence: How we relate to our job is often a reflection of how we relate to God. How can we respond to today’s show? Two things come to mind. First off, if we are employed in a job that makes good use of our abilities and interests, be ever so thankful to God for this blessing. Secondly, look around and notice those who are not similarly blessed. Think of the “museum guards” in your life who are bored to death, think of the “pastors” you know with so many stresses in their life. Then pray for them, show compassion for them, enter into their world as much as they will allow you. And, of course, leave a big tip when you pay your bill. Relationship Quote of the Week "There is no deep knowledge of God without a deep knowledge of self, and no deep knowing of self without a deep knowing of God. "    ~ John Calvin Closing Well thanks for listening in to today’s episode. Remember what you were made for. You were made to experience life-giving, fulling relationships. Even in your relationship with your work. We’re here together to learn how. See you next week. Good bye for now.

This episode is all about challenging your preconceptions - trying to think beyond our current understanding of how things are done, realizing that nothing is impossible and the importance of reaching out to other disciplines to achieve our goals.In cities such as Dubai, buildings account for around 80% of the total energy consumption. How can designers and architects begin to change the way we think in order to mitigate our effects on the planet? How can we begin to challenge our preconceptions and adopt a mode of thinking that allows us to explore unconventional solutions to today's problems?We will use the Flat Earth Theory as a point of departure to explore two concepts:the ability to imagine beyond our current understanding of physical reality and constraintseliminating self-doubtWe will use examples in recent history such as Henry Ford, Steve Jobs, Elon Musk and Boyan Slat to illustrate the myth of the 'impossible' as well as look at architects such as Jakob+MacFarlane, Frank Gehry and Santiago Calatrava who were able to utilize multiple disciplines to achieve their ideas.In this episode we discuss:The concept of the 'impossible'Perseverance and success against negativityArchitect's and their collaborations outside architecture See acast.com/privacy for privacy and opt-out information.

The Museu do Amanhã, or The Museum of Tomorrow, looks like something that emerged from the unexplored depths of the ocean to grace the sunny shores of Brazil's Rio de Janeiro. Housed inside is an extraordinary overview of our history, from the cosmos and emergence of Earth to our present day and a variety of "tomorrows" as influenced by humans impact on the planet. The Museum uses digital media, art, tech, and data to create narratives that guide visitors on a powerful and informative journey though the ages and into the future, all the while addressing the need for change if humankind is to avoid extinction. In this episode we speak with the Museum's Exhibitions Manager, Leonardo Menezes about how and why The Museum of Tomorrow "combines the accuracy of science with the expressiveness of art" in its presentation, what their mission is, and where they see the future is headed.-About The Museu do Amanhã (The Museum of Tomorrow)-A new icon of the modernization of Rio de Janeiro’s harbor, the Museum of Tomorrow was born in the Praça Mauá as a science museum meant to explore, imagine, and conceive all the possibilities for constructing the future. An experimental museum, where the content is presented through a narrative that combines the accuracy of science with the expressiveness of art, using technology as a support in interactive environments and audiovisual and gaming facilities created from scientific studies conducted by experts and data released all over the world.Designed by the Spanish architect Santiago Calatrava, the building - whose organic shapes were inspired by the bromeliads of the Botanic Garden of the city - occupies an area of 15 thousand square meters, surrounded by reflecting pools, gardens, a bike lane, and a leisure area, all adding up to 34.6 thousand square meters of the Píer Mauá.The Museum of Tomorrow is an initiative of the administration of the city of Rio de Janeiro, conceived and carried out along the Roberto Marinho Foundation, an institution associated with the Grupo Globo, and has the Santander bank as its main sponsor. It also has the support of Shell, the administration of the state of Rio de Janeiro (through the Environment Office), and the Federal Government (through FINEP, the Projects and Studies Financing). The institution is part of a museum network supported by the Local Cultural Office. The IDG (Institute of Development and Management), a cultural non-profit, is responsible for the administration of the museum.Like them on FacebookTweet them @museudoamanhaFollow them @museudoamanha

In this episode of LIGHT TALK, the Lumen Brothers interview architectural lighting designer Steven Rosen. Join Steve, Stan, David, and Steven as they pontificate about All you ever wanted to know about Revit, Cool ways to control light, Stopping traffic by walking in front of self-driving cars, Synchronizing lighting with the actions of real life, How to use technology in design ideas that clients find compelling, Creating new LED colors, DIALux vs. AGi32, Love for Santiago Calatrava, Students not taking advantage of their opportunities, the IALD Education Trust, Lighting is like music, Clients not using the latest technology to make their spaces better, Stan remotely changing the lighting in his house from Chicago, David’s Napoli Report, Love those B-Eyes, the Insane streets of Napoli, and "The Goofballs of Lighting" Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

#IwannagotoSpain with Eloy and Nina XXIV International Architecture & Interior Design Exposition in Spain In the world of porcelain, stone and ceramic wall & floor design, there are two key international exhibitions that take place every year - Cersaie in Bologna, Italy during the close of September and Cevisama in Valencia, Spain. Earlier this year, The Chaise Lounge along with sponsor Porcelanosa visited the Spanish Group's exhibition which ran concurrently with Cevisama. The following shows recap some of the highlights of the tour with guests sharing their individual and collective experience from the trip, the inspiration for which was the Chaise Lounge's social media competition #Let'sGoToSpain. Eloy Selles Eloy Selles is the General Manager of the West Coast of the United States for Porcelanosa. A native of Madrid, he can now be found in the company's Southern California offices. Eloy Selles and Nick discuss the itinerary that sees guests take in three major cities and eight factories over a whirlwind five day period, where the emphasis plays to enjoying all that Spain has to offer in culture, hospitality, gastronomy and of course, great design. Some of Porcelanosa's newest product launches that were displayed on the trip included Tono by Foster + Partners, Vitae by Zaha Hadid, K-LIFE by KRION®, and the Seedwood collection by VENIS. It is clear that Eloy Selles could not be happier or more proud than when he's hosting clients and guests in his homeland. The experience of touring the most modern High-Tec manufacturing facilities and artistically designed showrooms leaves visitors with lasting memories and inspiration. Nick recounts some of the highlights which included Santiago Calatrava's modern City of Arts and Sciences in Valencia, the work of Antoni Gaudí' in Barcelona – from La SagradaFamília to Park Güell – and the countless restaurants and boutique hotels enjoyed along the way. Above: from left: Tomas Palomar: Porcelanosa International Division, Nick May: The Chaise Lounge, Nina Magon: Contour Interior Design, Pratibha Naware: Marriott International, Maria Jose Soriano: President of Porcelanosa Group, Kelli Ellis: Kelli Ellis Interior Design, Andrew Pennington: Porcelanosa USA, Lina Goldberg: HBG Design, Jessie Clayton: Jessie Clayton Designs Nina Magon Nina is the Principal of Contour Interior Design and was familiar with Porcelanosa before the trip but was not aware of the extent of the company's offering beyond tile. Nina chats with Nick about the value she gained from the experience, the sincerity of the customer service and absolute absence of any agenda to overtly promote product to the group at any point. Nina enjoyed everything on the trip during the group's hectic days together. One outstanding memory was the timely coincidence of joining the crowds in Valencia during the Las Fallas Festival. Enroute to Madrid the group had just finished touring the last factory in time to witness daytime fireworks with what seemed to be a million people celebrating Valencian culture in the center of the city in the early afternoon. Nina's undoubted opinion is that anybody who has the opportunity to join a Porcelanosa design trip to Spain is blessed, high praise indeed from a former guest on The Chaise Lounge. Currently, Nina and Contour Interior Design are working on a multitude of projects - including the owner suites at Minute Maid Park for the Houston Astros, a medical center and a 42,000 sq. ft. office building. Nina was also chosen as a blogger for the 2017 High Point Market to talk about her favorite products as a trend spotter for the new season. Her blog, Live Stylish Daily was awarded Best New Design Blog during the National Design Bloggers Conference in Atlanta and she'll join Nick on the Chaise Lounge High Point panel Hospitality Insiders Share All: What it Takes to be a Designer in the Hospitality Sector. Upcoming Events High Point Market – Oct 14 – 18 BDNY  – Nov 12 – 13 KBIS – Jan 9 – 11

#IwannagotoSpain with Eloy and Nina XXIV International Architecture & Interior Design Exposition in Spain In the world of porcelain, stone and ceramic wall & floor design, there are two key international exhibitions that take place every year - Cersaie in Bologna, Italy during the close of September and Cevisama in Valencia, Spain. Earlier this year, The Chaise Lounge along with sponsor Porcelanosa visited the Spanish Group's exhibition which ran concurrently with Cevisama. The following shows recap some of the highlights of the tour with guests sharing their individual and collective experience from the trip, the inspiration for which was the Chaise Lounge's social media competition #Let'sGoToSpain. Eloy Selles Eloy Selles is the General Manager of the West Coast of the United States for Porcelanosa. A native of Madrid, he can now be found in the company's Southern California offices. Eloy Selles and Nick discuss the itinerary that sees guests take in three major cities and eight factories over a whirlwind five day period, where the emphasis plays to enjoying all that Spain has to offer in culture, hospitality, gastronomy and of course, great design. Some of Porcelanosa's newest product launches that were displayed on the trip included Tono by Foster + Partners, Vitae by Zaha Hadid, K-LIFE by KRION®, and the Seedwood collection by VENIS. It is clear that Eloy Selles could not be happier or more proud than when he's hosting clients and guests in his homeland. The experience of touring the most modern High-Tec manufacturing facilities and artistically designed showrooms leaves visitors with lasting memories and inspiration. Nick recounts some of the highlights which included Santiago Calatrava's modern City of Arts and Sciences in Valencia, the work of Antoni Gaudí' in Barcelona – from La SagradaFamília to Park Güell – and the countless restaurants and boutique hotels enjoyed along the way. Above: from left: Tomas Palomar: Porcelanosa International Division, Nick May: The Chaise Lounge, Nina Magon: Contour Interior Design, Pratibha Naware: Marriott International, Maria Jose Soriano: President of Porcelanosa Group, Kelli Ellis: Kelli Ellis Interior Design, Andrew Pennington: Porcelanosa USA, Lina Goldberg: HBG Design, Jessie Clayton: Jessie Clayton Designs Nina Magon Nina is the Principal of Contour Interior Design and was familiar with Porcelanosa before the trip but was not aware of the extent of the company's offering beyond tile. Nina chats with Nick about the value she gained from the experience, the sincerity of the customer service and absolute absence of any agenda to overtly promote product to the group at any point. Nina enjoyed everything on the trip during the group's hectic days together. One outstanding memory was the timely coincidence of joining the crowds in Valencia during the Las Fallas Festival. Enroute to Madrid the group had just finished touring the last factory in time to witness daytime fireworks with what seemed to be a million people celebrating Valencian culture in the center of the city in the early afternoon. Nina's undoubted opinion is that anybody who has the opportunity to join a Porcelanosa design trip to Spain is blessed, high praise indeed from a former guest on The Chaise Lounge. Currently, Nina and Contour Interior Design are working on a multitude of projects - including the owner suites at Minute Maid Park for the Houston Astros, a medical center and a 42,000 sq. ft. office building. Nina was also chosen as a blogger for the 2017 High Point Market to talk about her favorite products as a trend spotter for the new season. Her blog, Live Stylish Daily was awarded Best New Design Blog during the National Design Bloggers Conference in Atlanta and she'll join Nick on the Chaise Lounge High Point panel Hospitality Insiders Share All: What it Takes to be a Designer in the Hospitality Sector. Upcoming Events High Point Market – Oct 14 – 18 BDNY  – Nov 12 – 13 KBIS – Jan 9 – 11

Skyskrapan Turning torso i Malmös västra hamn är den mest kända svenska signaturbyggnaden. Europas högsta bostadshus när det invigdes 2005, ritat av den världsberömde arkitekten Santiago Calatrava.Men historien om Turning torso är minst lika skruvad och vriden som själva tornet. P1 Kulturs Mattias Berg berättar den historien - som på sätt och vis börjar redan före första världskriget. - Det är ett skådespel dygnet runt. På dagen har vi naturligtvis vattnet, på natten alla ljus som tänds upp i staden, bilarna rör sig, det tänds och släcks, trafikljus Hela flödet i Malmö, som gör byggnaden till ett konstverk dygnet runt på något sätt.Ja, här står vi. Jag och han som varit Concierge på Turning torso ända sedan öppningsdagen 2005, Jan Andersson, en bra bit ovanför Malmös västra hamn. Högst upp i skyskrapan som skruvar sig runt sin egen axel till synes utan ansträngning, som en balettdansös.Det är den nog allra mest kända svenska signaturbyggnaden, konstruerad av en världens mest berömda arkitekter, ditbaxad av en lokal superentreprenör.I dag liknar den häpnadsväckande välhållen science fiction. Resultatet av de visioner som mer eller mindre medvetet uppkom inför millennieskiftet: om hur framtiden skulle se ut. Före, under och efter byggprocessen i början av 2000-talet dessutom hemsökt av ständiga konflikter, som tycktes få tornet att vrida sig i plågor och ingenting annat.Men nu är det slutet av 2016 och allt känns lugnt härinne.Vad är det för rum vi befinner oss i? - Nu står vi i ett av våra konferensrum, på våning 54. Det ligger 179 meter över marken i byggnaden som är 190 meter hög. Det här rummet är 130 kvadratmeter och här kan man vara 75 personer och vi får lov att ha högst 120 personer samtidigt på plan 53 och 54, av säkerhetsskäl, säger Jan Andersson.Finns det någon siffra du inte kan? - Inte av värde. Men jag vet inte hur många skruvar vi använt i huset eller hur många meter kabel, för det har varit omöjligt att ta reda på.- Här till vänster ser du då Öresundsbron, Saltholmen, de små öarna där: Flakfort och Middelgrund, som ligger mellan Malmö och Köpenhamn. Och så är det Kastrup, du ser Örestad, de svarta höga husen där borta, och Köpenhamn. Sedan har du kusten där upp mot Helsingör.Jag måste erkänna att jag har svindel men känner ingenting sådant härinne. Har du svindel? - Jag hade det innan jag började med Turning torso, men inte nu. Det var någonting jag var tvungen att vänja mig av med för i början var man här när det inte fanns några ytterväggar, då man var tvungen att ha livlina på. Så, nej jag kan inte säga att jag har svindel.Det måste ha varit nästan tortyr, kan jag tänka: att tvingas vara häruppe då om man har svindel. - Ja, det var tufft i början. Byggarna stressade mig lite grann och sade: Det är klart du ska med upp. Nej, jag väntar tills väggarna är färdiga och hissen är på plats, försökte jag. Men de fick med mig upp i bygghissen som fanns på utsidan. Och du vet hur en sådan är, den skramlar och har nät under så man kan se rakt ned på marken Det tog tre och en halv minut att åka upp till taket med den medan det tar 38 sekunder med den riktiga hissen nuförtiden. Men de stressade mig så att jag var tvungen att göra det. Och efter det har jag inte haft några som helst problem med svindel, säger Jan Andersson.*Historien om den spanske arkitekten Santiago Calatravas spetsprojekt Europas högsta bostadshus är ungefär lika skruvad som själva byggnaden. Vrider sig även den kring sin egen axel: börjar i Malmö men slutar på Malta, efter att ha snurrat minst ett halvt varv på vägen.Mellan vision och verklighet, från de första tankegångarna vid mitten av 90-talet till den försenade och gravt fördyrade invigningen år 2005. Eller, om man så vill: mellan folkhemmet och formel ett.Vi återkommer till allt det där och börjar på vårvintern 2001.(Ur Kulturnytt 2001:)I går togs det första spadtaget till skrapan, som ska stå klar i början av 2003. Kulturnytts Leo Gullbring var på plats vid grävandet och på plats var också stjärnarkitekten Santiago Calatrava. Han var byggt stort och uppmärksammat över hela världen. Men nu är han alltså i Malmö för att bygga skrapa.(Calatravas egen röst.)Ja, det är inget underligt med att bygga skyskrapa i Malmö, säger Santiago Calatrava. Ni har ju redan Kronprinsen, där människor bor på höjden. Dessutom är skyskrapor ekologiska: de kräver mindre markyta än vanliga hus.Nå, hur ska då den här 187 meter höga skyskrapan se ut? Calatrava travar upp en rad kuber, som vrider sig runt en axel. Det påminner om en klassisk skulptur. Och det är just kännetecknande för Calatrava att han låter sig inspireras av människors och djurs anatomi. Turning torso erbjuder visserligen inga asymmetriska överraskningsmoment, som i många av hans andra projekt, men det finns en vila och balans i rörelsen som kommer att ge Malmös västra hamn ett alldeles speciellt riktmärke. Men samtidigt kommer Turning torso bli en underlig skapelse: en ensam skulptur, vars kraft utmanar hela området och som anger en helt annan skala. Varför blir det inte fler torn? Varför passar man inte på att bygga ett Malmö downtown? Men den indirekta starten av Turning Torso-projektet, hela det här bokstavliga framtidsbygget, går att spåra långt mycket tidigare än under bostadsmässan Bo01 i Västra hamnen.(Ur Radioarkivet 1943:)Vad som sker på ett varv är så påtagligt. Stora stapelbäddar bredvid varandra, med sina kranbryggor. På stapelbäddarna järnskelett till fartyg på tusentals ton i olika stadier av fullkomning. Från sådana som bara har de massiva bottenplåtarna sträckta, över sådana där spanten som väldiga revben av stål pekar upp i höjden, till sådana som redan fått skelettet täckt av en hopsvetsad hud av järn och stål. Lyftkranar och vinschar i rörelse överallt, släggor dåna mot plåt, och på smäckra ställningar utanför och inuti fartygsskroven rör sig arbetarna som myror, ofta på ganska svindlande höjder.Ja, kanske är det här, på Kockums mitt under andra världskriget i hjärtat av den malmöitiska varvsindustri som då verkligen började blomstra som även historien om Turning Torso tar sin början. Med stadens första dramatiska landmärke: Kockums-kranen. Eller kanske ännu långt tidigare, med den så kallade Baltiska utställningen i Malmö 1914.Jag träffar statsvetaren Dalia Mukhtar-Landgren på hennes tjänsterum vid universitet i Lund för att reda ut perspektiven. Hon har doktorerat på den så kallade platsmarknadsföringen av Malmö, där både Bo01 och Turning Torso var centrala ingredienser.- För mig, när jag började forskarutbildningen 2002, var det så paradoxalt att Malmö som ju var en stad med stora sociala klyftor och tydliga ekonomiska problem plötsligt arrangerade den här bomässan i Västra hamnen. Jag minns så väl att det kostade 150 kronor i inträde. Folk var ju vansinniga på att en stad med stora sociala klyftor hade en bomässa med lyxbostäder, som man beskrev det då, och där vanliga Malmöbor alltså skulle betala 150 kronor för att komma in.- Även för mig framstod det här som oerhört paradoxalt. Så jag försökte nysta i det: Vad är det som gör det här möjligt? Hur kan man helt försöka tänka om en stad, skapa en ny identitet? Då började jag undersöka om Malmö har deltagit i sådant här tidigare. Stockholmsutställningen är ju väldigt välkänd, men i viss utsträckning även Baltiska utställningen i Malmö. Så jag läste om Baltiska utställningen, gick tillbaka till arkivmaterial från 1913 och 1914 och upptäckte då att det fanns väldigt mycket likheter med Bo01. Dels att man ju faktiskt planerade staden för en utställning, dels den här kritiken som fanns redan då: att det här bara var ett spektakel för de rika.(Musik.) Vad vi hör är en inspelning av Malmövalsen från 1917. Titeln är På Baltiskan, vilket alltså hänvisar till den berömda utställningen i staden några år tidigare.- Och så såg jag det att den här bilden av att man ska använda staden lite som ett varumärke är ju något som varit kännetecknande under en väldigt lång tid. Ja, jag landade i Eiffeltornet och den typen av stora byggnader som man använde i vad man på den tiden kallade fredlig täflan mellan olika industriländer, säger Dalia Mu- Det finns ju en bild av Malmö i svensk kontext som en väldigt framstående industristad, ibland har den beskrivits som Den svenska modellens vagga och så vidare. Och det finns också en föreställning om att den här typen av utställningar, uppseendeväckande byggnader och liknande är viktigt för att skapa en bild av en stad. Hit ska du komma och investera, här ska du bo och arbeta!- I dag pratar vi om det som kallas Trickle-down-economy, det vill säga en sorts nedsippringseffekt. Att om du satsar mycket på den här typen av evenemang så sätter det staden på kartan, lockar företag och invånare, turister, som kommer att investera och de här pengarna kommer sedan att sippra ned och komma hela befolkningen till godo.Hur kommer då Turning torso in i detta?- Om vi tänker i ett principiellt, teoretiskt, perspektiv så fanns det ju en föreställning om att den här platsmarknadsföringen var nödvändig för att vända skutan, som man ofta talade om i de här gamla industristäderna. Och då var arkitektoniska flaggskepp en del av detta. Man talade om Bilbao, Guggenheim-museet där, och Bilbao-effekten. Det fanns också andra goda exempel på hur en uppseendeväckande ny byggnad kunde sätta staden på kartan. Så Turning torso ingår, kan man säga, i ett program av åtgärder för att ändra identiteten, säger Dalia Mukhtar-Landgren.  Men att ändra en stads identitet är knappast någon vals på rosor. Inte ens i Malmö kring millennieskiftet, med ett så skriande behov, efter varvsnedläggningar och strukturomvandling.2002 monteras också Kockums-kranen till slut ned och baxas iväg till Sydkorea där den sägs kallas för Malmös tårar i folkmun. Ändå var ju staden på väg att få ett nytt landmärke, egendomligt vältajmat med bortforslandet av det tidigare.Fast saker och ting gick inte riktigt som det skulle med Turning torso. Så här lät det i Ekot sommaren 2004:Extrastämman var stängd för utomstående och hölls med anledning av de ekonomiska problemen med bygget. Nyligen beslutade HSB Malmö att lägenheterna i Turning torso ska hyras ut, eftersom bostadsrätterna varit svårsålda.Men problemet med att sälja lägenheterna, som blev alltför dyra på grund av hela byggets skenande kostnader, var bara ett i raden. På vägen tycktes samtliga närmast inblandade hamna på gränsen till nervsammanbrott under eviga diskussioner och skärmytslingar. Även stjärnarkitekten själv.(Ljud ur dokumentär.)I Fredrik Gerttens fantastiska dokumentärfilm från 2005, Sossen, arkitekten och det skruvade huset, får vi bokstavligen följa med bakom Turning torsos kulisser. Här hörde vi Santiago Calatrava klaga på den mentala temperaturen, under ett minst sagt förtätat möte mellan arkitektens eget folk från Spanien och HSB:s ansvariga för bygget på plats i Malmö, och på vad han menar är en döv dialog.Men det är nu dags att introducera Johnny Örbäck. Han som kallas Sossen i dokumentärens titel och som kanske ändå spelar själva huvudrollen i den här historien. Den lokale HSB-chefen och superentreprenören som lyckades få Calatrava att bygga Europas högsta bostadshus i just Malmö av alla ställen. Och dessutom för HSB:s räkning: bostadsbolaget med rötterna djupt i det socialdemokratiska folkhemmet.I dokumentären får vi verkligen insyn i Johnny Örbäcks tankar:(Ur dokumentären.)Jag har funderat mycket på morgondagen, naturligtvis. Att konstatera att vi har åt helvete för höga kostnader sedan blir det ju mitt problem att försöka hitta en förklaring till det. När vi drog igång det här så skulle vi vara färdiga 2002 och nu kommer vi vara färdiga till 2005. När jag träffar 350-400 HSB:are i morgon så är det viktigaste för dem ja, dels är det ju deras inställning, naturligtvis, till projektet. Det gäller att försöka förflytta den så att de ändå ska se att det faktiskt är ganska naturligt att det är HSB som gör det här. och även vara med under själva det här avgörande mötet:(Ur dokumentären.)HSB-vänner: jag har naturligtvis under den här resans gång funderat väldigt mycket. Men inte med utgångspunkt i den kritik som kommer utifrån, att det enda jag håller på med är att bygga ett monument över mig själv. Det är inte det som man tar åt sig av. Det som man naturligtvis tar sig en fundera över, och som jag har gjort, är när man fångas och det måste jag ju säga att jag gjort, fångats oerhört mycket av projektet Turning torso. Från första gången jag såg skulpturen och kände att: Tänk att inom ramen för HSB få skapa ett bostadshus av detta! Det är en fantastisk känsla som en Formel 1-bil. Vad är det då Formel 1 står för? Ja, naturligtvis är det spetsigt, det ligger långt fram, det är ett fåtal som sysslar med det inledningsvis. Men vad är det som händer sedan? Jo, det mesta av det vi ser utvecklas i Formel 1-bilar blir förr eller senare standard. liksom på en senare HSB-sammankomst, efter det att chefen Johnny Örbäck inte beviljats ansvarsfrihet.(Ur dokumentären.)Ja, som ni förstår är hjärtat och huvudet fullt av väldigt mycket kring det här just nu. Jag vill bara bli rättvist behandlad! Det är det enda! På de punkter jag brustit så tar jag mitt ansvar. Det finns så oerhört mycket i det här och skälet till att jag gick hit i dag det var naturligtvis att jag fick en chock när jag inte fick ansvarsfrihet och därför ville jag lyssna till vad de egentliga skälen var. Det är ju som att hamna i ett häkte, det hoppas jag att folk förstår: man är ju fullständigt utestängd från arbetsmarknaden. Så jag tar mitt ansvar men jag vill banne mig ta ansvar för det jag har brustit i, men inte på en massa andra punkter! I den här smärtpunkten tycks historien om Santiago Calatrava, HSB, Turning Torso och Johnny Örbäck sluta. Men allt finns ju kvar: allting överlevde. Arkitekten, organisationen, byggnaden liksom entreprenören själv.Nuförtiden håller han till på Malta, efter en turbulent tid under egentligen hela 00-talet. Från byggstarten av Turning Torso och fram till och med en annan ekonomisk härva inom HSB Malmö. För den dömdes också Johnny Örbäck till långt fängelsestraff, innan han sedan blev frikänd i högre instans.När jag nu ett drygt decennium efter invigningen av Turning Torso 2005 ringer upp honom på Malta, frågar jag hur Örbäck i dag ser på hela den här processen.Han börjar med att säga att det mesta bokstavligen gick enligt ritningarna ända fram till hösten 2001.- Sedan hände det någonting, när de flög in med flygplanen i World Trade Center. Då började journalisterna att ställa mycket frågor. De gick även till konsulter vi anlitade, som fick lite kalla fötter. Jag var överens med Calatrava om att mängden betong och armering räckte för att det skulle vara ett ytterst tryggt hus och dessutom var byggtekniken helt annan än den i World Trade Center. Men nervositeten steg och det kom artiklar i tidningarna Vi hade då en lista med folk som ville köpa bostadsrätt i huset och de började bli oroliga. Jag hade bara en enda sak att göra: in med mer betong, in med mer armering. Det fanns inget annat att göra, jag var tvungen att stilla opinionen!Du hamnade ju också i ett rättsfall, den här Luxemburghärvan i HSB, med pengar som försvann dit. Och du dömdes till och med till i Tingsrätten till 1,5 års fängelse, vilket sedan upphävdes av Hovrätten 2008 Hur tänker du på det där nuförtiden?- Det som var det värsta var tidsutdräkten: det tog ju två och ett halvt, nästan tre år. Vad jag förstår så var det ju Skattemyndigheten som gjorde en granskning av två stycken affärer som jag var inblandad i, för HSB Malmös räkning, och som de började ställa frågor kring.Hur kommer det sig att du bor på Malta i dag? Det har inget med detta att göra, eller?- Nej, det har det inte. Möjligen på så sätt att jag kände att det skulle vara svårt att få uppdrag: många resonerar ju ingen rök utan eld. Och jag ville inte hamna i situationen att bara höra att Nej, vi har inte utrymme för dig här eller Vi tackar nej till ditt erbjudande. Det ville jag inte höra, för det trycker ju ner en om något. Så då sade vi att vi hittar på något annat! Och då blev det Malta.Tycker du att du har uppskattas tillräckligt för din roll i skapandet av Turning torso?Nja, under en viss period så många som inte befann sig i Malmö trodde ju att det här åtalet hade något med Turning torso att göra. Men i övrigt har jag fått nog många klappar på axeln.Där lämnar vi den omstridde Johnny Örbäck på sitt Malta. Uppe i Turning torso går Jan Andersson fortfarande längs fönstren och spanar ut över sin hemtrakt.- Jag blir aldrig trött på utsikten! Det är något nytt varje dag, beroende på hur vädret är. Ibland kan det vara så att molnen ligger utanför fönstren här som ett bomullstäcke, som i ett flygplan på väg ned för landning. Ibland när man kommer hit på morgonen så är det helt mulet där nere medan solen skiner häruppe, från en blå himmel. Man ser hur området här vid hamnen utvecklas, hur man bygger. Eftersom jag vet vad som ska hända under de närmaste sexton åren framöver så är det spännande att se när man de facto börjar bygga och utveckla, vad som ska rivas och vad som ska vara kvarHann du träffa Calatrava?- Jajamen! Jag träffade honom flera gånger under byggnationen och sedan den 20 november 2015, då jag fick äran att åka till Chicago och hämta pris på vad man kan kalla höghusens Oscargala. Vi fick pris för att Turning torso är det hus som har betytt mest för arkitekter och nytänkande de senaste tio åren över hela världen. Pris nummer 14, för övrigt, som huset har fått under 10 år, säger Jan Andersson.Det var ju en ganska turbulent förhistoria. Först denna enorma vision, där Johnny Örbäck var någon sorts hjälte, och sedan blev han motsatsen: någon sorts syndabock. Hur ser du på den utvecklingen?- Ja, jag säger att utan Johnny Örbäcks idé om Turning torso hade vi inte haft det här landmärket, som har satt Malmö och Sverige på kartan inför hela världen. Jag vet: jag har haft föredrag för 120 000 personer under elva år, från USA, Korea, Japan, Kina. Då vill man veta hur vi byggde det, varför, och vad det är för teknik vi använt. Hur har vi fått huset att i den här vridna formen, hur gammalt huset kan bliHur gammalt kan huset bli?- Hundra år är den absoluta livslängden. Den tänkta livslängden, säger Jan Andersson.*Jag frågar statsvetaren Dalia Mukhtar-Landgren på Lunds universitet om hur Turning torso landat i opinionen, ett drygt decennium efter invigning.- Det är svårt att säga. Västra Hamnen har på något sätt blivit lite mer folkligt än vad man tänkte sig, i och med att det är många som åker och badar där och så. Och Turning torso är ju ändå ett landmärke med många turister som åker dit.- Sedan är ju Malmö en gammal industristad och jag tror att det är kännetecknande med de här starka männen. Även Kommunstyrelsens tidigare ordförande Ilmar Reepalu förknippas ju med mycket av allt detta: som om det skulle vara han personligen som gjort det. Ja, man väljer ut enskilda män som bygger höga hus och så tycker man att det är Ja, jag vet inte.Har då hela den här platsmarknadsföringen i Malmö varit lyckad?- Man har ju verkligen lyckats med det man föresatt sig: att skapa en ny identitet för Malmö. Jag vet att Malmö ofta ses som så kallad Best Practice i EU-sammanhang, alltså ett gott exempel på hur man vänder den här skutan och skapar det här nya postindustriella sammanhanget. Men talar man i bredare sociala termer så är ju Malmö fortfarande en stad med stora sociala klyftor, säger Dalia Mukhtar-Landgren.- Det har ju funnits en bild hos tjänstemän och politiker som jag intervjuat att det här är det som vi behöver göra för att skapa arbetstillfällen i Malmö. Man har nog verkligen trott på den här Trickle down-tanken: att det här ska kunna omformuleras och skapa nya för alla. Sedan har det ju inte blivit så. Det ser vi ju, att klyftorna ökar i Malmö och att det är väldigt stora skillnader mellan olika bostadsområden.- De här gamla industristäderna är ju ofta hamnstäder och det är ofta städer med hög arbetslöshet, till följd av industrinedläggningar eller omflyttningar. Det är också städer med hög andel med utländsk bakgrund, många invandrare. Och tidigare osynliggjorde man i stor utsträckning klyftor i städer: man ansåg inte att det var attraktivt eller något man kunde locka företag med. Sedan har ju det förändrats till att man har börjat se det här mångkulturella som en resurs: bilden av det kosmopolitiska, det här lite spännande, de indiska kryddorna som hänger i luften på Möllevångstorget i Malmö, för att visa på någon sorts internationell kosmopolitisk touch i staden. Och samtidigt har man ju i stor utsträckning också osynliggjort både de sociala klyftorna som finns i städerna liksom de delar av befolkningen man inte upplevt som tillräckligt attraktiv för att visa upp, säger Dalia Mukhtar-Landgren.- Vad vi ser i en svensk kontext är ju en urbanisering: folk flyttar till stora städer. Men vi har också många städer i dag som är utflyttningskommuner. Många av dem har också försökt att lösa problemet genom den här typen av marknadsföringssatsningar. Man har i det varit väldigt inspirerad av en forskare som heter Richard Florida, som också varit här i Sverige. Men nu har även Florida vänt lite, och även litteraturen vänder och menar att folk inte nödvändigtvis flyttar till de hippaste städerna utan dem med bäst vård, skola och omsorg. Att människor baserar sina val på kanske andra faktorer än vad man kanske antagit. Den här kreativa klassen kanske ändå inte är så stor. Det kanske inte är den som i högsta grad bidrar till skattekraften i en svensk kontext utan det är ju en 45-årig sjuksköterska med 2,1 barn som man kanske ska locka. Och inte den här unga dataspelsutvecklande killen på skateboard.Du bor själv i Malmö. Vad tänker du när du ser Turning torso?- Jag har en femåring, som tror att Storm Troopers i Star Wars bor där. Det är väl delvis för att jag sagt att de gör det, men det ser verkligen ut som ett sådant hus där de skulle kunna bo, säger Dalia Mukhtar-Landgren.*Så tornet från framtiden står där och vrider sig bekymmerslöst kring sin egen axel, solar sig i glansen, prålar med sin egen skönhet. Vajar knappt märkbart i opinionsvinden.Hur känns det när det blåser riktigt mycket häruppe?- Det är ju inte så att det gungar, jag skulle nog mer vilja beskriva det som vibrationer på en färja mellan Malmö och Tyskland. Man känner alltid vibrationer på den och så är det häruppe också, beroende naturligtvis på hur mycket det blåser. Men hyresgästerna märker det: de har filmat när deras taklampor gungar lite fram och tillbaka. Så visst rör huset sig. Och det måste det ju göra.Jag skulle nog känna mig tryggare på havet då, på en färja, än i lufthavet. Hur är det med dig?- Ja, om vi ska jämföra det så hade jag nog kanske känt mig tryggare på havet om det blåser ordentligt, säger Jan Andersson.Mattias Berg mattias.berg@sr.se

Show Notes: My Mission There are many architects that I’ve considered to be great designers and world changers. When it comes to creating space and our environment. Alvar Aalto, Tadao Ando, Santiago Calatrava, Zaha Hadid, Le Corbusier, Mies van der Rohe, Louis Kahn, IM Pei, Norman Foster, and Frank Lloyd Wright. They all have meaning […]

https://entrearchitect.com/wp-content/uploads/2016/07/pY7Ps7Vx.jpeg ()Most of us, when we launched our firms, we started solo, working by ourselves from a small private studio and wearing every hat required to run a successful architecture firm. We worked that way for as long as we could, but we finally reached a point when we knew it was time to get some help but how? Where do I look? What if I hire the wrong person? How am I going to pay them week after week. That first hire is a pivotal point in every successful architecture firm. This week at EntreArchitect Podcast residential architect Marica McKeel joined Mark R. LePage to talk about How to Overcome the Fear of Hiring Your First Employee. Marica’s journey began when she was recruited as a diver at North Carolina State University, where she decided to study architecture. After graduating, she moved back to Tampa to work for a commercial architecture firm. When she had a project for a multi-family space, she realized she loved the residential side of architecture. She pursued a masters at Parsons Fashion, Art and Design School in New York, where she fell in love with the New York City. She was hired at Santiago Calatrava, where she worked on the Chicago Spire, the PATH Station at Ground Zero and Santiago’s personal home in Connecticut. In 2010, after seeing the great desire for weekend homes by those who lived and worked in the city, she ventured out to start her own residential architecture firm. In the last year, she went from a solo firm to three employees. Q: How long were you in business before your first employee? A: 4 years. Q: What made you say, “I need to get an employee”? A: I was trying to maintain a client-happy business. If I failed at that because I was unable to keep up with my projects, I was doing my clients a disservice. Q: How did you start out hiring someone? A: I hired a contractor I was familiar with who worked about 60% of the time to test the waters. I quickly realized that he had other things going on and he wasn’t 100% focused on being part of my team. Q: Do you see that first hire as a mistake? A: I see it as a stepping stone. If I were to give someone advice, I would say you don’t need that stepping stone. For me, I needed someone quickly and I probably would have rushed a hiring decision. Q: What role did you hire for the first time? Was it a high level or low level person? A: You’re typically supposed to hire a high level person so you don’t have to teach as much. I hired someone straight out of undergrad at an entry-level role, and her energy and excitement might be more important than anything else. Q: What was the process you went through to hire the first person? A: I put out a job ad on Archinect and filtered through those applications. I was looking for those who did their research: they knew who I was, what type of work I did and what was important to me. I wanted them to want to work for my firm. Q: Once you found your top 3, how did you decide on the right person? A: Mostly based on the conversation, but I could have probably narrowed it down to the cover letter. As architects, we have to present ourselves well. Q: Can you tell us about hire #2? A: The second hire was someone I’d worked with for years and always hoped would come to work for me eventually. She called two months after the first hire, and I said, “Absolutely. Let’s do this.” She is a partner without having a partner. She runs the office and loves a challenge, so I was able to unload a lot of my responsibility to her so I could get back to being an architect. Q: Why did you choose to hire a third employee in less than a year? A: Mainly because we needed to be more team focused and our contractor was ready to go do his own thing. We had passion and design, but we didn’t have detail strength, so that’s what we were looking for. We needed an experienced, unique...

This week, we visit two museum works by architect Santiago Calatrava: the Prince Felipe Museum of Science in Valencia, Spain and the Milwaukee Art Museum in Milwaukee, USA. Both museums look nothing like the museum icon on maps and in mapping programs. Do these facades have anything to say about about what the museum icon might look like in 50 years? Do these buildings even make good museums?Correction: This episode misidentifies the Milwaukee Art Museum as the Milwaukee Public Museum. Notes: Santiago Calatrava - Wikipedia, the free encyclopediaCity of Arts and Sciences - Wikipedia, the free encyclopediaMilwaukee Art Museum | Museum Info

Introduction Robert Greene, best-selling author of such books as The 48 Laws of Power, The 33 Strategies of War, The Art of Seduction, The 50th Law (with rapper 50 Cent), and Mastery, joins Jason to talk about his wheelhouse topics – power and strategy. Key Takeaways · Jason's take on the current state of European real estate investing – are there any likely prospects?· What does it mean to become a master in your field? Why do so few people achieve this level of expertise?· Discovering your calling is easy to say but here's how you actually do it· How to avoid hitting the proverbial career wall in your 30's· The telltale clues that you might be an entrepreneur· Charles Darwin's story – how this unassuming young man became one of history's most renowned scientists· Lose your self-absorption and increase your manipulative powers· There are more types of seduction than you might realize. Here are 9 of them. How to discover your natural seductive area· How to apply Napoleon's classic flanking maneuver to your business Links www.powerseductionandwar.comRobert Greene on Wikipedia Bio Best-selling author, Robert Greene, is known for a series of books powered by a broad range of research and sources, synthesized for the masses. His life has been a drastic departure from writers' who never stray from the hallowed halls of academia. After attending UC Berkeley and graduating from the University of Wisconsin with a degree in Classical Studies, Greene worked his way through 80 different jobs before settling into his current writing career (by his recollection), some of which included construction worker, translator, magazine editor, and even a stint as a Hollywood screenwriter. Robert's first book was 48 Laws of Power, which became a runaway hit and has sold more than 1.2 million copies. Numbered among its devotees are such celebrities as 50 Cent, Jay-Z, Kanye West, Chris Bosh, and Will Smith. Greene speaks five languages and is a student of Zen Buddhism, as well as an avid swimmer and mountain biker. Time Stamps · [1:15] Jason's monologue includes a reflection on his recent European trip. Has his opinion on investing there changed?· [7:23] Interview with Robert Greene begins· [7:48] Defining mastery and how to attain it· [9:36] Description of Robert's latest book, Mastery· [10:12] How to discover your life's calling· [12:16] Why so many people hit a career wall in their second decade of work· [15:02] Check yourself. Are you an entrepreneur· [17:16] Charles Darwin. From nobody to one of the greatest scientists ever· [19:00] Robert's background· [20:09] All about manipulation and how to use it for good· [23:05] The 50th Law – 50 Cent; A real American rags to riches story· [25:20] The hidden power in fearlessness· [27:52] 9 types of seducers – which are you?· [30:21] Greatest seducers to ever live· [31:15] Napoleon's flanking maneuver and its effect on business today· [32:04] The Art of War – does Sun Tzu still matter in today's world? Transcript ANNOUNCER 1: Welcome to Creating Wealth with Jason Hartman! During this program, Jason is going to tell you some really exciting things that you probably haven't thought of before and a new slant on investing. Fresh new approaches to America's best investment that will enable you to create more wealth and happiness than you ever thought possible. Jason is a genuine self-made multimillionaire who not only talks the talk but walks the walk. He's been a successful investor for 20 years and currently owns properties in 11 states and 17 cities. This program will help you follow in Jason's footsteps on the road to financial freedom. You really can do it! And now, here's your host, Jason Hartman, with the Complete Solution for Real Estate Investors. Jason's Back from Europe and Hanging in Iceland JASON HARTMAN: Welcome to the Creating Wealth show. This is your host, Jason Hartman. This is episode #330 and I am talking to you today from Reykjavik, Iceland. I'm in a quaint, little café, a little coffee shop here, so pardon the background noise. I think you probably hear a little bit of it, but the intro portion won't be too long before we get to our 10th show guest. And today, that will be the very famous Robert Greene, author of many, many books on Power, Seduction, The 50th Law, The 48 Laws of Power, just a whole bunch of things. He's got a lot of interesting stuff to share with us today and you know, on every 10th show, we go off the strict financial or real state investing topic and we talk about something that just relates to personal interest and personal success and more effective living. Anyway, let me tell you a little bit about my European real estate tour here before we get to our guest today and I am in Reykjavik, Iceland now, as I mentioned. Iceland is a beautiful country, a small country and yesterday, I toured around, went to on what they call the Golden Circle tour and saw the geysers, waterfalls, and the tectonic plates where you can actually see rifts in the ground or big, very large cracks where the tectonic plates separated, and that's quite interesting. Some people go diving in there and it's just crazy to imagine that that's literally where the earth has come apart [LAUGHING], creating totally different continents. Anyway, I was in Spain before this. I toured and looked at quite a few properties. I was in Barcelona and then to the south of that, I was in Malaga and Marbella and, you know, I've been reading a lot in the past few years about Croatia, about Spain, in the real estate markets there based on their very different economic situations and Europe's economic problems in general, and it's just really inspired me to come out and take another look at some of the European properties. I was pleasantly impressed, actually very impressed, with Malaga and just what a high-end area it is and how much Middle Eastern money and really money from all over the world is flowing into that market. You see Ferraris, Lamborghinis, Rolls-Royces, a lot of Saudi money in that market, very high-end stores and shops, and expensive real estate even though Spain is in a tremendous crisis and unemployment is very high especially among the under 30-age group. I'm not sure, really, how the market will go here. I'm gonna continue to research it when I get back. We have a potential local market specialist here and we may actually have them on a future episode. If not on this show, I'll do it on my JetSetter Show. So, we'll see about that, but it has been an interesting trip. Before Spain, I was in Croatia and I was very, very impressed on the last episode. I talked a little bit about Croatia. I went there and Montenegro as well and what a beautiful, beautiful coastline, really, really amazing. Yeah, it's been an interesting tour. Before that, Germany, Switzerland, Austria, and I'm on my way back home after Iceland here today. I've got a helicopter tour and I'm actually gonna take a flying lesson here as well. I'm not a private pilot yet, but I'm pretty close to it. My mom said something very wise to me several years ago when I was about to finish and get my private pilot's license. She said, “Jason, you don't have enough time to get good at this.” [LAUGHING] And I thought, you know, those are probably some words of wisdom, so I listened to my mom and I really didn't pursue getting my license, but I do take lessons here and there and I find it particularly interesting when you can take a lesson on a trip, maybe in a different state or in a foreign country and get some sightseeing at the same time, so pretty interesting. That's what I'm off to do now and then I'll be back home and next week when I talk to you, we will be doing our more regular broadcasting, and I've got some of the investment counselors and local market specialists that I want to get on to talk about their markets, some different markets we're looking at and some current events as well. So we will definitely do that and get back to more regular guests. Of course, this is a 10th show. We're talking to Robert Greene today. So without further adieu, we will be back with Robert Greene in just a moment. [MUSIC PLAYING] ANNOUNCER 2: You know, sometimes I think of Jason Hartman as a walking encyclopedia on the subject of creating wealth. ANNOUNCER 3: Well, you're probably not far off from the truth, Penny, because Jason actually has a three-book set on creating wealth that comes with 60 digital download audios. ANNOUNCER 2: Yes, Jason has that unique ability to make you understand investing the way it should be. It's a world where anything less than 26% annual return is disappointing. ANNOUNCER 3: I love how he actually shows us how we can be excited about these scary times and exploit the incredible opportunities this present economy has afforded us. ANNOUNCER 2: We can pick local markets untouched by the economic downturn, exploit package commodities investing, and achieve exceptional returns, safely and securely. ANNOUNCER 3: I also like how he teaches you to protect the equity in your home before it disappears and how to outsource your debt obligations to the government. ANNOUNCER 2: And the entire set of advanced strategies for wealth creation is being offered at a savings of $94. ANNOUNCER 3: That's right and to get your Creating Wealth Encyclopedia Series complete with over 60 hours audio and three books, just to go to jasonhartman.com/store. ANNOUNCER 2: If you want to be able to sit back and collect checks every month just like a banker, Jason's Creating Wealth Encyclopedia Series is for you. [MUSIC PLAYING] Introducing Robert Greene, Best-Selling Author JASON HARTMAN: It's my pleasure to welcome Robert Greene to the show. He is a famous author on Power and Strategy. He's the author of several books including his latest book entitled Master. The 48 Laws of Power is another great one, The Art of Seduction, The 50th Law, 33 Strategies of War, and he's just got a prolific amount of work on the subject, and covers a lot of controversial areas that other authors just don't really touch, and it's great to have him here. Robert, welcome! How are you? ROBERT GREENE: I'm fine. Thank you very much for having me on your show. JASON HARTMAN: Well, the pleasure is all mine and I like to give my listeners a sense of geography. Are you located, by any chance, in Los Angeles today? ROBERT GREENE: Good guess. Yes, I am. It's where I was born and raised and that's where I live right now, yeah. JASON HARTMAN: Fantastic! Well, that's where I grew up too, so we're both Los Angelinos [LAUGHING]. ROBERT GREENE: Oh, cool. “Mastery” is His New Book JASON HARTMAN: Well, yeah. So, tell us a little bit about your latest book, Mastery, and then I want to touch on some of the other books as well. ROBERT GREENE: Well, Mastery is basically a book about what I consider to be the ultimate form of power that a person can have in this world. I think we're in an environment that's incredibly competitive and difficult. Very few people have any sort of job security anymore. The competition out there is globalized. It's intense. It's everyday. You can't let up your guard ever and I noticed that in all my years of researching very powerful people, they reach this level of intelligence. It's not an intellectual intelligence, it's a practical intelligence. They reach this high level where they've mastered their field. Um, you can visualize it in a way where, let's say, you're professional with chess, it's just a metaphor. But after 10, 15 years of playing chess, you're now like a grandmaster and you're no longer thinking about the chessboard. It's internalized. You have a feel for it. JASON HARTMAN: Right. ROBERT GREENE: Being something in larger dimensions, what they call chunks, and I believe that happens in any profession and once you reach that point, you're on a whole other plane. You're so creative that nobody's gonna replace you, that you're able to see trends and answers to problems that just are invisible to others, and so you're gonna be continually in demand. You're like Steve Jobs or whoever it is. It's not that you have to ignore being good at politics, being a social person is a component of mastery, but once you get to that point, you've got command and you're in demand, and I wanted to show the reader that it's not a matter of your brain size, what college you went to. It's a matter of going through a process with a lot of effort and intensity and you will get there, and it's an incredible feeling, and it's in all professions. The book covers everything from science to sports, to working with your hands, to the arts. So, it encompasses everything. JASON HARTMAN: Well, I think you laid out a few steps. Maybe there are four major steps if I'm remembering correctly in the book, find the thing that is your passion, your great area of interest. What are those if you'd go over with them? The Process of Becoming a Master ROBERT GREENE: Well, the first step is the most important. If you don't follow the first step, you'll never gonna get there and it's not me just saying that, it's the pattern of all highly successful people, and for this book I've researched a lot of very powerful figures in history and also interviewed nine contemporary masters to show that it's a very modern thing. But in all of the stories, everybody starts out with step one and what I call it is discovering your calling or your life's path and the idea is simple. You're born with a unique set of DNA. Your brain is wired in a totally different way. There's something unique about you and what separates very powerful successful people from others is that they are very clear early on in their life about that quality in them that makes them unique. It could be a subject that fascinates them, a problem, an activity, or whatever it is and that clarity carries on into their adolescence and then when it comes time for choosing their profession or career, they have much more clarity. There might be a bit of exploring trying to figure out exactly how to apply their interests but there is a higher degree of clarity than what most people have and because they're so clear about it and they focus so intensely on something that is emotionally engaging to them, they learn much faster, more intensely than other people. That's the key to everything in life. JASON HARTMAN: Sure. ROBERT GREENE: And so you need to be following that path and I show you very clearly in this chapter that you can discover what these inclinations are that you have and carve out a career path that will set you more in that direction than you might be going. A lot of people choose careers because there's money involved or because their parents said this is what you should do and they do alright in their 20s because they're young, etc. but then they hit a wall in their 30s because they're not engaged emotionally, personally with what they're doing and disaster ensues, and you're not aware of where the disaster comes from. It is because you're tuning out. You're not fully engaged. And so this is such a critical step. I can't emphasize it enough and I show you how at any point in your life, you can take this step. You can review and figure out what it is and head in that direction. JASON HARTMAN: Okay. So, Robert I've got to ask you because I'm sure there are people listening that are thinking. That's just never been clear to me. Some people— ROBERT GREENE: Right. JASON HARTMAN: You know, they knew as a kid what they wanted to do. Certainly, what you say makes absolute sense. We all know that the subjects we liked in school, we did well at those usually. Whether it's, you know, liking the subject or even liking the teacher or professor because you relate to them better or relate to the subject matter better. So, you just pick it up naturally because it's your area of interest, but just maybe one tip on how someone can discover what their main area is. ROBERT GREENE: The point of mastery is to slow yourself down. There's no short cut. There's no one week suddenly or one year plan. It takes time and so discovering your life path also takes time and a lot of people are not very in tune with themselves. They've been listening for too long to what other people have to say. They're not aware of what their actual interests are, of who they are. So, it's going to take a couple of, for people like that, it's gonna take a couple of months, but I'd say something for, a simple banal example will be when you open a newspaper or you check something out online, you're surfing a site that you like, what is that subject that when you see in the headline, you go, “God! I have to read that. That just fascinates the hell out of me.” I know for myself if I've cracked open the New York Times and there's an article about some discovery about our earliest ancestors, I can't explain to you why but I am so excited by that. I will read every single article on that subject. Well, there's something like that for you. There's always something that lights up your eyes like when you were a kid where you wanna read about it. These are signs. I give you in the book many other signs, but this is a sign of something that excites you in a primal way, that probably dates back to your childhood and you should follow these indications. You should also follow things that you hate in your career path and you hate working for other people. You hate the politicking and all of the gamesmanship involved. Look at that sign. It's a sign that you are probably an entrepreneur. You probably are meant to be working for yourself. You probably have that individual risk-taking cavalier spirit that is not comfortable working for other people. These are signs and you've got to start becoming aware of them. JASON HARTMAN: Yeah, makes sense, makes sense. Talk to us a little bit more about the mastery subject and I love how, in your books, you tie in so much history and so many historical figures. Every person in business likes to quote and talk about power and talk about the Art of War. Some like to relate to Napoleon. Thoughts there on some of the historical tie-ins and maybe some examples? Masters' throughout History – Da Vinci and Darwin ROBERT GREENE: Well, the icon of this book is Leonardo Da Vinci, you know, like my War book was Napoleon, the Power book was like Louis XIV, Seduction, Cleopatra, The 50th Law was 50 Cent. But here, Da Vinci is sort of the icon in that he is not as mythical as people make him out to be. He's somebody who came from a rather disadvantaged background. He was an illegitimate son. He was kept out of all of the noble professions and so, the only really avenue for him was to pursue art which actually was something the he deeply, deeply loved and I show clearly in the book that what makes Da Vinci so absolutely astounding was an unbelievable work ethic. His motto was “ostinato rigore” which means obstinate rigor, persistent rigor. He said, “I'll figure something out just by sheer persistence and work.” That's a lot of love and I have all sorts of examples.Of all these other icons in our history that we look up to as being almost superhuman like Mozart, like Einstein, [INDISCERNIBLE], Thomas Edison, Henry Ford, and I showed clearly that what separates these people is the incredible level of persistence and work ethic and they've put in their proverbial 10,000 hours to the point of maybe 20,000 hours, and that's exactly the foundation that makes them so incredibly brilliant. And one of my favorite stories in the book, I mean, I know your audience is business people but this book relates, these stories relate to anybody in any field, it's about Charles Darwin because it was such a good story. He's a young man who doesn't really know exactly where he sits in this world. He's not good in school, his father thinks that he's kind of a loser, he just likes to go hunting and observing things in nature and collecting specimens, and finally, he gets this chance to go on a voyage around the globe on the ship, the HMS Beagle. His father said, “You're a fool to go on that. Why would you think of something like that? There's no money. You have no training in it.” And he grabbed it. There's something inside of him that tells him this is it, and in the process of going on this voyage, he transformed himself from the sort of naïve, inexperienced young man to someone who becomes the greatest observer of nature that we've ever had in history and transformed himself into a scientist. And I take this as a metaphor for the transformation that could happen to any person who goes through what I call a rigorous apprenticeship phase like Darwin went through. So these are some of the historical figures that I have in the book from all different fields and as I said, I have nine contemporary figures like great architect, Santiago Calatrava, or the scientist, Temple Grandin, or the great entrepreneur, Paul Graham who started the company, Y Combinator. So, there are lots of stories in it. JASON HARTMAN: Well, how did you get into it? What is your background? I mean, were you a history professor or just a student of it [LAUGHING]? ROBERT GREENE: No, I mean, the part of the reason why I'm able to do what I do is I don't have any traditional background. So, if I were a history professor, I couldn't write the kind of books that I write because academia kinda forces you into a certain mold. JASON HARTMAN: Puts you in a box, yeah. Screenwriter to Philosopher ROBERT GREENE: Yeah, and my background was I studied, in college, Greek and Latin, Classics, very interested in History and Literature, and then I went out in the work world, and I worked in journalism, and I worked in film and Hollywood, and I had many different jobs, but I was always reading a lot of history and observing people very closely. And so, I like to write books that are incredibly practical because I'm a very practical person. I don't like reading academic books on a subject that have no relationship to my life but on the other hand, I like to relate it to history and I like to make the readers think very deeply about their lives. So because I don't fit into these categories, I'm able to kind of be my own self, so to speak. JASON HARTMAN: Yeah, yeah, very interesting. So, manipulation, it's a controversial subject, but there are many books and writings on how people can manipulate others to get the result they want out of them, you know, how to change people, how to get your kids to do what you want, how to [LAUGHING] get your dog to do want you want, how to get your spouse or significant other. Can people be manipulated? I think you're going to say yes to that [LAUGHING] from knowing your work, but tell us uh, if so, how? It's all About Manipulation ROBERT GREENE: Well, you know, you're referring to my earlier books. It's just sort of a subject uh, theme in all of them. It's not so much a question. Manipulation is a loaded word. You can also use the word influence, persuasion. Can we convince other people? Can we get them to do what we want them to do or can we get them to do something that won't hurt us? And of course we can. If not, we would be miserable, powerless creatures. JASON HARTMAN: Well, and not only that, you know. I know it's a loaded word and that's why I used it but to inspire some or instill some controversy into the discussion but the old saying is nothing happens until somebody sells something and whether it's selling an idea or a product, that's where a lot of progress comes from. ROBERT GREENE: Yeah and so, I'm trying to make you focus very deeply on the other person that you're dealing with. The greatest problem that everybody faces in this realm of persuasion or manipulation is that they're self-centered. The focus of their attention is inward so I need to sell this product. I need to make money for my family. This is what I like. The other person must like that as well. That said, are you projecting other than something from inside yourself and you're not focused on the social environment, on what people are thinking, on their needs, etc. All of my books are simply a way to twist you like a yoga pose out of that constant self-centeredness and get you to focus so that you really, really, really understand where that other person is coming from. Once you have that understanding, you can begin to lower their defenses. You can begin to make them move in your direction whatever that might be. At the furthest extreme, you can manipulate them and I show in “The 48 Laws of Power” that extreme. I go into it and I show you that very powerful people are often, can be often very manipulative and here are some of the laws that they use in that realm. You can either take that knowledge to help defend yourself or if you really need to, you can use this. Uh, and that would be sort of the extreme but the tie that connects all of these stuff together is your ability to get out of yourself and focus deeply on the other person. Once you do that, a weird kind of magic can start happening. You can start figuring out other people. You're never gonna totally understand that person you're trying to sell to. There's always an element of mystery. It's a margin game. If you're able to increase your margin of intelligence and knowing about them from 5% to 20%, suddenly a kind of magic happens where you're able to align your interests and figure out what it is that's gonna seal the deal or whatever it is you need and that's, that's really, really what my books are about. Writin' with 50 Cent JASON HARTMAN: Robert, when you wrote about the, the book about “The 50th Law” you talked about 50 Cent, the rapper. What could 50 Cent teach us? [LAUGHING] you know, it's uh - ROBERT GREENE: Well actually it's the book that is co-written with 50 Cent. JASON HARTMAN: Oh, okay. ROBERT GREENE: Uh, and basically that was an interesting process in which we spent about five or six months together and I interviewed him intensely and together we kind of shaped the book and so the uh, more or less collaborative process and it's an amazing story. I'm not a celebrity person. I could really care less about Leonardo DiCaprio. I'm more interested in everyday people and how they get by in their lives but 50 is an amazing story, he's a very real person. He doesn't have all this celebrity crap around him and there are a couple of things that we can learn from him. First, the total American rags to riches story of someone who come from the absolute worst environment and how he's then able to raise himself up from this bottom to be a very wealthy, very powerful individual. It's an amazing story and it has incredible lessons. The other element of it is I determined that there's a quality about him, that is the source of his power and it's what I call, what we call fearlessness but it's not a fearlessness of taking, being ah, beating people up or being aggressive or for guns or anything. It's a kind of philosophical fearlessness in front of anything that happens in life. He's not afraid of failing. He's not afraid of what other people think of him. He's not afraid of being alone. He's not afraid of being different and when you have that kind of fearless attitude, you are going to get somewhere in this world in whatever you do and so in this book, we have 10 chapters. Each chapter is about a kind of fear that you have. It's very primal and very human and here's how you confront that fear and how you overcome it, uh, it's all of course illustrated. Each chapter begins with a story from his life illustrated and then we go into history about other great Americans and people around the world who have used uh, a, a similar idea and one of the chapters for instance, just to give you an example, is a fear that a person might have in business is a fear of other people. I know that sounds a little bit counterintuitive but a lot of people in business don't really want to know too much about their customers, about their audience.They think they do but they're afraid of having their own ideas overwhelmed. They want to go in with a preconceived notion because it's simpler that way. It's easier that way and people are always more comfortable with themselves than what other people are thinking and this is uh, this is actually a fear alright, we demonstrated very clearly and what made 50 so successful was he broke down all those barriers and he became incredibly, incredibly close to his audience to the point of having a deep understanding. He is one of the first people in music to create a website that has unbelievable uh, access to his own audience and information from them. He's very, very close to who – whoever he's trying to sell, whatever he's trying to sell. It's a fear that he, that he did overcome and we go very deeply into that chapter so that's sort of what that book is about. JASON HARTMAN: Very interesting, you know, with, with all of your books, it begs the question do you have a favorite? Robert's Favorite Book is… ROBERT GREENE: Well, it's, you know, they're like children and it's sort of hard – JASON HARTMAN: [LAUGHING] ROBERT GREENE: To choose – JASON HARTMAN: You can't pick a favorite, right? ROBERT GREENE: Yeah. Well, you can, I mean, the 48 Laws of Power was my first one and it made me – it transformed me from an unhappy person writing in Hollywood to having this great life so it's always a love of that. The Art of Seduction was my – it is the most fun to write as you can probably imagine by the title and then uh, the Mastery is the newest one so it's closest to me so maybe right now, that's my favorite child, but The 50th Law was a lot of fun to write. I can't say that the Book on Warfare was not fun because it was a very tough subject but even that book, you know, had some closeness to my heart so it's hard really to say. JASON HARTMAN: Um-hum. Yeah. I, I knew that would be impossible to pick – like asking a parent to pick their favorite child. ROBERT GREENE: Yeah. JASON HARTMAN: But, interesting. Well, you mentioned about the, the Seduction book and – ROBERT GREENE: Yeah. JASON HARTMAN: I mean, wow, what an amazing compilation in the Art of Seduction of these different, these different personas that people can exhibit and, and you give examples of people throughout history that have done this. How about if you take a few of those and then, I would be remiss not mention that this isn't just about seduction in a romantic or a sexual sense but at the end, you talk about self-seduction and how to sell anything to the masses. And Along Came Seduction ROBERT GREENE: Yeah, I mean, uh, I'm trying to write a book about the psychology of seduction which I say permeates us as human beings. We are continually vulnerable to being seduced so certainly, we think of sexual seduction and there's a lot of that in this book but it is also social seduction, how you can charm and get people around you to like you. It's also political seduction. John F. Kennedy seduced the Americans in 1960 and won an election. It's clearly marketing and I go into, as you say, the soft sell. So, I'm interested in what ties all of that together. What ties Cleopatra to John F. Kennedy or, or whomever and there are ties to it. It always involving the same seduction, the same psychology which is how do you lower people's resistance so they do more or less what you would like them to do and in seduction, you're creating a kind of pleasurable environment where it's not about overt manipulation. It's about what you're getting people to do is something that they actually want to do or will like and I'm gonna show you how you can have that power. The beginning of the book, the first half, I, I identified nine types of seducers and you're probably gonna have the, hopefully, at least one of these types and maybe a combination of two, possibly three and the idea is to be a seducer, you can't just be reading a book and following certain strategies. You're gonna seem cold-hearted, particularly, a woman will see right through you and you won't get very far and it's not fun. So, the trick is to discover what is naturally seductive about yourself as an individual. So, I identified these types and I make you more aware of what makes you a[INDISCERNIBLE] or a rake or if you're a woman, a siren or a dandy or, or the charismatic, etc. The second half of the book I go into various strategies that people typically use in the seduction. Um, and, all of these chapters have application to marketing, to politics, to selling anything as well and, and in there, it's clear when you read them. But the second half of the book, I kinda show you starting from the beginning, with knowing who it is that you're trying to seduce, to the last strategy, which is sort of consummating the deal whatever that might be. And along the way, I give you stories from the greatest seducers who had ever lived in all of these different fields. JASON HARTMAN: What book took you the longest to write? The Art of War Revisited ROBERT GREENE: Well, uh, the War book is sort of my version of Sun Tzu's Art of War and in, for business people, it's maybe in some ways, the most applicable, but it was a very difficult subject because first, there are so many books written on warfare. The subject is so big. And what I wanted to do is take all of the most classic strategies that exist in the history of warfare. And identify this and then show you the psychology behind them and how they're applicable to everyday situations, to business, to dealing with people. Uh, and that is not easy. It's not really been done before to show you on the pulley and the use of the flanking maneuver. It's actually a strategy that has incredible application to running a business. So it took a lot of thinking on my part and a lot of work, a lot of hard work. So that book was the longest and hardest to produce. JASON HARTMAN: I would agree that when you read The Art of War and try to relate it to modern times I don't think that's very easy to do. People talk about it, maybe [LAUGHING] in an attempt to sound intellectual or something but if you ask me, I didn't find that much relation to business. Maybe I'm missing something but [LAUGHING] or my attention span is too short. I don't know. ROBERT GREENE: Well the Sun Tzu is an amazing book, I used it very much in my book on war, but you're right. I understand exactly what you're saying but let's say a scene in Sun Tzu is all about not going to war unless you have to and using your resources, marshaling them to the best possible usage, so you're not wasting life and you're not just ruining your country in the process. Well, I created a chapter out of that which I called First Economy and that means using your resources, who you are, your business, your army to the absolute maximum economical usage. So you're not wasting anything and basically the idea is your reliance on money or technology is making you probably less creative than you want to be. You can be incredibly creative with less actual material resources and do better in your business than you are if you're so addicted to spending a lot of money and buying things that you think are gonna improve your productivity, etc. That's an idea of Sun Tzu that you can take as metaphor and apply to sports, to business, to life in general, and that's sort of what my approach was. JASON HARTMAN: Yeah, very interesting. Well, of course your books are available at the bookstores and on Amazon.com and the web site is powerseductionandwar.com, all written out and anything else you'd like to people to know in closing Robert?Closing Comments ROBERT GREENE: No. Yes, you say powerseductionandwar.com. There will be links there to Mastery, etc. Now, I guess it's just that these are books that are meant, you know, they are longer. They're not a simple read like a lot of self-help books but if you take the time, they're all very practically oriented and reading them, you don't have to read them [INDISCERNIBLE]. You can skip the chapters that seem more irrelevant but it kinda gets under your skin. I'm trying to alter your way of thinking, your life and about success. I'm trying, we discussed a little earlier about making you less self-centered. It's a process and I'm trying to change how you think and I think reading the book in that spirit, it, it has incredible practical value if you give it a time. So that's sort of the [INDISCERNIBLE] JASON HARTMAN: Yeah, what I, what I love about your work is just all that historical ties and I, I feel like – ROBERT GREENE: Yeah. JASON HARTMAN: I learn so much about history, reading a book about power or seduction which I would never think you know, [LAUGHING] that would come out on that's why your work is a just very interesting, very well thought out. I've got to ask you, do you have another book in your sights? The recent release of Mastery but what's next? ROBERT GREENE: Well, a lot of my books kinda come out of an idea in another book uh, in those that I've written and so with Mastery, I have a chapter on what I called Social Intelligence and the idea in that chapter is to say, it's not just enough to master your field and be technically brilliant at it. You also have to be really good with people and intelligence, intellectual intelligence actually goes hand-and-hand with people intelligence, the social intelligence. I'm gonna write a book that expands that idea into something much larger. I'm gonna give you what I called a deep, deep understanding of the elements of human nature that go back thousands of years, that are embedded in each person. So that when you read this book, you're gonna have a much better sense of what is motivating the people around you. You're gonna be able to read them a lot better than just of kinda go operating blindly. And I'm gonna show you how you can develop this kind of reading ability and I'm gonna give you, as I said, this kind of encyclopedia about human nature so you'll have a much better knowledge of what motivates people. JASON HARTMAN: That sounds fascinating and I really, really look forward to that book. We will definitely have you back on to talk about – ROBERT GREENE: Okay. JASON HARTMAN: Social intelligence and Robert Greene, thank you so much for joining us today. ROBERT GREENE: Oh well, thank you so much for having me. It was fun. JASON HARTMAN: Be sure to call in to the Creating Wealth Show and get you're real estate investing and economics questions answer by me personally. We'd love to have you call in, share your experiences, ask your questions and a lot of other people listening have those very same questions so be a participant in the show at (480) 788-7823 that's (480) 788-7823 or anywhere in the world via Skype JasonHarmanROI, that's Jason Hartman ROI for Return on Investment. Be sure to call in to the show. We are going to enter all callers in a drawing for some nice prizes as well, so be sure to call in the show and I look forward to talking with you soon. ANNOUNCER: This show is produced by The Hartman Media Company. All rights reserved. For distribution or publication rights and media interviews, please visit www.hartmanmedia.com or e-mail media@hartmanmedia.com. Nothing on the show should be considered specific personal or professional advice. Please consult an appropriate tax, legal, real estate, or business professional for individualized advice. Opinions of guests are their own and the host is acting on behalf of Platinum Properties Investor Network, Inc. exclusively. Transcribed by Joseph  

Ein weiterer Double Ender, diesesmal aus dem "spanischen Hannover" Oviedo rund um den Palaco de Congresos Princesa Laetitia von Santiago Calatrava. Es geht zudem auch um die Bedeutung und die Kosten von Kunst/Architektur sowie um Architektur-Groupies.

Ein weiterer Double Ender, diesesmal aus dem "spanischen Hannover" Oviedo rund um den Palaco de Congresos Princesa Laetitia von Santiago Calatrava. Es geht zudem auch um die Bedeutung und die Kosten von Kunst/Architektur sowie um Architektur-Groupies.

Javier Gila nos habla de la relación entre la arquitectura y el vino como la Bodega Ysios diseñada por Santiago Calatrava.