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Welcome. We are proud to start the second day
of Arq.Futuro Minas Gerais.
It is an honor to be hosting this event here at Escola Guignard,
a very significant building to everyone who follows
the Brazilian arts and architecture movements.
Arq.Futuro started in 2011,
with the goal of creating a broad forum
for debating the various roles of architecture today,
gathering professionals from Brazil and abroad
in order to exchange ideas and experiences.
We wanted to address architecture not only as an artistic expression,
but also as a mean for social transformation.
That's why Arq.Futuro usually invites not only architects,
but also urban planners, critics, economists and entrepreneurs.
For our first Minas Gerais edition we have invited professionals
from these areas to discuss different topics,
gathered under the general theme of
"The Construction of the Landscape."
We will have lectures and talks about architecture
in urban spaces and the impact of human action
in the landscape.
How can we discover new callings for mining cities?
What new uses can we find for areas degraded by industry
or mining activities?
More than offering answers to these questions and others,
we intend to point to possibilities and paths.
We would like to thank the sponsors who made this event possible:
CBMM, Codemig, the Minas Gerais government,
Vale, Alcoa, and U-Near.
We also thank the institutional support from Deca,
the partnership of Veja Belo Horizonte
and L'Architecture d'Aujourd'hui magazines
and Globo Minas and Rede Minas television networks,
as well as the support from Amid,
Instituto de Arquitetos do Brasil - Minas Gerais,
CAU-MG and Memorabilia AD Vintage.
This event is organized by BEI+ Branded Contents,
the Federal Government, and the Ministry of Culture.
We ask that you don't forget to put your name,
e-mail, and telephone in the urn at the entrance,
so we can send you the digital certificate for participating
in Arq.Futuro Minas Gerais 2012.
And last, please, keep your phones turned off or on vibrate,
and be punctual when coming back from recesses.
The theme we'll talk about today is "New Geographies"
and to open it we'll invite the architect Marco Casamonti,
who will talk about conservation and recovery environment projects.
Marco Casamonti is a founding partner of Studio Archea,
based in Florence, which is internationally known
for its research on sustainable architecture.
Among his projects are the Antinori Winery, in Florence;
the Nembro Municipal Library in Bergamo, Italy;
and Italy's pavilion at Rio+20.
Let's welcome Marco Casamonti.
Good morning everyone.
The first thing is I don't know your language,
but I'll try speaking Portuguese.
It will be a terrible experience, but an important one for me,
because an idea of architecture is an idea
to the person's identity,
respect to cultural identity.
Now, my Brazilian Portuguese is terrible, but I'll try.
I'm sorry for that.
The second thing is to thank the people invited
and the fantastic Arq.Futuro organization,
in particular Marisa and her fantastic team,
all friends, it's really fantastic.
I'm very happy to be here to talk about architecture,
but now I think we should be silent for 3 minutes.
This is a library project.
A municipal library,
very small,
a very important project to our office,
because the idea that you can build an architecture with character,
with a fair relationship to the building's identity,
which is a library that's covered in books,
a book house of terracotta,
and also the idea of a contemporary sustainable architecture
not being an architecture without thinking or quality,
it's an idea of a project that's not technological.
Sustainability is not a technological problem,
it's about thinking the project.
This is a renovation
for an early-20th century school,
this part of the building was an old municipal school,
and they wanted an addition to turn it into a library.
The idea is how to relate old architecture
and today's contemporary architecture.
Our idea
is to connect it underground,
conceiving today's architecture as today's architecture,
but at the same time awakening the old architecture
and constructive structure.
This idea of respect is so important to our work,
it's an obsession.
Respect for the environment, nature,
cultural identity, people.
This is respect,
it's an idea of ethical responsibility
in the architect's work.
This building has this...
It's a whole building, a library,
there's a new part very different from the old,
but they don't conflict.
This book cover is terracotta,
and it's a cover for a need of character,
this is the house of books,
it's not a need to protect the glass structure from the sun.
It's simply a brise-soleil.
But this brise-soleil says something
about this place's identity.
I think this is a small project
but it was successful around the world,
it showed in Venice's and São Paulo Architectural Biennales…
Our question is: why does a small project,
so small in scale,
generate such huge interest? We didn't know when we built it.
The answer is that the idea is low-tech,
but the project is high-tech,
it's a simple project of poor and cheap materials.
It's a project for the city and for the people,
and the best thing about it is that it's all for the citizens
of this little town near Milan, Bergamo,
to go into the place to read a book, meet friends,
it's like a new center for the town.
In such a small town, 2 thousand inhabitants.
It's not a big project,
but it's a project that has great meaning for our work.
It means we'll also work every day
with the opportunities of natural resources.
This is a project that works with light,
but also with shadows.
These terracotta books will create shadows in the glass
and protect the building's structure,
which doesn't need air-conditioning or energy.
The same idea of shadow,
the same idea of protecting the building
is in this project we build in Shanghai.
It's a very simple project, a rectangle,
that we built for the Italian Ministry of Environment
along with Jiao Tong University, in Shanghai.
The idea is: we take a completely normal, cheap building,
a terrible project, and coat it with ceramics.
The ceramics produced in Italy
and imported in China will mean sun,
wind, air, natural material,
this will create shade.
This building doesn't have air-conditioning.
It's a Green Energy Laboratory of Jiao Tong University,
a research lab for natural materials,
architecture that doesn't need as much energy.
This is a simple cover of a building that will create
a sense of transparency, of protection,
and also of respect for cultural identity,
because ceramics are a very traditional material in China.
Now, our idea is to put together
the cultural identity of an Italian architect
with the cultural identity of a country like China,
with the constructive identity of a country like China.
This we can do, it's our mission, our idea.
This image will explain very clearly
that it's a simple project that works with light and shadow,
light goes into the building, that's it,
this building has no need for large consumption of electricity,
because there's light
and there's protection from the sun.
It's not a project...
Surely it has lead certification,
as we say today, but that's not what's important.
The certification is not important,
what's important is that we think we can work in architecture
with natural elements. Light, shadow, wind, water…
All these elements are important
to contemporary architectural research
and are together on the project.
I don't think we need to talk about sustainable architecture.
I think we need to talk about architecture.
Sustainability begins with quality architecture.
Why did we show this project?
Because it's an industrial project, a candy factory.
I think this is important for Minas, which has lots of factories,
lots of industrial and extraction areas.
Architecture isn't just public architecture,
it's not just museum, cultural architecture,
but industrial, productive architecture is an opportunity.
This is a factory that makes candy for the whole world.
Do you know Mentos? This is a Mentos factory in Italy.
The idea is simple.
We'll use a very simple idea,
because the facade is covered with glass candy,
but that's not the meaning of this project.
The idea is to build an industrial place
that isn't a disturbance to the city.
This factory is completely included in the urban fabric
of this town close to Milan.
The client's request is not to destroy the factory,
it's to transform the place into another industrial place,
to make the citizens be proud
to live near this factory.
Now, consider this isn't just an industrial place,
but something that relates to natural resource,
shadow, lights, day, night…
This building isn't a fixed building,
like an industrial shed with the same idea
of a concrete box that has no relationship with time
or events.
This is a building that will change.
If it's a sunny day,
the light is fantastic.
If it's not sunny the feeling is different.
Now, this is important.
There's also a sense of respect as well,
respect to the work.
The worker here has a new work energy.
This is so important for our activity.
The light inside is wonderful.
There's no artificial light, it's natural,
and the work is very comfortable.
And inside there's a tree garden
where they extract materials for the candy.
This is to show that industry
takes the wealth from the earth, from nature.
Every industry, wood, rock, glass, all industries.
They take their energy from the natural element.
Not, this shows that with nature there's no conflict,
there's no…
But there's a very strong relationship
that architecture can and must interpret,
and there's a need for that.
But it's a factory that toda isn't a factory,
it's like a cathedral for this industrial town.
And this is important. It's important to build,
as the tile for our lecture says,
"sustainable landmarks",
buildings with character, identity,
a relationship to the city, a relationship to the people
and like a tree, like nature, it has character,
it's happy, it's sad, it will change in time.
That's an important part of architecture.
It's architecture that talks,
and industrial architecture can talk too,
to the workers, to the citizens.
This another project we're building in China.
And it's incredible
because the client looked at our candy factory project,
called our office and said: "I want the same,
totally the same, with glass candy".
And we said: "why the same?
What are you making, what's your idea, your identity,
your work?"
He said: "we're making ceramics!
We're the biggest ceramic decorating company,
we have 20 thousand people who hand-decorate ceramics.
They're building a huge place
in the middle of China".
I said: "ok, I'll come have a look at this place
to design the project". He called me:
"the place is ready, you can come".
He had completely destroyed the nature.
I said to him: "the place isn't ready,
the place is destroyed.
This place had wonderful hills, extraordinary nature.
It's not ready, it's totally flat and destroyed.
But the disaster was done.
Now, how can you do a project here, in this natural disaster?"
The idea: we'll build a new landscape,
a new city, a new urban image that will tell
about an idea of working and living in ceramics
the life of the person who is paintingn ceramics
for 10, 12 hours a day.
We looked at this place, we did a huge research.
We didn't know how to do it.
A city of 150 thousand square meters,
20, 30 buildings together.
How can we do it?
We go there,
learn about ceramics,
work with their material.
We thought we could do a project in steps,
not all at once, but in time.
You can't build 30, 40 buildings at the same time, I thought.
But I live in Italy, not in China,
and I showed this idea for additional construction,
in parts, and he said: "no, we'll build it all together
at the same time".
Now, our theory was a bit in a crisis,
but it's really about structuring an urban space
with China's cultural identity,
which in its old structure doesn't have big streets,
doesn't have squares.
It's a high-density structure,
along with the idea of an Italian city
and a city totally reflected
in the new historic image,
the new landscape of the place.
We came up with a completely utopist project:
hotel, museum, industry...
All as one element,
a ceramic vase with different dimensions.
Surely he won't build this.
China will show you everything is possible there.
In two months
this project already has all the concrete structure built,
that's terrible because we don't have complete control
of the project,
in all our buildings before that we designed everything,
the inside, the outside, the landscape,
it's all part of a big architectural design.
But it's not possible in this project.
Surprisingly the project didn't change that much.
Transformation in China is a good transformation,
that will integrate this idea of ceramics, glass, space
into an idea that has its own quality.
I think this is also the demonstration
of a future opportunity.
Industrial areas aren't areas to be cut from the city.
They're not terrible, low-quality areas.
Industrial areas are part of our lives,
now, let's find an idea of how this industrial building,
which is part of our work, of our days,
can be a fantastic,
interesting place, a place you can visit.
It's not a closed place, like a prison.
That's the idea.
Why show this video of this little project?
Because it will introduce the point of interaction
between nature and architecture.
Of natural and artificial.
I won't explain too much about this project,
which is a renovation of a social block
built in the early 20s,
a very ugly block, all in concrete,
with so many problems.
A project where there's no nature, no tree, nothing.
Our idea is to build a garden at the back of the street,
to cut off the street, put it in the underground
and build a garden for children
to play in the street like in old times.
But this project shows that we have ethical responsibility
when we build.
The first thing is that when you make a building
you destroy part of the soil.
There's ethical responsibility in that.
And we also need to not only built,
but also re-naturalize a place,
like in this case.
And often you can solve a building's problem,
in such a fantastic place,
by totally integrating it with nature.
This is a very powerful tool, a very big work opportunity.
This is a project for an incredibly big hotel,
which I didn't want to build.
But the client, the Italian government,
wanted to build this amazing hotel
for the G8 summit in Sardinia.
Sardinia is an island facing Italy,
which has amazing nature.
They were going to destroy it all,
because this was an old military area.
The Italian government wanted to build a hotel
to receive Barack Obama, who won the election today,
we're all happy.
The problem is safety, for celebrities, journalists,
but in my opinion you can't build such a big hotel
in such a fantastic place.
But the government will build it, now,
architecture has an opportunity. What was our opportunity?
For this hotel to be 200 meters away.
We didn't build a hotel, we built a garden
because the whole cover is 15 thousand square meters,
the whole cover for this hotel is a garden carved in the hill.
The hotel is at the end of the hill,
it's not a building, it's part of nature,
part of the mountain.
And this building in front is an old military inn,
which we renovated in the same way as the first project of the library:
total respect to the old structure
and a new structure that doesn't create conflict.
Old, contemporary, artificial, nature,
the problem today is that we have too much conflict
too much war in the world.
The problem is creating harmony and respect.
That's our idea.
Here is the hill, the cover for this hotel,
which is a garden.
We built 15 thousand square meters of hotel,
but at the same time 15 thousand meters of garden.
And so balance is totally maintained.
You'll see now that the cover isn't all green
because they were building it,
but the whole natural structure is not a planted green,
it's natural green that will grow in time.
We have meters of land,
and the natural green of the Mediterranean coast,
which goes to the building's cover.
If you look at the building from the hill
you can't see anything, just the old structure
of the old inn.
This is a very, very important result for us.
This green structure when it's in the cover
means this building has no impact,
it doesn't disturb, there's no conflict,
there's harmony with the rock and with the old architecture.
This is a very respectful renovation that pays attention
to the original structure,
and in the back is the new building.
But this new building is built with old material,
we carved the stone and used the granite to build the hotel.
The material for the excavation is the same
as for the construction.
This is a very important concept,
because the transport of material won't create pollution or impact,
and there's also harmony,
in the new structure nature is stronger
because the same soil will become architecture.
This isn't a project...
It's a very respectful project,
not powerful,
it's close to the hill,
and the interior...
They asked us for a luxury hotel.
We'll use cheap material, terracotta, stone,
there's nothing fancy, no marble, no wood.
This is an image of the excavation form
where we took the granite, the rock.
This is the concrete floor under the garden.
And the windows in these rooms are fantastic,
like paintings to contemplate nature
and the wonder of the sea.
This is a simple idea of respect,
and it's not an easy idea for the client to accept,
because they want something important,
that you can see from far away.
But this you can't see from far away.
From far away you see the sea, the mountain, the rock…
When you live inside this hotel you don't see the hotel,
you see nature, which you can't erase
because it's such a wonderful place in the world.
But it transforms the idea.
This is a building which doesn't have the dimension
of a building, but of a hill, of a mountain.
We used that same concept to build Antinory Winery.
This is another industrial building that's been finished
for about two weeks.
It's such an important building, for our office,
for Italy,
for the heavy conflict we have in Italy
between defenders of the green and builders.
Between people who think industrial and product development
is a result of economy,
but that nature, landscape, is the true resource of Italy.
The quality of the landscape can't be destroyed.
Now, we have a very heavy conflict:
the person who doesn't wanna do anything,
doesn't wanna build anything, and the person who wants to build.
But that's a crazy conflict, it doesn't exist.
Architecture has the recipe,
a way to solve the conflict in a harmonious
and integrated way.
Now, surely, building a factory
in this wonderful place in Chianti,
near Florence and Sienna,
Chianti is a wonderful area, really,
where nature is the soul,
you can feel it when you go to this place.
My first idea is that I won't build a factory here,
I'm totally against it!
But the client said: "No. Our winery makes wine here,
we'll build here, the City has designed this area".
Because the City has a totally crazy idea.
"We've already destroyed this part of the landscape
to build houses, so you can destroy this one, too,
this way we'll destroy it all together".
It' a crazy idea.
My idea: "let's not destroy anything.
Let's build a new landscape, with respect to the old one,
respect to the nature,
and respect to the person living in this castle, who is my friend.
The idea is to do a research and understand
what are the landscape drawings,
the important elements in this landscape.
It's just on this street, this curve,
the idea of a line that's not straight,
because it's a completely natural line.
Now, our idea is to build a factory
that's completely underground,
totally integrated to the landscape and covered,
like the hotel in Sardinia.
We'll build vines.
This is a 60 thousand square meters building
that will give back 60 thousand square meters of vines.
And thus our balance is restored.
This is an idea, a drawing.
Now it's built, but the idea is:
how can you explain to the client
who has a project for a normal factory, a shed,
costing 40 million euros,
that we'll invest 75 million euros,
35 million euros extra just to respect nature.
I told him:
"where do you get your wealth?"
From the land.
Your industry is a winery that's been making wine
for 700 years, since 1385.
Now, how much wealth does the land give back to you?
It's time you give that wealth back
by respecting the landscape.
He accepted this idea
and we'll build a totally underground 1-kilometer highway,
there's no truck traffic,
no cars, no parking, no storage.
It's all totally inside the earth.
And you can do it, it's not easy to explain,
it's not easy to build,
but this nature is wonderful.
We have this image in the place of the building.
My idea: we cut the mountain
and create a place where you can see the landscape.
It's not a building, it's part of the landscape
where you can have an extraordinary experience
in this fantastic landscape that is Chianti.
This is the built factory.
The vines aren't totally finished,
but you can see this street will be cut later,
it goes inside,
1 kilometer of a completely underground highway.
The production is also totally sustainable.
We take the truck with the grapes
to the highest part of the mountain,
the grape will be made by gravity, with no electricity.
The idea is to make a factory with a lot of levels
to produce in a completely natural way.
And this factory isn't a factory,
it's part of the landscape.
There's nothing to it, you just cut open the mountain
and in it put your activities.
There are about 60 thousand square meters,
but 30 thousand are just the underground street,
parking and the completely invisible industrial activity.
The image of the vine.
Of course this project needs two, three, four years,
because nature will become integrated with architecture.
Now it's finished, but the important thing
is that it's all in a line that completely respects the natural
and the artificial line. There's no conflict,
there's great respect, at least the way we see it.
You can't see anything from the mountain,
you can't see it from the back of the hill.
This factory doesn't exist.
We were building it here,
all the elements of construction were here,
now it's finished, this image is from two months ago.
But it's integrated along with free access to the field.
And the road, this image is important
because it shows the road
that is completely covered
by 3 meters of earth.
And here, the covered road.
Of course it's enormous, huge,
of course it's a challenge,
a strong idea,
but this place has this energy, this need.
This whole part is invisible,
but the factory has a lot of activity.
We used special, pigmented concrete,
which we use in our work.
We use very little normal concrete.
This concrete has iron oxide inside,
and it's like terracotta, like a brick,
I don't know, it's not concrete, it's a special concrete
that has the color of a natural element.
And all the steel is Corten,
which doesn't need to be painted
and has a natural oxide that protects the steel over time
and absorbs the color of nature, of the landscape, of earth.
This is incredible, it's a storage,
a 30-meter plate for the truck,
but you can't see that truck, this work, from the outside
because we're in a green area, not an industrial area.
This is an underground city.
There's vine in the cover.
The street is completely integrated,
parking, the office is lit on this first section,
this is the second section,
the grape comes from the upper part of the factory,
goes to the silo, and then to the wood barrels to mature.
This project needs the earth
not just for environmental purposes.
We know 17ºC is the temperature for wine aging.
That's the industrial temperature.
But it's the same temperature of the 20 meters below the ground.
Why? In old times they didn't have air-conditioning,
they aged the wine, the grape, underground.
And they took energy from the earth.
Now we used this method,
the old way, we'll use the energy from underground
to create the 17ºC-cold in this part of production.
And we'll have brick around it to keep the cold.
We'll have two floors with 1,5 meter of earth
to protect the cold that will be created
completely naturally.
This is also a need. It's not just an industrial building,
it's a winery where there are 100 thousand visitors a year,
a wine museum.
There's a visitors level and a workers level,
so there's no interference and no conflict.
This is the level that maintains the cold.
We'll see how that's possible to build,
but we have a great experience in architectural history
I'm fascinated by an engineer from Uruguay called Eladio Dieste,
I think you know him, he's an extraordinary engineer
who has worked with a fantastic brick element.
We thought that was interesting research,
let's learn how we can build this.
But the cost of using this idea that Eladio Dieste used
in his architecture was too great,
so we went with an idea we learned from Renaissance,
and we built a double concrete structure
that supports the earth and a steel structure
that will build the structure around it,
where the brick is laid,
and then we'll put concrete over it.
That's the structure around it, 20 meters underground.
It's an important structure,
because before I created this project
I wrote a book about wineries
and the greatest architect in the world.
I wrote the book, I didn't know why,
but all over the world they invite the best architects
to make wineries.
My idea was to understand that.
Wineries are a particular typology.
It's a factory, sure,
but it's not just a factory, it's also a church,
because in our culture wine is the blood of Christ.
It's a little bit church, a little bit factory,
a little bit natural space.
Now, let's integrate these elements in this project,
and think of an exterior completely integrated with nature
and an interior that is particular
and will use local material.
We produced this brick in loco.
We dig the earth, it goes in the ovens,
and the ovens produce the brick.
This is made from the same earth where it stands.
We'll dig 400 thousand cubic meters of earth
to build this winery.
This shows it can be done,
this integration with nature is possible,
it's possible to use a natural, poor material.
This building is very poor, there are no luxury materials,
just totally cheap materials,
the cost of the building isn't high
in relation to the square meters and the building's dimension,
because materials are concrete,
brick, terracotta…
Materials that also show lots of respect to old tradition.
It's not a modern or contemporary building,
it's a building…
I don't know if it's modern, if it's old,
it's a building that totally respects
the agricultural culture of the Tuscan country house.
This whole design isn't new, we have it in country houses,
it's a very traditional design.
This is where they'll make the wine,
all the structure around it.
Everyone who comes here will understand
that an industry isn't necessarily a building,
an architecture that creates war with the nature
and the landscape.
This is the building's depth.
It's 20 meters into the earth.
This is a normal steel stairway,
concrete on the floor,
there's nothing special,
but there's great relation to the natural light
coming from the vine cover.
This is inside, it's a museum showing the family's history,
the winery's history, and there are lots of elements,
an auditorium…
It's a project, but at the same time
the vine is inside the building.
There's glass and then you can immediately walk out on the vine.
Now I'll show the last element of this building,
which is a stair.
A very important stair,
because it's a promenade taking the person who came in by car
from the inside to the upper part.
This is the Antinory family.
This is me before building the stair.
The stair is a path that goes from ground to the sky,
that creates contact with nature.
These are parts of that steel stair, unpainted,
totally natural.
And a stair is like an exit,
like a corkscrew.
And it's not easy to build.
But on the opening day
everyone in this little town
will live this building.
The fantastic thing about it is that they'll consider this building
to be not a private, but a collective building,
because it's part of the landscape, it's not a building,
it's close to the mountain, close to nature.
This is a great, great happiness.
These are all things you can see today in this building.
Finally, to finish,
I think I have a two, three-minute video.
It's a video about our project for Brazil,
in Rio de Janeiro,
a proposal for the renovation of a favela in Leme,
the Chapéu Mangueira and Babilônia,
which our Italian Ministry of Environment will donate to Rio
and mayor Eduardo Paes.
It's an idea of working in the favela
respecting the identity of the person who lives there,
respecting the community,
respecting the community's extraordinary architecture.
In Rio I can't buy a house
on the first street of Copacabana.
I can on the second street, right behind.
But the community has a wonderful view
and a wonderful area.
The idea is we can renovate
and respect this community
that isn't just present in Rio, but in Belo Horizonte, São Paulo,
in all of Brazil.
I don't like saying favela, but community.
I think the community architecture is fantastic
because it's totally spontaneous.
Now,
the idea of living in the community,
with which I'll finish my lecture,
is about respecting the person's life.
This is Copacabana, this is Rio.
We did extensive research,
we worked with our university for six months
in order to demonstrate, for instance,
that the community's density is normal.
The density is down,
and the quality of life can improve.
Let's think this city isn't ugly,
it's the marvelous city.
Let's look at it with completely fresh eyes.
There's presence, energy,
the cover of this house can be a terrace,
a place to look at the landscape...
Also the urban structure,
the community is very close to the urban part,
to the public structure of transportation and mobility.
Before building new buildings out of the city
and creating a mobility problem,
why don't we think about renovating
this extraordinary part of town?
I think we shouldn't destroy anything,
nothing gets destroyed because there's energy
in that person who lives there.
This is an important image. This is Positano.
Positano is Italy's greatest beauty,
in the Amalfi Coast.
Positano's urban structure is very similar
to the favela's urban structure.
The small Italian street is the same size
as the streets in the favela.
But you have to work at it, this is an old Italian borgo
that doesn't have this problem of too much energy in the street.
Now, how can you experience the street?
You can experience it in a completely new way,
not destroying it.
To the right is Positano,
and to the left is Chapéu Mangueira.
The urban structure is the same.
Totally the same. What does that mean?
That the problem isn't urban structure,
it's the use of the city, it's a renovation problem.
We designed this entry with an escalator,
because there is no entry to the community, no street.
There's a stair, one entry only,
the thugs control the police and vice-versa
with only one entry and one exit.
Now we'll renovate all of this,
we'll transform this whole place.
I think our work is to give hope
and an opportunity for us to do quality work
in a part of the city that isn't ugly,
and this is our thanks,
our way of giving back to the Brazilian culture
which is teaching us so much.
I don't know if there's a video. Thank you.
Again, thanks.
Thank you, Marco and team. Congratulations on your presentation
and also on you Portuguese. We'll take a brief break
and be back in 20 minutes. Thank you.