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>> FUNDING FOR ARTS IN
CONTEXT IS PROVIDED IN PART
BY AN AWARD FROM THE
NATIONAL ENDOWMENT FOR THE ARTS.
>> THIS PROGRAM IS CALLED
DESIGN, BUILD, BLUFF.
AND WE ARE IN BLUFF, UTAH,
RIGHT ACROSS THE RIVER, THE
SAN JUAN RIVER DELINEATES
THE NAVAJO RESERVATION AND
WE'RE -- WE MIGHT BE 10
MILES FROM THE FOUR CORNERS.
WE ARE BUILDING HOUSES AND I
LIKE TO BUILD THEM FOR FREE.
I MEAN, THAT WAS MY WHOLE
INTENT FROM THE VERY
BEGINNING.
[MUSIC].
>> WELL, DESIGN, BUILD,
BLUFF REALLY IS ABOUT -- TO
ME, ABOUT -- TEACHING
STUDENTS REALLY THE
RAMIFICATIONS OF THEIR
DESIGNS, REALLY, AND
COORDINATED WITH, ALSO, YOU
KNOW, SOCIAL CONSCIENCE.
FIRST OF ALL, THE KIDS ARE
MOSTLY, UNTIL NOW, NOW WE'RE
GETTING MORE AND MORE KIDS
FROM ALL OVER THE COUNTRY,
BUT MOSTLY THEY ARE, YOU
KNOW, WHITE BREAD KIDS, YOU
KNOW, FROM THE SALT LAKE
VALLEY WHO HAVE NO IDEA
WHAT'S GOING ON DOWN HERE.
NO IDEA THAT THERE'S A THIRD
WORLD COUNTRY RIGHT ON THEIR
BACK DOOR.
AND, YOU KNOW, THAT'S
JUST -- THAT JUST BLOWS
THEIR MINDS WHEN THEY COME
OUT HERE TO THE RES AND SEE
HOW PEOPLE ARE LIVING RIGHT
IN THEIR OWN STATE.
[MUSIC].
>> 61 YEARS, SINCE I WAS A
BOY, WE NEVER HAD WATER.
RUNNING WATER INTO OUR HOME.
THIS IS THE FIRST TIME THAT
WE EVER HAD WATER, FOR US TO
DRINK RATHER THAN GO DOWN TO
THE MISSION, HAUL WATER AND
THEN -- AND WE CAN COOK WITH
IT AND WE CAN DO A LOT OF
THINGS WITH IT.
[MUSIC].
>> IT'S INCREDIBLY SHOCKING,
IT WAS INCREDIBLY SHOCKING
TO ME TO COME OUT OF SCHOOL
AND BE SO COMPLETELY
UNPREPARED FOR THE
PROFESSION OF ARCHITECTURE.
I DON'T THINK I LEARNED
ANYTHING THAT I NEEDED TO DO
ONCE YOU GET INTO THAT
INTERNSHIP PROGRAM.
NOW, THAT'S MAYBE JUST THE
WAY -- THAT'S PART OF THE
WHOLE EDUCATIONAL SYSTEM, I
THINK, THE WAY THAT THEY
DEVELOPED IT.
IS THAT THAT'S JUST A
CONTINUATION.
BUT IT FEELS -- IT FEELS
REALLY -- REALLY UNFAIR TO
ME, THE WAY THAT THEY -- YOU
KNOW, THEY JUST SORT OF DROP
THE BALL ON -- ON THE
ARCHITECTURE FIRMS TO REALLY
TEACH YOU WHAT YOU NEED TO
KNOW.
[LAUGHTER].
IN ORDER TO REALLY BECOME AN
ARCHITECT OR, YOU KNOW, A
PRACTICING ARCHITECT.
[MUSIC].
>> WHAT WAS DONE PREVIOUSLY,
I THINK, IS WE FALSELY
PRESENT TO THE STUDENTS THAT
EVERYBODY IS GOING TO COME
OUT AND BE REM KOOLHAAS OR
FRANK GEHRY OR SOME BIG STAR
ARCHITECT OR AT LEAST
[INDISCERNIBLE] DESIGN, YOU
KNOW. WE ALL KNOW THAT FIVE
PERCENT OF THE STUDENTS
COMING OUT OF ARCHITECTURE
PROGRAMS WILL BE DESIGNERS
AND EVERYBODY ELSE HAS TO --
YOU KNOW, HAS TO FIND SOME
OTHER NICHE WITHIN THE
INDUSTRY, I THINK.
AND SO -- SO I WAS HOPING
THAT THEY WOULD UNDERSTAND
THAT, YOU KNOW, OFTEN
ARCHITECTS, AT LEAST THE WAY
WE'VE DONE IT PREVIOUSLY,
ARCHITECTS REALLY AREN'T
THAT INFLUENTIAL ON WHAT
GETS BUILT.
IT'S THESE PLANNING STAFF,
THE HOAS, ALL OF THIS SORT
OF STUFF.
SO THERE'S AN INTERESTING
ZONE, I THINK, FOR
ARCHITECT-TRAINED PEOPLE TO
BECOME, YOU KNOW -- WE
SHOULD BE POLITICIANS.
WE SHOULD GET INTO THE
PLANNING AREA.
WE SHOULD BE DOING A LOT
MORE THAN JUST THINKING, OH,
I'M GOING TO GO OUT AND
DESIGN AND CREATE THIS
UNBELIEVABLE GUGGENHEIMS OR
WHATEVER.
[MUSIC].
>> A GUY NAMED ALAN WEISMAN
WHO JUST WROTE THE WORLD
WITHOUT US, HE WROTE A BOOK
ABOUT [INDISCERNIBLE],
STARTED A VILLAGE TO
REINVENT THE WORLD.
IT'S A COMPLETELY
SUSTAINABLE VILLAGE DOWN IN
THE SAVANNAS OF COLOMBIA.
I ACTUALLY HAD THE GOOD
FORTUNE OF GOING OUT AND
MEETING WITH HIM LAST SUMMER
AND GOING TO GAVIOTAS.
WHAT HE TALKED ABOUT IS
GAVIOTAS BEING A PLACE WHERE
CHANCE CAN INCUBATE.
I LOVE TO USE THAT SORT OF
TERM FOR DESIGN, BUILD,
BLUFF, I LOVE TO THINK OF IT
AS A PLACE WHERE CHANCE CAN
INCUBATE.
>> MY FAVORITE IN THIS HOUSE
IS THE KITCHEN.
I LIKE THIS CUTTING BOARD
HERE.
I USE IT A LOT.
THE CHOPPING ON IT, THE TOP.
ALSO, WHEN I'M STANDING
HERE, I'M WASHING DISHES OR
TRYING TO COOK AND I LOOK
OUT THE WINDOW.
SEE WHO'S COMING, WHO'S OVER
THERE.
IT JUST LIKE REAL STUFF OUT
THERE, RIGHT NOW IT'S
CHANGING COLORS, LIKE THE
SPRING AND FALL.
[MUSIC].
>> WHAT INSPIRES ME AT WORK
IS -- I THINK TRYING TO --
TO MAKE THINGS THAT BRING
PEOPLE CLOSER TO THE WORLD
AND IT'S ONLY SOMETHING IN
THE PAST DECADE OR SO THAT
I'VE REALIZED, YOU KNOW,
HERE WE ARE PHYSICAL, IN A
PHYSICAL WORLD AND WE'RE SO
DISCONNECTED FROM THAT.
SO THE PROJECTS THAT WE DO,
WE TEND TO FOCUS ON THE
SITE, FOCUS ON THE
RELATIONSHIP BETWEEN THE
PEOPLE WHO ARE USING OUR
BUILDINGS, GETTING TO
UNDERSTAND THE RELATIONSHIP,
WITH THE SUN, WITH THE WIND,
WITH THE SOUND AROUND,
BEFORE WE START DESIGNING.
AND THEN WE TRY TO BUILD
SOMETHING THAT -- THAT IS A
RESPONSE TO THAT.
ALMOST LIKE IF IT GROWS OUT
OF THE EARTH LIKE A TREE
GROWING SO THAT IT'S A
NATURAL THING.
IT'S TRYING NOT TO BE
FORM-DRIVEN, BUT SOMETHING
THAT GROWS OUT OF THE EARTH.
[MUSIC].
>> HAVING A CLIENT
UNDERSTAND WHAT YOU'RE DOING
AND WHAT'S BEHIND IT, IS A
VERY IMPORTANT PROCESS OF
MAKING A BUILDING.
WHEN A CLIENT MIGHT BE OFF
BASE, IT'S NOT THAT THEY'RE
WRONG.
IT'S JUST THAT THEY'RE NOT
TO THE POINT THAT LET'S SAY
SOMEONE WHO SPENT 20 YEARS
OF THEIR LIFE THINKING ABOUT
FORM, THINKING ABOUT SPACE,
THINKING ABOUT LIGHT, WOULD
NECESSARILY BE UP TO SPEED
ON.
IF A PATIENT CAME IN TO A
DOCTOR AND SAID, YOU KNOW,
MY KNEE HURTS, I NEED THIS
PRESCRIPTION, THEY DON'T DO
THAT.
BUT ARCHITECTURAL CLIENTS
WILL DO THAT.
SO IT'S A SUBTLE PROCESS OF
TRYING TO MAKE THEM
UNDERSTAND WHERE WE AS
DESIGNERS ARE COMING FROM.
AND IF YOU DO IT IN A
TACTFUL WAY, IF YOU DO IT IN
A WAY THAT'S EDUCATIONAL,
ALMOST IN EVERY CASE THEY'LL
COME AROUND TO IT.
>> WHY BECAME AN ARCHITECT I
THINK HAD TO DO WITH MY
UPBRINGING.
MY FATHER WAS A HOUSE
BUILDER, GREW UP WATCHING
HIM BUILD HOUSES, WORKED A
COUPLE OF SUMMERS FOR HIM.
I WAS ACTUALLY DOING SOME
HOUSE DESIGNS AT THAT TIME.
I DIDN'T GO THE CONVENTIONAL
ROUTE AND GET A DEGREE IN
ARCHITECTURE.
MINE WAS IN FINE ART.
I WORKED IN AN OFFICE FOR
EIGHT YEARS AND THEN SAT FOR
THE EXAM, CAME UP THAT WAY.
YOU CAN'T DO THAT NOW.
OUR OFFICE IS VERY INFORMAL.
JUST A VERY LOOSE STUDIO,
PAINTING FROM TIME TO TIME.
DOING CONSTRUCTIONS.
ALWAYS MAKING THINGS OUTSIDE
OF STRICTLY THE DISCIPLINE
OF ARCHITECTURE.
ALWAYS WORK-RELATED TO
ARCHITECTURE, BUT BEING ABLE
TO MAKE ARCHITECTURE
SEAMLESSLY AND NEVER HAVE TO
THINK ABOUT THERE BEING
SEPARATION BETWEEN THE TWO.
[MUSIC].
WHAT WAS IMPORTANT WAS BEING
ABLE TO TOUCH ANOTHER SOUL,
BEING ABLE TO TOUCH THE
SPIRIT OF A PERSON.
BEING ABLE TO CONNECT TO
THEM SOME WAY, WHETHER
SOCIALLY, ENVIRONMENTALLY,
ESTHETICALLY, ALL OF THOSE
THINGS WERE AT THE ROOT CORE
AND THAT'S WHAT ANY ART IS
ALL ABOUT.
[MUSIC].
>> WHAT HAPPENED TO ME WAS I
WENT TO CORNELL.
I WAS A CHEMISTRY MAJOR.
I HATED CHEMISTRY.
I WAS FLUNKING OUT OF
CORNELL.
MY DORM COUNSELOR WAS AN
ARCHITECT.
I NEVER HEARD THE WORD
ARCHITECT.
HE WAS AN ARCHITECT.
I SAID, "HEY, ARE YOU MAKING
MODELS AND DRAWINGS, CAN I
HELP YOU?" BECAUSE I LOVED
AS A KID TO MAKE MODEL
AIRPLANES AND DRAW ON THINGS
BUT LITTLE BOYS IN THE '40S
DIDN'T TAKE DRAWING, THEY
TOOK AUTO MECHANICS, SHOP
AND THINGS LIKE THAT.
SO I MET THIS GUY AND I
DECIDED TO BECOME AN
ARCHITECT.
AND ONCE I DECIDED, I
DECIDED I WANTED TO BE
WHAT -- WHATEVER A GREAT
ARCHITECT WAS.
IMMATURE I GUESS.
I DON'T BELIEVE THAT
ARCHITECTURE IS ABOUT MAKING
A BETTER WORLD, NUMBER ONE.
I BELIEVE IT IS PART OF
CULTURE WHICH MAKES LIFE,
INDIVIDUAL LIFE, MORE --
MORE BROADENING EXPERIENCE,
BECAUSE THAT'S ALL WE HAVE.
WE LIVE AND WE DIE.
NOW, IF YOU ARE SAYING THAT
A PERSON WHO IS ENRICHED,
HELPS TO MAKE A BETTER
WORLD, THAT MAY BE.
I'VE NEVER SEEN ANY
ARCHITECTURE THAT HELPS TO
MAKE A BETTER WORLD.
AS A MATTER OF FACT, I THINK
ARCHITECTURE CREATES
PROBLEMS RATHER THAN SOLVES
PROBLEMS.
AND I THINK THAT'S REALLY
GOOD, CREATING PROBLEMS, I
THINK FOR ME MAKES A BETTER
WORLD BECAUSE IT OPENS UP
THE WORLD.
I'M NOT AN IDEALIST.
TO ME I'M NOT IN
ARCHITECTURE TO AMELIORATE
SOCIAL PROBLEMS.
I'M IN IT FOR ME TO
RADICALIZE CHANGE.
IF YOU GO AND SAY HERE'S A
PROJECT FOR THE
NEIGHBORHOOD, IF YOU ASK THE
PEOPLE WHAT THEY WANT,
YOU'LL JUST WATER DOWN THE
ARCHITECTURE.
TO ME, ARCHITECTURE IS
SOMETHING THAT CHALLENGES
PEOPLE, CHALLENGES WHAT THEY
WANT, CHALLENGES THEIR IDEA
OF WHAT COMFORT IS,
CHALLENGES THEIR PERSPECTIVE
ON HOW THEY COULD LIVE.
I THINK THERE AREN'T ANY
MOMENTS WHEN ARCHITECTURE IS
NECESSARY.
DOESN'T 90% OF BUILDING NEED
TO BE JUST DUMB BUILDING.
YOU KNOW?
SHOULD WE HAVE A LOT OF
PETER EISENMAN BUILDINGS?
I DON'T THINK SO.
BECAUSE, YOU KNOW, THEY ARE
CULTURAL PIECES THAT STAND
OUT FROM THE CONTEXT.
MY IDEA IS TO MAKE PEOPLE OR
TO HAVE PEOPLE BECOME LESS
PASSIVE.
MEDIA THAT FORCED THE
PASSIVITY ON THE WORLD.
AND WHAT I'M INTERESTED IN
IS CHALLENGING THAT
PASSIVITY, TO HAVE PEOPLE
BECOME MORE ACTIVE IN THE
DECISIONS THAT ARE MADE
AROUND THEM AND FOR THEM,
THAT THEY DON'T EVEN REALIZE
ARE BEING MADE.
AND TO ME THAT'S WHAT I
BELIEVE RADICAL ACTIVITY IS
ABOUT.
IT'S ALSO ABOUT WHAT I CALL
A NON-PASSIVE PASSIVITY.
THAT IS STRATEGY OF REFUSING
ACTIVITY BUT WITHOUT
BECOMING PASSIVE AND THAT TO
ME IS AN IMPORTANT WAY TO BE
IN SOCIETY.
I THINK TO BE SILENT WHEN
EVERYBODY ELSE IS SPEAKING,
BUT THAT THE SILENCE IS NOT
INDIFFERENCE.
IT'S AN ACTIVE SILENCE.
AND MY WORK HAS ALWAYS BEEN
ABOUT THAT.
MY ROLE IN LIFE HAS BEEN
ABOUT THAT KIND OF MOVEMENT
AWAY FROM THE PASSIVE.
[MUSIC].
>> HOW CAN YOU BEAT A
PROJECT LIKE THE FREMONT
TROLL?
IT WAS THE ULTIMATE
COMMUNITY FANTASY.
THE WHOLE TOWN OF SEATTLE
WAS ROOTING FOR THAT THING.
TO BUILD A PUBLIC PROJECT
THAT MAKES THAT MANY PEOPLE
HAPPY I MEAN THAT MIGHT BE
ENOUGH FOR YOUR WHOLE LIFE.
IT'S NOT THE MOST
SOPHISTICATED PROJECT THAT
WE HAVE DONE, EITHER
TECHNICALLY, CONCEPTUALLY OR
ICONICALLY, BUT IT'S
DEFINITELY A WINNER.
ARCHITECTURE IS VERY
INFLUENTIAL.
WE SPEND ALMOST ALL OF OUR
TIME IN ARCHITECTURE.
ARCHITECTURE CAN MAKE YOU
SICK IF THE BUILDING
MATERIALS ARE TOXIC.
ARCHITECTURE CAN MAKE YOUR
RELATIONSHIP GO SOUTH.
I COULD BUILD A BUILDING
THAT COULD MAKE PEOPLE GET
DIVORCED.
I MEAN, YOU CAN MAKE LIFE
*** PEOPLE.
OR YOU CAN MAKE PEOPLE'S
LIVES INCREDIBLY BETTER WITH
ARCHITECTURE.
ARCHITECTURE IS A POWERFUL
TOOL.
ARCHITECTS ARE GIVEN A GREAT
GIFT.
WE SEE THINGS DIFFERENTLY,
WE CAN REALLY IMPROVE
PEOPLE'S LIVES, THAT'S WHY
WE NEED TO -- I THINK IT'S A
GIFT THAT HAS SOME STRINGS
ATTACHED TO IT.
WE HAVE SOCIAL, POLITICAL,
ENVIRONMENTAL STRINGS, IF
YOU WERE.
WE HAVE THE RESPONSIBILITY
TO USE OUR SKILLS TO MAKE
PEOPLE'S LIVES BETTER AND
NOT JUST THE RICH PEOPLE
THAT HIRE US TO DO STUFF,
BUT EVERYBODY.
[MUSIC].
>> ONE OF THE FOUNDING
PARTNERS OF JUDGERS SEE
DEVILS, A GROUP OF
ARCHITECTS, ARTISTS,
COMMITTED TO DESIGN AND
CONSTRUCTION, WE KEEP A
SMALL OFFICE, BASICALLY A
POST OFFICE BOX AND PHONE
MACHINE, PRETTY ITINERANT
WORKING OUT OF WHEREVER OUR
COMMISSIONS HAVE TAKEN US.
WE HAVE LIVED ON JOBSITES
ALL OVER THE COUNTRY, ALMOST
ALL OVER THE WORLD.
EARLY BUILDINGS WERE A
LITTLE ROUGH, LIKE FOLK ART,
FOLK ARCHITECTURE, KIND OF
ONE LINERS, BUT THEY ARE A
GOOD WAY TO START A CAREER.
THE IDEA THAT INSTEAD OF
GOING TO AN OFFICE, YOU
COULD GO OUT IN THE WOODS
WHERE NO ONE CAN SEE YOU AND
BUILD YOUR OWN IDEAS, FULL
SCALE, AN INCREDIBLE
EXTENSION OF OUR EDUCATION.
FOR AN ARCHITECT TO KNOW A
LOT ABOUT BUILDING, HOW YOU
MAKE THINGS, IT CAN KEEP YOU
FROM FLYING, REALLY.
IF YOU KNOW THAT PILE OF
LUMBER WILL JUST WEIGH YOU
DOWN, IF YOU DON'T KNOW HOW
TO PUT IT TOGETHER, YOU CAN
COME UP WITH SOME AMAZING
IDEAS.
BUT THERE IS A POINT WHEN
THE IDEA, YOUR KNOWLEDGE CAN
ENABLE YOU TO TAKE THAT AND
STILL DO SOMETHING MORE
AMAZING THAN THE GUY WHO
JUST HAS IDEAS.
IF YOU LOOK AT ARCHITECTURE,
I THINK SOME OF THE STUFF
THAT IS SORT OF INCREDIBLE
IS THE STUFF THAT'S
GENERATED BY ENGINEERING.
[INDISCERNIBLE]
THAT STUFF IS JUST
ASTOUNDING.
IT'S DESIGNED TO BE THE
MINERAL STRUCTURE.
DESIGNED TO BE BREATH TAKING
STRUCTURE AND YOU LOOK AT IT
AND YOU SENSE THAT IT'S
RIGHT.
THAT THE PROPORTIONS ARE
CORRECT.
AND THAT WHAT IT'S DOING IS
RIGHT, JUST LIKE WHEN YOU
LOOK AT SOMETHING IN NATURE.
WHEREAS IF YOU LOOK AT SOME
OF THE ARCHITECTURE THAT
LOOKS LIKE EITHER A BUNCH OF
CARS SMASHED TOGETHER OR A
CRUMBLED PIECE OF PAPER OR
SOMETHING THAT'S GENERATED
ON A COMPUTER, THERE'S
SOMETHING THAT DOESN'T QUITE
RING TRUE TO IT.
IT'S LIKE AN OVERSIZED PIECE
OF ARBITRARY SCULPTURE.
IF YOUR IDEA IS SO ESSENTIAL
TO THE STRUCTURE, AND A LOT
OF THE JERSEY DEVIL
BUILDINGS ARE THAT WAY, IF
YOU LOOK AT THOSE THINGS,
THEY LOOK WILD BUT THEY ARE
BASICALLY VERY SIMPLE,
THERE'S NOT A LOT OF ZIGS
AND ZAGS AND THINGS STUCK ON
TO THEM.
YOU CAN'T JUST TAKE OFF PART
OF IT BECAUSE IT IS A
STRUCTURE.
[MUSIC].
>> AT THE UNIVERSITY OF
WASHINGTON, I'M THE DIRECTOR
OF THE NEIGHBORHOOD DESIGN
BUILD STUDIO.
WHICH DESIGNS AND CONSTRUCTS
SMALL PROJECTS FOR
NON-PROFIT COMMUNITY
GROUPS IN THE SEATTLE AREA.
INTERVENTIONS, IS THE
ARCHITECTURE TERM THAT'S
OFTEN USED AND THESE
PROJECTS THAT WE DO ARE IN
NEIGHBORHOODS THAT KIND OF
SORELY NEED A LITTLE ENERGY.
WHAT WE PREFER TO DO IS
SOMETHING SMALL.
FINITE, WELL DEFINED PROJECT
THAT WE CAN DESIGN AND BUILD
IN ONE SCHOOL QUARTER THAT
HAS LONGER LASTING IMPACT.
JERSEY DEVIL, WHAT WE DID
FOR 20 SOME ODD YEARS
TRAVELING, LIVING ONSITE AND
BUILDING OUR OWN BUILDINGS
PROBABLY HAD A LIFE SPAN OF
ABOUT THAT LINE AND AFTER
THAT POINT THE CLIENTS START
TO GET YOUNGER THAN YOU ARE,
YOU START TO GET TOO CREAKY
GOING UP A LADDER.
REALLY ARCHITECTURE IT'S
BEST IF IT'S IN THE SERVICE
OF THE PUBLIC RATHER THAN
BUILDING HOUSES FOR PRIVATE
CLIENTS.
IN ORDER TO DO THIS, WE HAD
TO CHANGE OUR WHOLE PRACTICE
AROUND AND JERSEY DEVIL HAS
BECOME MORE FOCUSED ON
PUBLIC ART.
THEN ALL OF US HAVE GONE
INTO EDUCATION AND WE ALL DO
DESIGN BUILD EDUCATION, WE
TEACH THE NEXT GENERATION OF
ARCHITECTS HOW TO BUILD AND
WE CAN FOCUS ON PROJECTS
THAT WOULDN'T HAPPEN IF WE
DIDN'T DO 'EM.
AND I THINK THE IDEA OF
ARCHITECTS FLYING AROUND ON
PLANES, INCREASING THEIR
GLOBAL FOOTPRINT, MAKING
SKETCHES AND DROPPING THEM
OFF AND BUILDING STUFF ALL
OVER THE PLACE IS NOT THE
PROPER WAY TO DEVELOP THE
PLANET AND, YOU KNOW, THE
IDEA OF A GLOBAL ARCHITECT
IS A BAD IDEA.
I THINK.
THE IDEA OF A LOCAL
ARCHITECT IS A GREAT IDEA.
[MUSIC].
>> MORE THAN -- 30, MORE
THAN 30 YEARS AGO, I WAS AN
ENGINEER.
IN ELECTRONICS.
BUT IT WAS -- IT WAS NOT
REALLY SATISFYING WITH THIS
JOB.
SURE.
I HAD SOME ARTIST FEVER
INSIDE.
AND I'M NOT SO MUCH
[INDISCERNIBLE] JUST AT A
TABLE, SO I'M -- I CANNOT
HAVE LOTS AND BIG THINGS TO
BUILD.
SO I WAS ABLE TO BUILD AND
TO CREATE SOME LITTLE
THINGS.
I FIND SOMETHING, I -- I
LIKE TO -- TO DO, I LIKE
THAT THIS WORK, IT'S -- IT'S
MORE THAN WORK FOR ME.
[MUSIC].
>> MY VERY FIRST PIECES,
I -- I MADE THEM FOR ME.
AND I HAD THE OPPORTUNITY
TO -- TO SHOW THEM IN A --
IN A SHOW, A [INDISCERNIBLE]
SHOW.
AND THE REACTION WAS GOOD.
I SOLD THEM.
AND I SAID SO LET'S TRY TO
GO ON AND MAYBE THERE IS
SOME OTHER THINGS TO DO,
SOME OTHER SUBJECTS, SOME
OTHER WAYS TO -- TO EXPLORE.
[MUSIC].
>> I'M LIKE A SCENIC
DESIGNER.
I WANT TO JUST TO -- TO
SUGGEST THE [INDISCERNIBLE]
TO COME WITH HIS OWN STORY
AND TO PLAY ON THE STAGE.
I OFFER TO THEM TO GIVE
SOME -- SOME INDICATIONS FOR
A STORY.
I LIKE TO PUT SOME DETAIL.
THE DETAIL THAT THERE IS
MAYBE SOMEBODY OR SOMEBODY
IS LIVING, YOU CAN USE, YOU
CAN BE IN THAT PLACE AND
JUST USE THE DETAILS TO --
TO TELL YOUR STORY.
PEOPLE WHO LIKE MY WORK
BETTER I THINK -- I THINK
CHILDREN AND OLD PEOPLE,
THAT -- THAT HAVE -- THAT
HAVE ALWAYS THEIR CHILDREN,
I -- THE PERSONS THAT --
THAT -- THAT ARE ABLE TO
DREAM.
>> FUNDING FOR ARTS IN
[MUSIC].
CONTEXT IS PROVIDED IN PART
BY AN AWARD FROM THE
NATIONAL ENDOWMENT FOR THE ARTS.