modern interior design edmonton

morten schmidt:thank you so much. fantastic to see so manypeople on monday evening. it can't possibly be because youwant to hear about libraries. it must be because it'sso cold outside, isn't it? i'm freezing here, eventhough i come from a country where it's summer rightnow, and it's just a little bit warmer than here. i don't know what it is it. it must be the windor something like it.

well, it's a pleasure, first ofall, working with this library here, and also a pleasurebeing able to show you all the librariesthat we've been doing. i only have 250 slides to gothrough the next 50 minutes, so it's going to bevery, very quick. well, first of all, i want to,before going into this issue here, talk a little aboutourself, very briefly. and then by the endof the presentation i will show you acouple of projects

which is not libraries, butsomething very sort of similar to the libraries. because i think you will befed up with all these libraries by the the end ofthe presentation. our name is schmidthammer lassen, but we're also knownas shl outside denmark. we are based incopenhagen in denmark, and we work both in aros andin copenhagen in denmark. but we have a strong presencein shanghai in china, as well.

and we are about 150architects, whereas 30 of them are working in china. our studio wasfounded in denmark, so we follow a veryscandinavian way of thinking about ourcities and our projects. this is the latest danisharchitecture policy launched in february in 2014 bythe danish ministry of culture. and the key thing here is aboutputting people first, really. so this is how we work.

and we will look at architectureas being democratic. we call it democraticarchitecture, architecture that focuses around theneeds and experiences of the people that usethe buildings we design. we are constantly thinkingabout how we can open up ways to engage peoplewith our projects, and we try hard to get down tothe essence, really, of what each unique project is about. and that's why we lovelibraries so much, because it

has to do with people. and children, theylove reading books, but they are also in ageneration of technology. and as we are continuallyhearing, how we deal with this is key to the futureof the libraries. i'm not going to govery much into all these technical aspectsof the future libraries, but more the frames of them. we're developingthe way we think

about librariestoward what we refer to as collection to connection. how do we design libraries thatcan be both collection oriented and socially oriented? we've designed and completedover 15 large scale libraries around the world,and are currently working on a number of others. and although the majority ofour libraries-- projects-- are centred aroundscandinavia we

have worked and are working inplaces like canada, australia, new zealand, and china. so perhaps one placeto start is to look at some of the firstlibraries in history. this is the royal libraryof alexandria in egypt, built in the thirdcentury before christ. and it acted as thehop for scholars. at the time, themajority of people were illiterate,so this was a place

for the elite, first of all. this is the royal library incopenhagen, denmark, a project we designed more than 2,000years later, some 23 years ago, and it opened 17 years ago. and this also, technically, isa research scholarly library, and on top it is thenational library of denmark. and this project aims toshow the immediate difference between closed elitistlibrary buildings towards a more open andinclusive building type.

the building holds thevery rare books in denmark, but most importantly, it iscompletely open to the public, and lots of public eventstakes place here every day, lectures, musics, et cetera. it's a library foreveryone, not just scholars, and we created aground floor that included public plazas, ashop, a cafe, a high end restaurant, exhibitionspaces, and a concert hall. and the public space hasbecome a stage for the life

of the city, backed by thelibrary as a key marker for the citizens, a strongexample of how a library can create a feeling ofcultural centre for a city. as introvert, it maylook, in its exterior, as extrovert it isin its interior. it's opening up to the public,making this grand gesture with the softness ofthe curved concrete. it's opening up the libraryto the water as well, creating a space that wasall about inviting people

in to participate in the variousprogrammes run by the library. but symbolically, it's alsoshowing opening up to the sky, to the cosmos, and tothe universal knowledge with this v-shape. here's the musicfestival taking place, with live dj andprojections for example, held in the main library space. and the library now has itsown residence, classical group, known as the diamond ensemble.

so the library is engagingtruly with the culture of the city and its people, andthey frequently perform here. oh, sorry-- in a 600-seatmusical performance hall. this shows how perfectexample of a library is acting as a civicand social space. this is another librarywe have completed in aberdeen, scotland, in uk. this is an academic libraryfor the university of aberdeen. but we wanted tocreate something

that engaged with thepublic and the wider city, by having a plinth containingall the rare books, because up in aberdeen they'vegotten one of the largest collections of red books in uk. then we can connected theexterior academic square to the groundfloor, and we added many floors, connected to eachother by a spectacular atria. and finally, we added the skin. so we created a completelypublic flow open to anyone

with a public cafe, exhibitionspace, and public lecture hall, and that spatial idea thatdrew, encouraged people to want to enter and delvedeeper into the library. and looking down, youcan see this combination of the idea of collection toconnection, the space being specifically designed toencourage chance encounters and meetings. [? fragrancy ?] ofbooks saturated with the [? fragrancy ?] of books.

the space took even queenelizabeth to the top floor, where i had the honourof showing her around in the building. she didn't bring her parachuteat that time, though. this is the embodiment ofthe idea of the library as a meeting space, or as werefer to as this third space, creating that spacesomewhere between your work life and your home life. and there are referencesin chinese culture

that make reference to theimportance of the meeting space and public space. this is part of a paintingby the chinese painter, zhang zeduan, entitled along theriver during qingming festival. and this painting is knownfor depicting different people from different backgroundsinteracting with one another. not only in china, ofcourse, but across the world, this interaction or meetingis fundamental to the core of our society.

and we look at this as the coreof the modern library today. i also wanted to show this. this is one of the world'ssmallest libraries. it is in a neighbourhoodin new york, and was part of an initiativeknown as little free libraries, and is based on the premise of"take a book, return a book." and one of the many coolthings about this library is that it really encouragespeople to meet new people, and activates parts of us ourcity, no matter how small.

and this idea of a library as ameeting point or meeting space, or more importantly,a community space, is always at the forefront ofour thinking in new libraries. the most important functionof the modern library today, and for the future,it is to help people understand,interpret, and relate to the world around them. it is even importantto allow the users themself to form such spaces.

this idea is fundamental tothe idea of inclusiveness and creating asense of ownership of this space for the visitors. likewise, users ofthe modern library are varied anddifferent, from children to teenagers, researchersto the elderly. so it's important toallow the flexibility to create and recreate zonesand areas for different use. besides maybemuseums, libraries are

some of the veryfew public spaces left that are noncommercial. this makes a public libraryas important as a church, a public park, orcity hall, because it is the people's building,and everyone can go there. another topic wefrequently discuss is the idea of exploration. and we believe this isanother fundamental concept in the modern library.

we often refer toas serendipity. people today come to librariesfor many different reasons. and in order to develop andencourage knowledge sharing and innovation, a libraryneeds to encourage exploration and discovery. and we took thisidea, literally, in a small local librarywe completed in denmark with artist [inaudible] fjord. this is a plan ofthe library, and you

can see the shelving forbooks and seating and desks. and this crazy red line-- that also representsbookshelves and desks and seats. this red line ofdisplays shelving containing newcollections and media, twisted through thespace, encouraging users to follow it anddiscover, turning from shelving to desk spaces,floating through the space, breaking the associatedcontinuity of the library

as a rigid and orderedarchive system, encouraging explorationand discovery. another aspect we believeis key to the modern library is involvement and empowerment. this is a picture from our dock,one library in aros in denmark, showing this idea of programmingnew types of activities within the library. or here, some new technology,interactive gaming, and some more old school gaming.

again, here is a space dedicatedto the aboriginal community in our halifax library incanada, the national circle. or here, a yoga classin a flexible space we created facing the city. in fact, some peopleoften refer to this quote by benjamin franklin. "tell me and i forget, teach meand i may remember, involve me and i learn." it's a great quote, i think, butfor you historians out there,

you will probably beaware that it's widely considered that benjaminfranklin actually never said that at all. it was originally said by thisguy, the chinese philosopher, [inaudible]. and although the quoteis slightly different, the moral is the same. you can only reallyunderstand something by trying it yourself.

so if we take these ideas,experience, innovation, involvement, andempowerment, for what we often call the fourspaces of the public library of the future. for a number of years we havefollowed the work of professors at the royal school of libraryand information science in copenhagen. we referto this four space model for the new libraryof the future. their belief wasthat a modern library

must support these four goals-- experience, empowerment,involvement, and innovation. and these goals are supportedby four different space types-- learning space, meetingspaces, performative spaces, and inspirational spaces. i want to quickly show you fourlibraries that we have designed in a little more detail,in canada, china, denmark, and new zealand, and try toexplain some of these ideas. i'm sorry, but the new zealandone didn't come on the map.

it was too small. let's start in canada,in the port city of halifax, nova scotia. it's the red dot in nova scotia. the other red dot hasnothing to do with libraries, but that's where titanic sank. this is the library,a complete building, built on the site of a parkinglot in downtown halifax, conceived as a compositionof stacked and twisted glass

volumes, placed at a criticaljunction in the city. the project was toreplace this building. the old library was builtin 1950s as a memorial to those who diedin the world wars. it was a closed stone building,very traditional and introvert. and the new library was intendedto be the opposite of this, open, in glass, and welcoming. here you can see this yinand yang difference between the context, brick versusglass, but connected through

[? mazing ?] and colour. this library was the result ofintensive public consultation, six large meetings of 300plus people over six months, and around 1,000 peopleonline twitter at every event. our entire designprocess were exposed. we started with noproposal and ended with a scheme insix months time, based all on the public'sviews and comments. the public were welcomedinto the process

and we took the essenceof their choices and developed itinto our design. and this was the final proposaldesigned alongside the public. this was what we proposedto the city planning bureau, and the project complete. so it was very, very close towhat we agreed with the public. and that has reflected backas very positive, as well. activity becomes visibledeep inside the building, naturally more so at night.

halifax has a long,dark winter months, so it's perception atnight was important. from street level you cansee deep into the library. the main cantilever ofit becomes a marker, the centre of the downtown. and there we placed so calledhalifax living room on the top. inside the librarywas, of course, incredibly important,and was a major part of the publicconsultation process.

here are a picture fromone of the dedicated kids consultations sessions we held. and all the kidswere harry potter mad, and basically asked us tomake the library like hogwarts. so we decided to watch the movieagain for some inspiration. we got inspired, of course. so a series of stairsand bridges connected to the spaces in variousdirections, atrium becomes a focus for movementand activity, as well as stairs.

we created a series ofbridges across the atrium. and the stairs open upto the main entrance. it also enhances theidea of exploration, or serendipity, as i said. and this is somethingwe think is very important in modern libraries. and naturally,this came from what we thought a library shouldbe about from children's view. but naturally, adultslove to explore, too.

this is the embodiment of ouridea, collection to connection. the ground floor is anextension of the plaza in front, connecting outside to inside. and this connectioncontinues all the way back to the flexibleperformance space at the back of the building. the old library had250,000 visits per year. aim was to double this to 500. now on track for 2 million.

so from this project willgo to ningbo in china. this is the existing centreof ningbo you see here. and as the city expands,they are actioning ambitious plans for a new town. the city had quiteambitious plans to dramatically increasethe number of visitors to the new library, here showingthat their existing library already had more visitors thanthe royal library designed in copenhagen. so the newlibrary needed to be designed

for 8,000 visitors per day. so taking this idea thatlibraries are increasingly becoming a communityor city meeting place, and one of the last free spaceswhere people can come together without being sold somethingor being asked to move on, we needed to create a meetingspace for 8,000 people. so we focus one superlarge single space to act as this large meetingplace at ground level, and we place all the mostimportant library functions

on this one floor andkeep the plan very open and connect it to the outside. and this create aspace, something like this, a placefor discovery, really, something we continue to developand first tried in our library we designed insweden in hempstead. if you consider this traditionalbook stack like this, only containing books, webelieve this will completely change in the future if wefollow this idea of collection

to connection. so in ningbolibrary, we proposed a much larger book stackthat not only contain books, but also people. and these giant bookstacks would lead people up from the open marketplace to the floors above. so people would interactin the larger marketplace and almost follow the sunlightup through the giant book stack to explore the library.

and the bookstack connectswith the rest of the library above, connecting threedifferent volumes containing various collections, offices,classrooms, and media labs. looking at how thelibrary sits in the site, like all our previouslibraries, the ground floor remains open and connectedto the outside, so very much like from this image in sweden. this is the main entranceof the ningbo library, with the open ground floor.

this project isunder construction and due to complete next year. so now i want to takeyou to the city of aros, where i come from, in thenortheast coast of denmark. it is also where shlswere originally founded. like in copenhagen, like inhalifax, and like in ningbo, aros was anindustrial port city, and is going through majorredevelopment of the harbour areas nowadays.

and in 2008, we won thecompetition on this site that sits squeezed in betweena city and the harbour. the project was for thecity's new central library, citizen servicecentre, office space, and a major transporthop, so in a way, a new hybrid mixed use building. and rather than place thesefunctions next to each other, we propose to stack thesefunctions on top of one another in an attempt tocreate compressed sense

of current connectionand synergy between these functions. the concept was tocreate an open media space for thecitizens, sandwiched between the transport hub belowand the office space above. and this central space, almostlike a covert urban plaza, is intended toact as a free zone where users can move freelybetween the library functions. this is the original dock site,and you can see the river,

as well, coming from there. this image is an old image, butnow the river has opened up. our proposalreconfigures and creates a completely newdock front, allowing the people of the city almost360 degree access to the water. so this was ourproposal in a rendering, and here's it completed. the waterfront is stillunder construction, though, and completed, it willbe an open public gathering

place. here's an example ofhow the spaces are used. here, just beforea music concert, the library becomespart of the city fabric. the outdoor spaces become anextension of the library space and can act as backdrop forvarious light installations as well. and we created a seriesof playful sculptures, as well, for the children.

here is a volcano from iceland,located on the northwest, facing the direction of iceland. as you move aroundthe library the south, you can visit the africanmonkey and play hide and seek in the forest. on the northeast isa huge russian bear, where you can slidedown the tree trunk. and in the west youcan catch a ride on a massive american eagle.

and of course, in theeast, the chinese dragon promises adventure anddiscovery in china. so for children itencourages this association with the wider worldaround us in relation to the particularplace in the world. these sculptures were createdby danish designers [inaudible].. and insight the integrationfor art continues. danish visual artist,[? kristina ?] [inaudible],, conceived the gong, asyou've already heard about.

so this is the tubular bellin the middle of that space. and you can stickyour head up into it and hope not there will bea child born at that time. a single large gong is placedwithin the library [inaudible].. and yeah, there's just the wholestory about that we all really heard. inside the space isopen and flexible, always connecting to the city,allowing for contemplation and understanding yourplace in the world,

but also for creativityand performance. here shows a dance performancetaking place in an area that we call the median rampl and thisspace is constantly changing with performance, lectures,and inspirational programmes, or here, for quiet study. functions that usedto be in the city hall has found itsplace here as well. here you can get passports anddriver's licence and the like. and while people waitingfor their driver's

licence [inaudible]passports, they can use the facilities as well. and there's plenty ofspace in this library. so that was about dockone from christchurch, the fourth of the librariesthat i'm going to present. you of course know about it. we are working onthat project, and it will go into construction soon. and this is an image from beforethe devastating earthquake

that you all heard about. and this is the after image. and i don't know how manyof you who have been there, but it's amazing to experiencea city where there's still buildings there, butthere's not a city anymore. i mean, it's just spacesbetween buildings. there's no streetsand no plazas anymore. so it's a very strange place. and of course, thecentral space of the city

is the cathedral squarewhere the cathedral itself is also going tobe demolished or rebuilt. and so our project here isgoing to be the first driver to redevelop the centralcore of christchurch as a public building withhigh architectural quality. and as the building will havethe cathedral on one side and christchurch culturalinstitutions, the theatres, cinemas on the other, wewanted to connect the building on ground level.

that was very important. in the early designprocesses, we were asked to work very closelywith the maoris on the design. so the notion of thepataka, the top component, the community arenabelow, was the output from the interestingand inspiring workshops that we had with these people. and the space insideconnects virtually. mother earth andfather sky need to be

connected inside the building. and we had to be awareof all their children as well, the skies, the rain,the light and the trees, the forests, and all that. and it was, forme, an eye opener. and i think we, asarchitects, needs to be aware of these muchmore sensible ways of looking at our spaces around us. so the final design hascome out with this here.

there's a veilaround the pataka, representing the dominantcolour of nature in new zealand, especially in theautumn, i think. and you will see that thevarious angled components each pointing indifferent directions of important features in nature. it's mount cook andet cetera, like this. and on this image you willsee, underneath the pataka, there's the verydominant community

arena which is so importantfor the maoris as well. so meeting peoplehas, in this project, taken even a more sortof sensitive level, which i find very interesting. so it's a formal space. it's not an informal space,because meeting people needs respect as well fromeach other, and the space needs to facilitatethis respect. so four librariesshowing this idea

of creating spacefor connection, all in separatecorners of the world. and with this, i willgo into, not libraries, but a project up north, iguess on the very different opposite part of theglobe, up in greenland, which has been the firstproject of public character that we have been designingand i've been involved in, which is still, forme, one of the most sort of interesting experiencesthat i've gone through

with a project. it's the katuaq culturalcentre in greenland. and i guess it must be-- sorry, it's not easy toread and then talk freely. now i'm reading. greenland, only with apopulation of 50,000 people, but it belongs to denmark. and you won't believe thatthis huge, vast country only has 50,000 people.

and the capital, nuuk, whereonly 14,000 people live, it's in the arctic climate,and during the winter period, the northern light ispresent almost every night. and just in thewaters around it, the colossal icebergsare drifting and passing by the city. and we came up with thisdesign for the first building up its kind, a culturalcentre which should not only serve the local people, butas well, it gathers all inuits

once a year from all overthe northern hemisphere, from alaska to siberia. they speak the samelanguage, really, and they gatherin this building. our design picked up on theessence of the unique nature of greenland, movingnorthern light, reflecting the dynamicnature of the fjords, designing a building whichcan stand the harsh climate, as well, was a challenge.

and designing a building, theonly triangular building which, at this very point, connectsharbour with the government buildings whichdidn't exist before. inside, there's theinherent feeling of the nordic lightness,which the inuits is so closely connected to via nature. art and their myths aresubtly exposed and moulded into the concrete work. and the building hasproven to be, really,

the place for people to gather. so every weekend,thousands, really, of people come to this building tomeet and to experience the culture, children keepingtheir tradition alive, music, but as well functioningas the more formal venue for political discussions. princess mary, which i'msure you're familiar with, coming from tazmania, marriedto the crown prince of denmark, has been in this building.

and this image is justoutside this building. she's been theremany, many times. so from greenland, we'rejumping back to aros, where i come from. and i'm just going to finallyspeak about the art museum. because i find art museumand libraries very similar. it's a gathering place, andart has a very important role in the modern times,really to remind us of something which we havelost, our connection to cosmos,

to the spirit, and to, you know,nourish our soul, so to speak. and, well, libraries hasart as well as literature. so you can say that there'sa relationship from libraries to museums as well. but in our city, in 2017we have been nominated the city of culture in europe. and this is partlybecause of this museum. that's why it's so important. so right in thecentre of aros we

have designed two ofthe major buildings. i've shown one of themat the harbour front. but one of theother one is ours, sits in a clusterof cultural venues in the middle of the city withgreen parks surrounding it, and the famous city halland the former library. the museum wanted thebuilding to connect these two major places inthe city via a museum street. at one end, the beautiful cityhall, with the distinct bell

tower and designed by the worldrenowned danish architect, and partly known forthe [? unt ?] chair. you know that chair, i'm sure. the museum wants to create adirect contextual relationship to place. aros is historicallya brick city, with consistent brickarchitecture all over. and here was ourapproach, a building which is just in red bricklike all the other ones,

but cut up in avery different way. and it have delicatebrickworks, and it fits well into the context of aros. but you will see this imagehere without anything on top. and we slice thisblock to expose the contrasting white interior,enticing people to view inside, and opening up theground floor to the city. at night, the slicethrough the centre invites citizens to use theart gallery as a short cut

through the city, democraticidea that art is free, like here fromlondon tate modern, and as well as a walk throughto make people aware of the art. and via an organicshaped form, the street connects to the rest ofthe city's urban realm. spaces become moredramatic and exciting, and it's curvature betweenconcave and convex. and it's inspired, of course,by guggenheim in new york. the grand staircase becomesa major sculptural element

in the space and bringsyou slowly up and down in the vertical stackedmuseum, while being able to connect visually tothe city hall at the other end. the boy, by ron mueck, is apart of that common [? foyer, ?] and it contributes to the spacein a sense-provocative way, as well encouragingpeople to engage with art without actuallyentering the galleries proper. emily earhart,first female aviator to fly solo acrossthe atlantic ocean--

her airplane has been ondisplay in that space as well. and two young artists didthis light installation for aros years ago. and this installationwas so real, that the fire brigadeswere really called down, and thousands of peoplecalled in and said, house aros is on fire. so the artist's missionwas really well done. so a few years afterthe completion,

the museum wanted to pushforward with a permanent art installation on therooftop that had already been decided from thevery beginning when we won the project in anarchitectural competition. olafur eliasson, thedanish icelandic artist, was appointed by aninvited competition. and he's very known forhis amazing installation, the sun at tate modern. his idea for ours wasto build an installation

where people could be anactive part of the art. hovering on topof the building is has an image of renderingfrom his proposal, and he called the art piece,the installation, my panorama rainbow. here is a rendering, aswell, from his proposal. we were, asarchitects, responsible for the details andconstruction of the work, and lots of testingwere made initially

to be sure the rainboweffects worked properly. curved, laminated,hardened, toughened, coloured glass panelsmanufactured in germany were used, in a very complicatedstatic structure, holding up the roof itselfonly by the glass without any columns. here, you can see the finishedrainbow hovering above, and you can hardly sensethat it has columns, which illuminates the skyline ofaros, a piece you return

to time after time, really. and everyone loves to experiencethe city from above via this experience of colour. here you can see thestructure without any railings and columns. uk's health and safety systemswould never have approved this. but we are in denmark. and it takes you through allthe colours of the rainbow. so the sensation thatyou get viewing your city

is different with the lightand different with the view. so it has become a venuefor thousands and thousands of people that comefrom all over the world to see this huge piece. and it cannot be said more-- it has given so much back tothe city, just this little piece on top of themuseum, that i think it has been thereason for the award of the european cultural city.

this is one of the main reasons. so the investment, initially,has been really good. so upon the success of therainbow, seven years later, the museum wants to go forwhat they call the next level. because a museum cannot existif they don't invent themself again, reinvent themself,and come up with something completely new. and for thisinstallation, they have appointed world renownedlight artist, james turrell,

most known for his so-calledsky spaces, installations like olafur eliasson's,which investigates the phenomena of nature. james turrell's works ispredominantly worked with colour, and specifically on thenotion of complementary colour. james turrell is an interesting,composed personality. his background asa quaker brings him in close connection tothe spiritual world. here, they congregatein a circle,

mostly in completesilence, for an hour. but he's also highlytechnical and fascinated by airplanes andnavigation in air space, gives him the physicalrelationship to cosmos. this image is one of hismany own vintage airplanes, a lucky 10, same as howardhughes flew around the world. he's most known forhis installation, the rodent crater,in arizona, a crater he bought many yearsago after carefully

searching for the ultimateunspoiled area which he felt was most related to cosmos. on top of the oldvolcano, he has constructed a mostinteresting installation of various sky spaces. it's not yet openfor the public, but he's preparing to do sowithin a couple of years time. you walk throughtunnels, not really knowing if you walkslightly up or down,

but always towards alight, which you think is somethingvertically on a wall. but as you comecloser, you start to experience the round circle. it is actually anelliptical hole in the ceiling of the space, andnot a light fixture on a wall. and as you look up into the sky,your eye and brain will react with a sensation of acomplementary colour to the interior colourof the space, which is.

psychedelic cameras cannotcapture this phenomena, and will always just renderthe colour of the actual skies, as in this image. he brings really forward thewhole issue observing colour, as described by newton,in a scientific way, or as [? goethe ?]suggests, by your senses. so here's just an exampleof his many sky spaces. he has designed around 80 skyspaces, and some very small ones and some very large ones.

they all have a holeup in the ceiling, and that hole is very,very thin, with a thin rim. so you will notexperience that it has a structure in construction. ok, these are all the examples. so here we come to the projectthat i had the pleasure to work with himpreparing the concept for this new majorinstallations. and even though heworks as an artist,

i believe he is, as well,a skilled architect. the scheme developed intovarious underground spaces with which should havea combination in a dome, with a size of almost40 metres in diameter. pantheon, i believe, is 50. and the sky space[inaudible] as pantheon have an open hole in the middle. so we developed thisscheme with three spaces that evolved into thismaster plan, where the dome

itself sits further outthan the museum itself. this is a sketchfrom early stages. it has become larger than this. it's just a round space whereyou're really taken into, you and you can sit, like thequakers, around the circle, and just in silence,if you want to, observe the fantastic sensationof this complimentary phenomena when you look up into the sky. so you will be ableto look up, maybe,

in a complete light blue sky. and the way, then, the interiorof the space will be littered with colour, that sensation ofthe sky will completely change, and you may see orange orother colours up there, which obviously cannotbe photographed. so these last two imagesthat i will show you is how the schemeis evolving now. it may change alittle bit, but you will see that it's endingup with a little hill

where that space is bothunderneath but above, as well. so it have severalfunctions from the exterior. you can experience this hole,and then you will go into it and experience anotherfantastic thing. but thanks.

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