Thank you. Thank you for giving me this opportunity to speak with you on some topics tonight. My French is poor, like my last 10 years, but I know that with that perhaps I can discuss more directly. I want to talk about why today I'm on the train and there are messages in Dutch that in France we find a dry period almost everywhere, and that means we must start with a new direction to find a new balance. It's important because France is big in Europe, and a scheme that is so big doesn't help for me in Holland either. So we need everywhere to make this new balance.
The content for these 50-60 minutes I want to share with you is a series of mini chapters to introduce just a few words about MVRDV with my partners in different places in the world and also in Paris. But I also want tonight to speak about the relationship between commerce and the public. That means with the Why Factory, a small school at the University of Technology of Delft where I can think with students about the future of cities and the future city. It's a big thing but it gives students a certain perspective. It's clear I can't really do research with postgrads and so on, but to show with master's students some agenda points. That's important for the students and for us, and it helps me also to develop this balance between thinking a bit far and our reality, the project with concrete, steel, normality, we can say.
For the next step, I want to speak about the word 'agir' (acting). I use this because when I thought about this evening, I found that for me France is a bit like a lab. I must perhaps apologize for that because we are serious here. Why use my foreigner's word for 'lab'? It can be a bit rough. We are here and we showed this during the opening here at Villette to develop this sense that we need to guide our future, to be in action, to be in communication with everyone. And that gave this moment of being here with who explains a bit the word 'agir'. We must change things. That's clear with the entry I showed you. There are great urgencies for everyone and we find a generation that must do greater things with that.
There are some constraints that are there but there is a great list of things about Paris of tomorrow on every level. We have perhaps a part of this great agenda that we must follow. I try now to understand the timelines of each element. How many years do we need to compensate for all the things that are badly done, badly organized, and where in the world should we concentrate with this type of development? Water is one thing, for example, very important now for France but it already exists in the plan for Switzerland where we need to conserve water before giving it to France or Germany.
I remember a moment about 12 years ago at the Cité des Sciences where I did a show on climate for students where I showed a kind of calculator with which we must compensate our efforts. It was strange that France had already thought about that. It was the Club of Rome perhaps 50 years ago in our existence but already this climax was there to show students to discuss the future. So you were early we can say but also late and now we must accelerate a bit on that. This Planet Maker is an ambition to combine all this effort together. So after Climax at the Cité des Sciences, perhaps now we must build this living table and understand a bit everything we must do.
I continue with that because with this observation, with this image, we can imagine a kind of agenda together. It's the new thing we can perhaps imagine. And when I pose the question to the mayor, to the elected officials, and we discuss, don't we want to be, and there is a list to make. Everyone wants to be responsible, perhaps a bit less than others. Everyone wants to be a bit open or curious. Who is against being curious? Who is against being green? Who is against being an energy producer? So this list is a big list. It's not simply the climate, it's perhaps the umbrella of all things. But in the end, nobody is against beauty or against being exciting, even wonderful. So these are the words that surround perhaps a list of things I want to push in our practices or in our studies.
I want to give you some examples to illustrate this action, this type of 'agir' in our existence. The first word I want to reuse is the word 'intensification', to intensify as a verb. We continue to discuss a bit because I remember this period in 2008 where we worked on Grand Paris. Now in November, we find here an expo on this grand boucle which is part of this operation, one of the most costly operations, 90 billion in the end I think. Almost the same price as the rehabilitation of Ukraine. During this moment, we proposed already a calculator. It wasn't very sexy for Monsieur Sarkozy to give him a calculator. But it helps a bit to understand a city like Grand Paris. Is it a city or what is it? We know Paris intramuros but extramuros. There we find already another reputation of public transport. Not everyone uses it so much. Even when you have made so many lines, people still love the car. But for me it was incredible when I was for a few weeks here in Grand Paris to understand this enormous puddle. And I find myself in a sort of cowboy in a film noir between Versailles and Évry to find the connection that doesn't exist.
And that's still there even with the boucle, it helps a lot but it still takes a lot of reflection to make another score in the future because that's Grand Paris with this calculation and when we compare it with London or Singapore or Hong Kong, there are things that are better here, on the other side there are also things that are ugly still. And that gives this energy to develop. When I translate that into architecture, I mean that I need to put cubes of program for in 7 years. We must do that to really find this balance with a map with which we can do that. And I'm happy already that we're doing things when we discussed in this moment also with people, with others, what should we establish something post that. So your solar park in the future where all roofs must participate in this operation, even the roof must help this operation. We also discussed the stage which is cute but now with the reality of this summer we need a great stage and it must stay there. And I return with observations later but that means that this scene can be like that with another bossin or a corner in our zone of Grand Paris can be transformed into that with a density that lives with cisterns at the bottom to increase water storage in this period we need to do that. So that's project number 2, we can imagine. We can continue and now I hope that this stupidity of having terminuses in Paris, that my train stays at Gare du Nord when I want to continue or I need a grand boucle or I find a taxi or a metro when it's there to go to Gare d'Austerlitz to do that. Why not connect that with a price that is less than the grand boucle to make a connection? We discussed this together for this elitism, all trains end in Paris, and to transform that into this great connection perhaps at Place de la République. We can imagine this great station opening that transforms this place into a completely different destination. Yes, that changes also this terrain because at that moment we can have terrains to link the neighborhood around it. And we continue the grand BP, it continues now a bit. That can be also the next ringline or boucle that can be in your system. That transforms into a sort of composition like that that we can build with this train or the train in this park etc. and it will be just a list of things that we've done, that's good. We can't stop, we can't stop. So I hope your discussion in November says that to the future and finds also a next step on these ambitions.
We can say that Grand Paris is Grand Paris but at the same time you've built the TGVs which are fantastic and even now Grand Paris is bigger. Because there's no sea so we go to Bordeaux to find the Atlantic. There's no mountain, connection with Grenoble to do that. Grand Paris is as already discussed at that moment also Grand Bordeaux. Just a mini report from last week, what do we do after 10 years of working in Bordeaux? There's a right bank and left bank. There's a UNESCO part and an ugly part. And what can we do in this ugly part? A great operation to do with different urbanists and architects to transform that. That's my little corner for 3000 houses with a sort of Napoleon history inside with barracks everywhere and rail everywhere. We used that, we said 'OK, I love the history, it's you who told me that.' So to use each kilo like that, we surround it with cute alleys to have a human and ecological environment. And that gives in that moment a fantastic grid, we can say. Not a grid we know, but a grid of history. And when I make buildings there, that's perhaps a bit too dense at that moment. Alain JP said no no no, that's Hong Kong in that case. So we can't do that. Ah we do that, like a haircut, I cut this volume with which I can give light to the neighbors. That's the best we can do. When I must do things, I'm happy with my neighbors and we give a bit of sun, we discuss at that moment on this rule to do that. At that moment a series of roofs for a real photoelectric forest and with a sort of blonde city against the end with cute alleys everywhere and with this landscape of roofs that shows this rule that also shows this ambition to be in a new human and ecological neighborhood.
We need with this cut just to show the calculation and the discussion with the temperature increase that's there in the last 12 years, this cut to have 22 degrees with which we have sun in the pre-autumn, in the autumn. Bordeaux likes that, we say no there it's too hot now. And I love it now because I can continue with a sort of forest that we must put in this corridor to compensate this effect. Second thing, here this is the image of the Garonne water. That means in blue these are the zones that are floodable. So the first plan is to make this storage system under buildings everywhere piece by piece. Cistern systems that are fantastic. I imagine a sort of life like Istanbul where we can participate with boats under this building. So we started with that with this system here more or less like that. But there's something in France that says we can't do that, you're not in Holland, because there's a sort of mass, you know the word, that has a certain calculation with which it's very difficult to continue with this. That's stupid because with the technology we have, we can really cover with concrete. We can open this for maintenance and to control this whole system. But the Bordelais hate it. There's water under us. Can you imagine that? You're crazy. That was the conclusion. So we built the city with cute alleys like that and with gardens inside and we continue like that. Now the first 40 blocks are like icebergs in this landscape.
Last week I was there and I was stunned. With your new mayor, we close the alley now. What can we do here? What is here? You gave for electoral reasons the word to all inhabitants who say I hate scooters so I want no noise now. And we say yes to that. I don't understand, I'm in a country where we love equality and even that's not true, we stay on that. So that's an observation. Your country has changed a bit. You have more fear than before and I believe there's no future to go with this life. Yes, perhaps there are drugs around that, but why can't we approach that in another way? I'm happy with speed. On the other side, you have a system of acts that don't exist in other countries that help to act, we can say. So that's now under construction another time. I want to show the other elements of intensification. So I spoke about Grand Paris, Grand Bordeaux and now Grand Marseille. During Covid, I worked for Manifesta. Manifesta 13 is a biennial of contemporary arts and I love Marseille and we tried to use this biennial to guide a bit or discuss the city. So it was shown in newspapers but because of Covid, we didn't show the things. What remains is this little booklet we made, a book that shows these works and I want to explain that a bit because it's still important for me how I can act.
Marseille is a puzzle, an enormous puzzle with many, many neighborhoods. It's almost like Grand Paris. We can imagine very concentrated on one line. I want to transform a puzzle into a direction and the word 'mosaic' in the end is perhaps a positive and constructive approach on this finding. Yes, we take photos, we walk everywhere. Yes, there are the most graffiti in the world. Yes, there's an urban project inside to transform each kilo with the same sidewalk in a certain competition. And yes, the great project around the port, there's a great composition and that's the first sketch of Marseille. What can we do? But there's also a lot of this richness, this diversity that's there, but there's something to say about that. So we talked with many Marseillais to understand a bit this situation and they told me about this discrepancy between rich and poor, they told me about the nature surrounding this city and that already gave a lot of inspirations and we continued to make maps for that. And the maps have two things. On the right, you observe the thing we found in Marseille. Here, for example, the distance between the house and the sea, when we compare with other cities in Europe, we can say something about the situation. Yes, Marseille is the best on that. When I compare that even with Naples, it's better. And when I compare that with Rotterdam, it's horrible in Rotterdam. So I must go there. But there's another element when I observe the situations on nature, these are all the protected elements in Marseille. You know that but when I understand that, even with Oslo, Marseille is fantastic, it's an example that's almost better than Hong Kong with its coexistence with nature in content on health in the city.
Health is a complex because health once are hospitals, doctors etc., the facilities that perhaps are there but that's not good in Marseille perhaps DRC but on the other side it's very well compensated with actions. Everyone walks in this enormous system of promenade that we have for example. That means Marseille is in the same zone as Oslo, also a city where people walk a lot inside. Just to illustrate this aspect. Another thing is on environmental pollution. And Marseille even though it has a lot of nature, it has a lot of nature, on the other side the pollution is enormous because of the quarries surrounding the city, because of noise, because of traffic and the port. So that means Marseille is in the top of polluted cities almost just next to Naples to show that. And we continue. So there's for example I don't know what, it illustrates a bit the situation on car usage. So we love the car in Marseille at the same level as Naples. Or on the waste time in the traffic jam, we still love Marseille and that continues. Another aspect on our map of Siam that we need to understand a bit this file, they have enormous inequality. You know that but it's uglier than that. And when we compare that with Naples, yes it's almost the same. With Oslo, yes it's clear who wins this discrepancy between poor and rich. And that's also situated in a north-south divide, a division between north and south, and to work on that. So that means there are things that are specific to Marseille. That gives an agenda, that gives also a character for the city to be different also in the future when compared with Bordeaux, with other cities.
Safety also not very good. Fear, that's astonishing. The number of gated communities in Marseille are enormous. It's the same as Johannesburg. So that's not new but it's explainable because there's the difference between rich and poor. There's the fear of being there. So we close the door. But the surveillance system, Copenhagen, the majority of surveillance is in Copenhagen. You imagine that it's a strict, clean, normal city, we'll do bikes. No no no, the majority of cameras are installed in Copenhagen when I compare that with Marseille, just a dozen are there to help us in this case. Well, there are many different people in Marseille so it's really diversified, that beauty I imagine a necessity to work with and there are many religions inside to work with so there's a great list of things. That's the SWOT analysis of Marseille. When I explained that publicly like in a room like yours, it was horrible. Because no, that's not true. There are other figures. There's an interesting system that has the right figure. There's no collective truth because yes, a group has another definition on that. So that's already that. We love Data Towns, we believe in this element, but it was difficult in Marseille to use that. Then we made this great table, a table to show with what can we do and dream about Marseille with students from Marseille, from Paris etc. And we developed a series of possible artistic interventions or with artists for this biennial. It can be done, that's clear, with this project. They were shown on this map and we had one student who dreamed about this Boulevard de la République, Rue de la République which is now a bit empty, has a big problem to be there. OK, we use for 6 months to transform that into a green republic inside or to make one for the heat. What can we do? We can also use water to add perhaps in this zone to make a sort of cloud with which we can give this perspective for this religion or a student who hates the old port because it's the most expensive, very elitist place inside to transform that for a month into a sort of Saint-Tropez.
A beach in the middle or this dike you know, with a door that hasn't given so much employment at that moment. Can we transform that into this Copacabana? Or can we transform old ports into a new sort of informality with which we can find an enormous possibility in the north of Marseille to find or perhaps another part of the port make another dike in this basin. Wow! We have the best pool in the world. Or can we transform the quarry into a sort of habitation with which I can control the fact of this sand? So there's a series of images. I want to. So we started at Grand Paris to imagine that. I wait at your mayor for the next step on that to give more ideas because what we have to take at Grand Paris when we have 1000 ideas and perhaps in the end they have 10 that are done. We need more to do less and this accessibility. The former mayor, he's a bit big, this gentleman, so to open this bureau, it's an obsession of someone to link the port to the dikes with the north. It's a Richotti who made a very beautiful building, a colleague, and already made the first bridge to do that. And we can continue with. I never thought he was an urbanist, but now we can show that he is and we can perhaps continue with this promenade also in the city. There's a problem with bikes and in Marseille and the problem with the car, this street doesn't work. This sort of dead end with traffic jams of kilometers each day. So perhaps it's better to make another metro and transform that into this direction. And when they're in streets that are a bit dangerous, perhaps I can partially around the station, we can transform that into a sort of confusion. And obviously the dead ends, they're enormous, they have more dead ends than when I compare this city with for example Denver where every street is a dead end. That's a project. Why is it so dangerous when you're there? So we must open this door to do that and perhaps we need to open also the gated communities to increase this ridiculousness and to make a project that shows this door in a certain installation. And yes, in the end we need more stops in the north of the metro to make this landscape and to transform that into this station.
That we can learn from Grand Paris and I love this idea still. A student, an Algerian, she proposed to imagine perhaps in this perspective a sort of new bridge inside. What poetry that makes this connection between Marseille, Mallorca and Algiers. That stays in my head. It's not done yet and I believe we won't do it in the future but that's not the case. We need this idea to position a bit the direction. Finally, for the ideas that are there, inclusivity is another great project because now the bureaucracy in Marseille is bigger than Grand Paris even. There are 111 villages inside who protect their position and can we give them perhaps a good address, a new tower that is in this form to show where we are and we continue with this inclusivity. There is in Marseille a beautiful mini mountain. Should great mosques be there to make a real hill of religion and which in the end perhaps also a sort of evolution of this typology. And then there's the great slabs, the great block, the biggest block is there which is dangerous, we don't want to be there. There's the sign of drugs that's there. In what way can we work on that in a flamboyant way? And that can be the great project in the end. Yes. It's the Olympic which is perhaps the only place where we're together and this student dreams also of continuing with that. That can be the Eiffel Tower of Europe or the tower also sharing in this club with which I can be on the balcony and something like a stadium type. In Buenos Aires perhaps there during each hour of the day, why not also Olympic and perhaps with this idea when we start with this new Copacabana of the South, we can be also perhaps more active also in our housing for a great desire, a great demand for social housing. We welcome this position and we continue also a densification that can help the topography of Marseille in this manner. And in the end, what can we do with this idea? You saw this Netflix with Gérard Depardieu in his fabulous role, the biggest part of the biggest in his life. And we have that stays with this element of 30 meters in height, this letter there and there you know we're there during the summer together for barbecue and for everyone to be there. So that can be funny. Why not during the biennial show that as a sort of piece of communication? Marseille is. We can at that moment say that it can be funny or nice or silent or weird etc. That was the ideas. The only thing we did with that because of Covid, we worked with the 111 villages to also observe their idea, the tour of all possible done by a society to talk with everyone, to communicate on ideas with schools, to get sketches that are now also in this list. With that, we can say that the puzzle has transformed into a sort of mosaic. The mosaic that's beautiful because it's alone with 1000 dreams from everywhere that participated on this perspective. So that was my adventures after Grand Paris to find the greatest Paris which includes also Bordeaux and Marseille inside.
OK, I continue with another word 'mélanger' (mixing). I've already defended this word and I observed also in my preparation that there's a time when Pino wants to build, Bruno wants to build his museum and I spoke with Jean during this moment also about what we can do. I made this art mixer inside. So another type than the stock exchange but when we stay with all the aisles of factories, we stay like that and we make this element, this cloud inside and we make something where all things are mixed. How does this mixing work? That means its collection. I love when a piece is just next to another. It can be during a night like this but it can be what is just next to that. That means when I make a building where all walls, all floors, all ceilings change where we want, we have each time each moment another combination between Chagall and Picasso for perhaps in a machine because you have obviously the Beaubourg, but perhaps what is the next place for that? We haven't done that. Many many discussions. It's during 9 that I presented at that day. But now in Rotterdam, there's a piece of these things that I found here in Paris, that's the inspiration you gave me, this idea to work on the deposit of the air archives that are now there, which are a sort of prison of air where we put it inside. We can enter from the storage everywhere the archives and there the dream is to play with that, to find a sort of way to be complete but also to be democratic because it's you who chooses these elements and find the coexistence of things. And when we develop that in a very intelligent way, that means when accompanied with perhaps a sort of software, a sort of way to explain that, I believe that gives a possibility in the world of augmenting each year to make a sort of art mixer in the future. So thank you for this effort to give in the end to Rotterdam this possibility that we made. And I continue with the mixing with our project for the vertical village. I made a book on that to combine density with individualism, with wealth, with diversity. Yes, because when it's in Asia that we found that, now we go there, we find this possibility. There's a catalogue type A, type B, type C but they're the same in the future. So we've tried for some time to make a sort of method where you can choose your house, a sort of suburb but which is intense and combined. And I'm happy to show now the situation that we're going to build next month to find this effort in China.
OK, that must be invented there, but can we also do that in Paris? We tried at Caravan a project because I believe it's very important to work with lower groups in totality in the future to have a certain collectivism. And I love this project with this inhabitant, his partner here together. What do we want in this charter? And for example with Marie Lore and Andrea who want that, who made me a drawing with the key word. We proposed on this base this mini terrace to make their house in fact, what they did with them. And when I do that with everyone and we start discussing that there in that moment, it transforms an Osmaian volume into a sort of vertical village inside with an in-between, an in-between everyone where we can meet by chance but because that's I believe the word we need. I continue with another word that's important on this agenda, 'ouvrir' (to open), being open and I don't care. And when I tried to understand that, porosity, a porous city that's also established at Grand Paris with Paul Vidal who spoke on this subject also but can we study that deeper when I observe a series of towers for example in the city in the world. I love to transform that when it's a tower, when I turn a bit and wow that's better when I open that, almost a pregnant tower that when I cut that there are balconies everywhere. So this type of door we need, we must calculate that, what is the effort that costs and what does it give for the climate, for the temperature etc. So here are many students who the cactus was very good also. But when we do that in a city we have this series of making a small thing up to the max and so that's a fantasy manette that now is mathematical where I can find in this series each piece between mini and maxi that are there. Yes, there are vertical villages in this. Yes, there are towers with stairs and very polite also in this moment to show in this zone with this great opening. Is that feasible? And that's a combination between testing in a university and testing in reality. Yes, the mirador in Spain is an element like that. Just next to that, we open that also to each house with gardens between that. Yes, after 70 years of COGE perhaps proposed that now a social housing that's there in Madrid. And even, I can imagine that the market in Rotterdam with the houses surrounding this market is also an effort to be more open, more porous for in that moment a sun, a market inside and to have that each house has a strong connection with this collectivity. But also we find a piece of our work also in Paris in the 13th. Yes. Where in this corner for the Banque Paris Bas who wants a building like that. We said we can't do that. We'll open that. We push this slab. You hate the bar. So that's why we do that but that gives in that moment a sort of open heart with the Communist Party that's in this building. So a sort of dialogue I love between capitalism and communism that gives this hole in the building and an open heart where the bank can function around that. And now in a month, we also really open the pyramid. So in Tirana it exists, this mausoléum of Hoxha, a terrible person with his dreams inside who during this chaotic period in Albania transformed into a sort of symbol for transformation. That gave an opening of the building but also we want like that but now the young people because they're from the 90s, they're older, they can't do this journey anymore. What do we do with that? There's a great discussion. What do we do with a monument like that? Should it be completely restored? Should it be completely destroyed, erased? Or can we imagine to combat this monument? What do we do now that it's the existing situation, it's a closed place. We open that, we do a cleanup, we add everywhere stairs with which we can go up together. And we make a programming inside which is a school also in Paris here that gives to a new generation possibilities that are like a village inside and around and we leave the door open for everyone. A park, we climate with this element and that gives a real 'we overcome' this period. That's the idea inside. So those are the elements we showed at the beginning with the village inside. We add with an artist a rainbow of things. Now it's under construction, it's almost there to be used. The colors we discussed last week with the... it's a sort of inverted stadium with the connections everywhere with which I can go up and in the end be together with this new bank and observatory and with which I can return down with this view and transform this element into a sort of three-dimensional public space with this village that's like confetti that's there. And yes, with a great discussion already with the ambassadors in this city with also a lot of people. Yes, because it's a new country we can say with a lot of energy. There are many things still to develop but that can help. And at that moment, I also remember the Halles, this building that transformed into this three-dimensional city which was a sort of parquet course, I don't know, with mini lawns but which is a fantastic connection between suburbs and the city but which is in a horrible space. And again there, when I compare this with a normal water station, we can understand the idiocy of what's there. What can I do? Can I transform this catacomb into a sort of emergence where I show this catacomb in a great stained glass? Again this mini film. Yes, it's a bit nice because we don't do that now with our machine but it explains all the things we opened: the great station that can be a city, the axis can be opened, the little boucle, the forum of images and the pool etc., the commercial street. And then when we open that and we use perhaps this vault because yes it's Westwood who said I want, there's a need for money and we use that to make a new roof and we make this roof in a glass piece, a lawn piece, with floating trees inside. I find in that moment a sort of treasure of green below which is more social, more open and where terrorism can't touch almost this presence because we can escape and that means also that it gives in the future a real three-dimensionality to the city but also a sort of dance floor for another park that really has value in this city to celebrate this combination between inside and outside, between suburbs and city. And now it's like that and it's OK. We can walk, we have lawns, there's commerce but am I happy with that? I must apologize. And until when can we discuss on this element? Normally for a building like that after 25 years, we can change that. That's a bit the rules. So perhaps there's what I did because OK, I didn't win this direction. Just next to that, we do in fact, we must start with something cute. All architects start with cute. So Etam, do you know Etam? Etam is cute and with a million articles and a way to find the offer. So a place that's nice, that's kind, that's open. So in this corner, we can enter now inside and we find that everywhere. I can't do anything because you're very very prodigious. It's OK. It's OK. But the only thing I can do, I can open the floor. So that I did, I simply made this glass piece inside. So a test of we can imagine in a small, we can go underneath and what I believe is interesting when I observe the women who are there, I work on a sort of coexistence of being there and not being there. When this changes the wooden corner, we can't, it's not too intimate inside. And so you must go there and test a bit this direction. That was the idea of the aisles now in fact in 20,000 m². On the perspective of being open, I made in another book where I imagined that in a city I can have perspectives. That's my way of being in Osmaian, we can say. When I transform all things into glass, when I even make the car and the work in there, in that moment that's my perspective when I'm in Osmaian and I can observe even the sun, the idea inside. OK, I know the intimate piece to include, these are mirrors and with that we can fix all things and I built that a bit at Chanel in Amsterdam when I made this monument because we need simply to transform brick into glass. We have a sort of treasure, we have in that a sort of opening where I can show these things. And yes, it's a building in that moment that we want to touch this building because it's true this building and when I want to touch a building, I believe that's important and inside where the articles are more beautiful with this perspective. So that's to use the word 'ouvrir' (to open).
I finish with two last words to end this overview. About ten more minutes to redo that. It's exactly 60 minutes in this case. And because there are other words that are very important to find. It was in our generation, it was before the word 'libération' (liberation) was enormously important and I believe I want to repeat that on that. And it's on many levels. When I speak about liberation, it's also about free migration, the subject that's important. I show simply a simple balance, a bit stupid, a bit naive, but just to show what happens when we open the door. So USA, 7 GDP per capita, it's like that. China, 3600 euros per capita. It's 10% of that. When we open the door, the first reaction is we can earn money. We can perhaps find a sort of middle class everywhere. And what can we find in that moment to be balanced? Yes. A lot of people go to the USA. China stays a bit the same because it's the middle and... but that transforms enormously our identity in the world. So at that moment the Netherlands has 60 million inhabitants. Wow! We're almost better than France and better than Germany. So there's a sort of perspective there to be direct. These are figures on the intra-European transformation. In the... there are many countries that are blue, they add people but the other countries are reduced. Croatia -20%, Greece -30%, Lithuania -40%. So this transformation is now there for very specific parts obviously. And now I work for 1 million new houses in the Netherlands. What scenography do we do? That must be done in 20 years. We discuss perhaps later with the problem of a minister to do that. And so at this level, we must think at this level, we must imagine a bit the future. This freedom, we can also imagine or test here, I do that now in Amsterdam just next to Almere. A new city that's for the poor and with a new metro line, we make four new garden cities inside. I don't show all the garden cities because I don't have time. That's the city with the new lines with the old garden cities. And in this area, a bit Russian, we build this new freedom. That means we add, we have agriculture that transforms into a more urban agriculture. We can say that with this and combine that with housing. More or less 30,000 houses come there. But we must each time we improve the agriculture and in that case we can make your house. There's a logistics software that's there to make this program band.
On peut travailler seul, avec quelques autres pour spécialisme. On peut donc être petit et grand. Mais on doit résoudre ces problèmes. Ici le problème d'agriculture, qu'est-ce qu'on fait avec les infrastructures? Vous faites ça et aussi quand il y a un voisin à l'arrière vous faites ça. Quand il y a de l'eau, vous faites ça. Même les toilettes sont là. Et aussi votre énergie, vous faites ça. Mais avec cette responsabilité, vous pouvez faire ce que vous voulez, mais vous ne pouvez pas détruire votre voisin dedans. Et ça donne une sorte de patchwork des initiatives organisées par cette website avec cette rencontre et maintenant être en construction avec des maisons style comme ça avec de l'agriculture dedans. Ça transforme une sorte de paysage un peu bizarre parce qu'on n'a pas un tram pour cette direction. Bienvenue pour observer cette situation. Le premier, 1500 maisons là. Quand je fais une théorie sur ça, j'ai dit il y a un moment entre ego et we go, entre moi et nous, vous. Et ça c'est un expériment que nous faisons, fait à des étudiants, donc 17 architectes, 17 clients. Client veut cette maison, une pièce pour jeux de boule et une chambre avec un grand hauteur. Un autre veut quelque chose d'abstrait, un autre veut un espace acoustique dedans. Ça donne une fantastique combinaison. Normalement, on ne peut simplement faire ça dans le suburbanisme. Mais ce qui est intéressant quand on pousse ça dans un bâtiment, c'est que dans ce moment-là, on doit donc discuter. La meilleure manière de discuter, c'est le game pour faire ça. B ici un game où on ne voit pas les attaques, on va dire. C'est une simulation avec le game que ça marche. Et ça donne déjà, le blind game donne déjà un coefficient of happiness of 75% et une maison qui est plus riche qu'avant. C'est une combinaison entre votre réaction et votre défense pour faire cette fantastique prouesse. Quand je suis dans cette maison, je suis curieux de ce que ce coin me donne. Je veux donc aller dans le rouge pour comprendre pourquoi c'est construit. Ça donne deux niveaux pour le dit le moment, sur la négociation et puis après il est là et ça on teste à Eindhoven pour faire ça.
On continue maintenant pour comprendre quand c'est adaptable. Donc ici, qu'est-ce qu'on a besoin pour faire la cuisine? Quel espace on a besoin pour faire la cuisine ensemble? Quand on imagine ça, c'est une façade et avec le même bâtiment qu'on a construit mais on peut changer ça avec le bloc. Ça veut dire durant la journée, ça peut être un hôtel, on trouve la bonne combinaison des espaces. Et ça veut dire que quand j'entre cette sur un vendredi, j'ai allé dans cette direction, ça c'est la façade. Et qu'est-ce que est ma maison? On peut demander au chambre dans cet hôtel. Mais attends. Donc nous nous allons là-bas pour la sécurité. On a de nouvelles règles et on trouve l'espace qu'on a imaginé. OK. On commence avec faire la cuisine, la table là. Donc c'était une manière d'imaginer la plus dense variété durant le temps et à quelle manière de construire ça. Donc maintenant avec une série d'éléments, j'essaie de construire cette bloc pour combiner ça dans cette perspective. Mais ça c'est un premier endroit parce que peut-être on peut être plus fluide.
On a fait cette livre Barba. J'ai parlé avec Barba Papa de votre écrivain qui vous connaissez, qui est adorable parce que cette figure peut transformer dans chaque élément. Est-ce que je peux imaginer une sorte nouvelle caoutchouc? Ça peut être un petit peu compact quand je dors, que ça augmente un petit peu quand je veux commencer ma journée, je commence à promener l'espace avant moi et après moi. Je veux peut-être ouvrir une fenêtre comme ça. Je veux inviter mon fils pour être ensemble. Je veux me baigner. Je trouve l'eau partout qui est comme un système comme ça. Et je peux avoir une piscine parce que c'est là où cette ballon gonflée est. Et dans ce moment, je fais mes exercices. Mais qui a le mouvement? C'est la maison qui m'ouvre ou c'est moi ou son vêtement? Voilà. Et je peux faire chaque soir je peux me permettre parce que cet élément, cette nouvelle ou la cuisine juste quand on ajoute un paramètre dedans et ça commence d'être fantastique.
Mais quand je travaille, je ne suis pas moi-même, soit seul. Donc qu'est-ce que je peux faire? Je dois attendre entre deux personnes. Il y a une certaine manière de jouer quand les personnes ne sont pas là. Quel puzzle je peux faire? Est-ce qu'il y a une technologie? Oui, ça commence ici un système de test qu'on a fait. Quand on touche, l'autre réagit. Quand je parle avec ce matériau, le matériau réagit sur ça. Quand j'approche cette mur, elle me suit pour comprendre mon action et cetera. Et tout va parce que peut-être ça c'est encore Barba Papa, c'est masculin. Mais quand je veux être plus écologique, je dois transformer ça dans une sorte de Barba Mama, qui est plus écologique. Et là, on est dans le greenifier. Le mot vert est entouré par le mot cycle, cyclage. On pense les cycles, c'est pour user et pour réutiliser, pour comprendre le système de l'eau, le système de biologie. Il y a l'oxygène, la température, l'eau, le water qui joue un rôle, le CO2 qui joue un rôle. Donc quand je parle sur O2, j'ai besoin d'un green depth. Le livre est là dans un dément avec un rêve pour transformer ça dans cette direction. Je ne suis pas seul. Oui, il y a des Italiens qui font ça aussi. Mais quand est-ce qu'on a la connaissance pour ça? C'est le rôle pour l'université pour observer tous les plantes et imaginer de quoi on a besoin pour cette plante. Et est-ce qu'on peut faire aussi un autre bâtiment dans votre terrain où on fait des produits qui aiment ça avec des autres toits, des autres pompes et cetera dedans.
Quand je fais ça, peut-être ici à New York, et je couvre avec une sélection de matériaux toute cette volumétrie, dans ce moment-là New York donne des choses, des oxygènes et cetera dedans. Et ça transforme cette Fifth Avenue dans une sorte de zone qui est plus intéressante et plus belle avec des intérieurs qui travaillent avec cette typologie. Quand on couvre tous les bâtiments plates dans le monde, déjà ça sont les effets. Ça veut dire qu'on a presque un degré qu'on peut couler la planète avec ça. Donc ça donne déjà une réaction. Et à quelle manière d'introduire ça? Oui, ça c'est un show qu'on fait à Munich pour le Baugata Show dans la prochaine année, où on transforme une série de toits dans cette nouvelle forêt. Même le dépôt à cette couture parce que là ce bâtiment fait un exercice: à quel moyen je peux faire des arbres dans une sorte de forêt dans le toit, avec le nouvel parc qui entoure ça. Cette perspective avec le bâtiment qu'on a construit à Amsterdam, où on a ce rêve d'imaginer une série de terrasses et de portes à faux avec lesquels je peux planter une forêt de dedans. Et on construit les escaliers avec ça où je peux utiliser ce mini rocher pour tout le monde. C'est ouvert, c'est public, vous devez aller là, vous devez promener. On trouve cette vallée avec des ponts avec des fenêtres en dessous de l'eau ou à l'intérieur.
Cette perspective mais aussi des perspectives des maisons, à cause de terrasse, il n'y a pas la peur verticale dans ce moment-là parce qu'il y a une terrasse en bas. Donc on tombe juste un ou deux étages. On peut observer ça et ça donne un espace amical dedans. Oui, je veux bien avoir une bière avec mes voisins dans ce moment, dans cette vallée avec cette perspective. Donc la prochaine fois quand vous faites le trajet à Amsterdam à Central Station, vous observez en bas et je rêve d'une sorte de montagne néerlandaise qui est là. Mais c'est clair qu'on a besoin pas seulement des humains, on a besoin aussi — ce doivent être mes clients dans le futur. Et quand j'observe mes clients, ils mangent des autres. Donc c'est un écosystème que je dois faciliter avec nous aussi, et que je dois aussi positionner ici, comme à New York. Donc des rêves d'étudiants pour augmenter la possibilité pour abeilles, pour moustiques. Oui, je comprends. Mais aussi pour les ennemis qui entourent cette typologie. Et quand je couvre le toit, le mur, dans ce moment-là, même l'île peut être belle. Donc comme vous observez à Seoul, on a fait cette parc dans ce viaduc. Pourquoi? C'est le système, c'est le viaduc comme vous avez fait ici, comme c'est fait à New York. Je suis sûr. Mais cet élément, peut-être ce qu'on teste avec l'université, montrer un test avec toutes les plantes de Corée. Qu'est-ce qu'on peut faire dans le milieu de ça avec une programmation, avec de la lumière, avec de l'accès, avec des jardins qui entourent ça. Maintenant ça continue dans cette construction mais ça commence un petit peu mieux. Donc ça c'est une zone où on teste quelle plante dans cette conifère, qu'est-ce qu'on fait dans cette zone là-bas. Donc c'est déjà un test. Je rêve de quelque chose comme ça, un système. On doit être un peu systématique aussi pour utiliser cette possibilité.
OK, il y a comme à New York, quelques ponts et quelques nouvelles tours et c'est récemment. On ajoute maintenant aussi des systématiques verticaux dans ce projet et ça veut dire qu'on a commencé avec ça et 2030 c'est une zone comme ça. Donc quelques de mes collègues français sont aussi dans cette composition donc c'est déjà bien. Et on continue parce que c'est aussi la nourriture qu'on a besoin ici. Ça c'est une slide de qu'est-ce qu'on mange à Manhattan. Et quand j'ai fait un tour, c'est un grand tour, 23 miles high. Mais quand j'ai fait ça dans chaque grille, c'est fantastique. New York est plus beau dans ce moment-là et c'est complètement autarcique. Ça donne cette perspective dans nos villes. Donc il y a beaucoup à faire encore et je dois utiliser ce marché à Tainan pour faire un toit pour tester maintenant les plantes pour faire cette nouvelle colline dans cette zone à Taiwan. Je fais à Bordeaux même une vallée verte maintenant. Ici, ce sont les trois blocs dans Austerlitz Niel. Je fais un bombardement de verre. Ça ouvre cet ancien bloc et ça transforme ça dans cette série de peau, dans cette fala verte. Et maintenant, c'est presque là. Donc j'espère que vous pouvez visiter ça avec le traitement de maintenance, avec des maisons bizarres, avec lequel on vit ensemble cette vallée. Mais je continue ici. Pour observer ça, je continue avec Taiwan, cet ancien département store qui est maintenant en ruine où j'utilise de l'eau pour cool la ville, qui transforme maintenant la température avec 5 degrés. Et maintenant, c'est utilisé par cette jeune qui tient presque 24 heures par jour. Ça aide dans cette milieu pour des projets comme ça. On construit aussi des aigues, pour j'ai fait une sorte de colline de panneaux photovoltaïques sur la côte de Taiwan, pour qui a une grande usine dans ce moment pour le quartier. Et je fais une sorte de cloud avec ça qui protège le bâtiment en bas.
Et enfin, oui, on a besoin aussi de bois. C'est clair que même à Montparnasse, c'est possible. C'est peut-être la dernière maison où tout est en bois. Il y a des nouvelles règles ici. C'est confusant chaque deux années, mais pour faire ça, c'est comme il est. On doit noter ça, montrer ça, discuter cette évolution ensemble. Et puis à Lyon, on fait un tour avec ça. Ce sont des éléments qui sont divisés par des pièces d'acier pour trouver le bilan entre l'auteur et être en bois. Et le reusing est aussi une partie de cette systématique. Je suis fier qu'on a par Dieu réutilisé tous les panneaux, un petit peu ouvrir, et c'est fait avec cette nouvelle grande dame qui est à Lyon. L'épilogue maintenant, de maintenant dans le futur. Juste quelque chose qu'on doit demander à nos ingénieurs de faire ça. Par exemple, on peut utiliser des algues pour les façades comme ici en Allemagne, mais on a besoin de la prochaine année pour améliorer ça, augmenter la qualité, augmenter aussi les différents plantes qui peuvent être dedans. Et avec ça, je peux rêver sur quelque chose comme ça. Je peux imaginer que le self-healing component, un béton c'est important. Maintenant on commence avec les craques pour faire une dedans. Mais ça doit être dans le béton, dans le DNA du béton lui-même pour faire un changement de nos constructions dans cette manière-là. Et peut-être on peut utiliser un système de plantes pour faire ça. Avec le sol, on peut faire des petites choses et on doit changer la lignification de plante ensemble. On doit tester ça mais ça peut être maintenant comme ça. Mais dans le futur quand on a trouvé un matériau biologique, donc ce rêve psychédélique est imaginable.
Dans ce moment, on transforme dans une direction. J'ai parlé sur Biotopia, Adomus la dernière fois avec Jean, sur le fait que maintenant il y a une époque de la biologie qui commence. À quelle manière transformer toute cette mort dans ces directions où je peux transformer Barba Papa dans une direction de Barba Mama, où ça donne les lumières. Quel paramètre est-ce que je dois ajouter dans le DNA des éléments pour trouver ça? Je crois que ça peut être donné, un matériau, une matérialisation, une nouvelle c-living des éléments pour faire cette écologie dedans. Oui, on va tester ici. Ça c'est notre manière de faire du béton avec du bois pétrifiant dedans. On doit imaginer à quelle manière ça peut être, transformer nos éléments. Une exposition à Prague qu'on a fait pour transformer même Prague dans une ville qui peut être plus verte, où toutes ces choses sont combinées avec les choses qu'on trouve maintenant dans nos recherches. Ça transforme peut-être cette planète un petit peu dans cette direction. Et la France, où est la France dans ce moment-là? Il y a une chose, j'aime discuter ça avec vous en octobre parce que j'ai observé que l'Académie de Sciences, il n'y a aucun architecte dedans. Ils sont dans un académie de beaux-arts, c'est ancien. On a besoin de cette combinaison pour trouver des solutions au moment où l'industrie de la construction prend 33% de cette carbonisation. Je crois que design, research et spéculation aident pour positionner les recherches qu'on a besoin, pour demander à nos chercheurs ce qu'on a besoin et on doit s'organiser un petit peu plus fort pour poser cette question. Ça peut être peut-être le corps pour notre action pour agir. Et avec ça, j'espère que donner quelques interprétations de cette mot à vous. Merci pour m'écouter.
