Superkilen and Designing Multicultural Public Spaces with Martin Rein-Cano

So thank you very much for the invitation. I'm glad I'm here, as Martin said I was here five years ago for the first place of resistance and I was thinking, I don't know where the name really comes from. but it seems to be programmed for the theme that we have this year for this conference the idea that in the end each maybe each architectural project each site each situation somehow migrates, changes, moves through different walls and is always being recreated misunderstood copied pasted Etc. so this idea of ​​translating or relocating space is something very common in our daily work maybe nothing that we like to talk about uh or not talk about openly but um but maybe it's more normal than um than we um than we assume though, so I'm going to do a first.

I'm going to start with an introduction you've probably heard all these stories I'm about to tell, I just need to warm you up a little. bit H some of them may be new, some of them you may have heard today or on other occasions, what I just want to point out is that migration is actually a very diverse topic and it doesn't just have to do with people changing countries or change culture or change language or or or or move in one in life from one place to another, but migration has much more to do with movements that are actually much more uh D diverse and overlapping, you know, I was, we were talking uh uh at the opening in the municipality that uh the entire population of Prague actually leaves the city on weekends and uh and probably all the German and American tourists conquer the city when the Czechs live so the data comes out So this It's also kind of an immigration and I think you know people, um well, my lifestyle is actually being a landscape architect.

I only have my office in Berlin, maybe two days a week, the rest of the week I'm in different cities, so I'm in a kind of constant migratory movement and this kind of constant migratory movement becomes more and more the standard, you know, I mean, the speed of this movement changes immensely, so some people go to study somewhere, maybe they come back, maybe they stay. They fall in love or they don't or maybe the economy is not doing well in the place they choose to go and then they go somewhere else looking for opportunities in other places or they meet someone and follow that person, so this idea of ​​There is no migratory movement unidirectional and I think that in general it has to do with the fact that there is a kind of megatrend that has to do with the dissolution of borders, let's say borders. between countries it's a lot easier to move it's cheaper to move it's at least between certain countries and if you have the right citizenship it's a lot easier to move between places places tend to offer very similar structures uh uh so that's easy um and Like with English, as with the new Linga Franka, it is easy to go from one place to another, so it is also necessary to become a member or adapt to a certain culture and also change significantly, no.

It's not like you know, my grandparents left, they lived in Spain and they left in the 50s to go to Argentina, they took a boat and never set foot in Spain again, so the immigration that we see today is very different and um, this dissolution of borders again is not just between places and uh and um and uh a foreign place is also something sometimes temporary temporary it can be for a weekend or it can be forever I was I was walking in Prague and I thought In fact, they would be better off if they had refugees because tourists are a pain in the ass, they destroy all the beauty of this place.

In reality, it is impossible to be here with refugees. Maybe it would be a little more exotic and a little more interesting. And well, I saw this Thai place, there is a Thai massage place directly on the main square, which is probably the most interesting place, here in Prague, to visit now, and it's good for your feed, which is maybe also relevant , So this. idea of ​​what is good migration, bad migration, etc., it becomes very, very difficult, there is also a movement if you want between classes, no people obviously have the GOAL to change classes, especially to climb, if they can, from one class social to another.

Then sometimes they have to change the social class down because, because the economy is not going well or whatever, the idea of ​​a flow between countries, between cultures, between social, social standards, has changed even between genders, this kind of clear change of division or even between generations, if you like, you know a lot of people I know who are in their 60s and 70s seem to be a lot more interesting and a lot younger than some people in their 20s, no, so it's changing. No, people from the 20s are just afraid of losing standards and people from the 60s or 7s just enjoy it, so we don't have this kind of order. that was created that also, to a certain extent, if you want to have certain, let's say I don't want to, I don't like to misuse this term too much, but I use it, however, obviously it also has a little bit of fascism in it, you know?

Fascism and also modernism were always meant to order things, you know you would have traffic in one area, you would have life in one area, production in one area, so the city would be divided and if you continue the story even separate races separate nations you know a nation, a language, a religion, you know a border around it and then there is uh uh tranquility and peace in the system, no, so, this type of systematization and order, that in the end, um er, Yeah. describes the 20th century and all the wars that led to what we have now or led to the cold war which was this very stable City separation situation and now we have the natural situation again, we don't have this kind of Frozen Frozen uh border but we have borderless and the question is how can we use this borderless, how can we deal with this kind of idea that even the nation state is dissolving even if we are having a renaissance of the nation state with all this election in England, you know, if you think about Britain, Britain never managed to be a state in itself, no, Scotland and Wales, Wales might even win the next football match, no, that's going to happen, so H, the idea of ​​the state nation is different.

Resolving to PL the cities actually the name of this conference are often more related to each other than to a country that surrounds them, think of New York for example, which is terribly surrounded by the United States or Berlin, another good example that is terribly surrounded by Germany. Too bad, actually, how can such a cool city be surrounded by such a horrible country now and maybe it's the same case here in Prague or not? I don't know, in the case of Prague, maybe Prague is as horrible as the country around it. That is a question of future development here too, but cities also tend to live another life, a global life that is independent of the culture in which they move, in that sense they create another level of migration, since between them there is no is that U that creates another another story so however these are these um these uh sheets that show this uh this this these movements so this is what this is a part of the story so that we have to understand that migration is not just something that has to do with immigrants, but it is an everyday problem for us.

Eh, in the world, you know, and that's why it's not just the drama of the poor who have to cross the Mediterranean, eh, looking for a better life, those who come here, but there is much more than that. and um, and this is actually just a small element, this drama is just, thank God, a very small element, so this is one theme, the other theme, however, as I said, the megadevelopment of the world is one of the solution of borders that has to do with globalization that has to do with business has to do with communication Etc.

However, many countries perhaps even small countries like Switzerland tried in some way to avoid being part, even They benefit greatly from this. of borders, you know, they do incredible business with this flow of capital and U and so on, on the other side they would like to preserve their uh uh uh their special identity or what they believe is a special identity, and uh, so, the So, one thing you can see with immigrants is that people, I mean, European countries know that they need them or that they can't help but let them in, but on the other hand they don't want them to be immigrants too. foreigner or you don't want them to bring their objects, you know, when you immigrate as an immigrant, you usually take your back with you when you were with you and, actually, the elements, especially the architectural elements, are obviously things to leave behind you know and uh and When it comes to these types of things like mosques, etc., European countries that generally come off as incredibly liberal and open end up being incredibly repressive and don't allow immigrants to have these things as a part. of Cities, so there were these people and shit in Switzerland, this election to ban mines, you know, it was actually an architect who led the argument saying that mines don't fit in Swiss cities, actually the Swiss don't I don't have cities, by the way, they have mountains.

He could have said no. It should have been a natural preserver who says that they don't fit in the mountains, so, in reality, they look like rockets, no, and um, so in the end instead of U let's say create a welcoming culture and let's say let's share with these newly arrived and create a good base because we know that we will have to share with these people perhaps for longer and also these people are a capital of renewal for Our countries, you know, our rich countries are also a little lazy and boring. You know, that's the reason we have urban gardening, because people don't know anything better to do.

No, that's why we need immigrants. Otherwise everyone just does urban gardening. By the way, that's Berlin, yes, without immigrants, it would only be Germans who would do urban gardening, so, however, that's, um, uh, uh, this need for new blood is really important, but for that we have to also create a more permissive, more generous environment for immigrants thinking about, let's say, one of the European traditions that I am very proud of um is the idea of ​​emancipation that also has to do with uh recreation or dissolution of certain borders, already you know, we have the and I like the term emancipation because in many cases, when it comes to immigration, people talk about assimilation or integration, etc., but in the end, immigrants are usually, especially the poor, simply disadvantaged classes with less rights and less lobbying than other people in the city like that and in the end all the people who do not have the same all um uh minorities or groups sometimes are not so minorities that they do not get the rights that they deserve in the end they will fight for these rights So the The question is whether we allow emancipation to be a peaceful process or whether we create such a repressive atmosphere that emancipation becomes a forced process like the emancipation of the proletarians with all the revolutions like the one we have. had in Russia, but also the workers' revolutions in Germany with many DS and uh and casualties, so we have the emancipation of the Jews which in the end did not help much, I must say in the context of Europe, but it took Hundreds of years for the Jews were allowed to live first in their special settlement areas to have the same rights to carry out all the different professions, etc., we have the emancipation of women that we have and we even have the emancipation of children, you know.

The idea that every individual, no matter how old they are, no matter what gender, culture, etc., is just as valuable as anyone else, is not a new idea. I think it's already in the Bible, but it's still something. so we have to fight daily because as humans we are bad, no we all know that, so culture, religion, all these things help us to, um, work against that, so we only have two options, one is that we be generous. and we try to work peacefully with the emancipation of immigration or we will have Tom Oils and uh and war and so on, so there is this phrase from Stenberg, who is now actually the Secretary General of NATO, but Actually, it is something funny, but I think he's a pretty peaceful guy and they had this attack on um on um on in oson that island in Norway on that island you know where this crazy Nazi killed all the young people who were doing a camp for the social democratic party and he was saying that in the end that's when these kinds of things happen and we see them happen constantly, it's not the natural reaction it shouldn't be that we oppress more than saying no, we actually like our lifestyle, it's great, you know, we probably have one of the best moments Europe has ever had.

Why should we give that up? because there are some stupid Nazis or some stupid Islamists who plant bombs and are killing people. No, I mean, I think we have even more victims from car accidents and no one is going to shut down Mercedes or Volkswagen because of that, no, in the end, I think we can, as horrible as all these incidents are, I think we have. be careful that certain political forces are not misusing these incidents just to create more repression because moreRepression is more control and more control is political power, so we must not allow that to happen, so this is a part of the history of the park.

I'll show you in a second the other part of the story has to do with my profession when Martin introduced me. My name is Martin too, and like everyone, Martin seems to be studying landscape architecture, so, um, and one of the things that he's always fascinated me with is the English landscape garden. and the English landscape garden is actually a very interesting era, a very interesting style, in the history of landscape architecture AR was and it has different levels, that's why it's interesting, the one that's probably most relevant to us today is the idea . that you can recreate the tradition, you can mix traditions and create your own tradition from the mixture of the Traditions that you are and that you are incorporating into the Parks.

It is a very eclectic system, very postmodern. H uh and um, so the idea of ​​these English aristocrats. was that they would collect, you know, the tradition that they don't really have in the British Isles because the Greeks were never in England, so then they would get some temples or some ruins or they would even get um. American trees, you know, the development of the English landscape park parallels the discovery, not the discovery, but the colonization of America, so you would get the Asian trees and the American trees in this park and you would create your own landscape and landscape because it is rooted.

It seems to be a good allegory of identity, no, it is the Earth that we do not have roots, but we like to have the feeling that we belong somewhere and in some way we are rooted in something, no and the landscape because the trees, of Somehow, they give us this feeling. H and and because it feels like no, these Parks never look or they always had the attitude of looking uh let's say natural, obviously, it's not natural at all, but they had the attitude of looking like they were given and not made, yeah. And all these aspects are interesting and the next aspect and this is the reason I show this image is that they are actually images and this is part of the modernity of the garden.

There are two modernities that are in one or three that are incredibly relevant. is that in that style the painting was prior to reality so these paintings by Claude Lauron and Nicholas Pan, two French painters, fascinated these English aristocrats so much that they ended up asking the landscape architect, one of them called Capability Brown, could you make a garden that in It actually looks like one of these paintings because we love them, yes, and what these paintings do is what we will see later in the gardens, it's a mix, you know, you have the angel, the angel's castle in Rome, you have the Vu , so mix all the different areas of the world and create your own biogeography, you know your own identity, the other modern thing about these gardens is that they work in motion, okay, so they also call it after the images that this garden has.

Since and because it works as a sequence of images, we talk about this style as the picturesque, so the idea that you walk from one image to another is actually like a movie that instead of running in front of you you run through of the movie. from one image to another, yes, so this is, let's say, the first experience of spatial fluidum in a piece of design, without fixed buildings, which you have to imagine as a fairly static object that more frames certain actions of humans. in that sense, the human being simply becomes part of the landscape of this park, okay, then you are part of the movie moving in the movie, let's say you have a kind of fourth dimension if you want the other thing that is. very relevant, you know, the Garden theologically comes from protecting from um close, but this Garden actually dissolves the Border, no, it no longer has a border, so certain elements like here, the trees in the back for example , they are not actually part of the garden, but they are part of the views that are created from the garden, but also, literally, the boundary between the garden and the landscape actually dissolves.

There is an element that creates a certain impediment to entering the garden, but this element is actually invisible, so this idea of ​​moving through the space in motion is very modern and very common for us today. The idea of ​​dissolving borders is incredibly modern and very much with us today and the third. is that a garden can be a very integrating element now today we talk about these gardens because like the English garden, you know, nothing is English in them, the buildings are Greek or Roman or whatever, the trees are from America and we talk of the English. garden, so something that is completely foreign can become the archetype of a space Feeling that actually with the rise of America like after uh after like a second British Empire, let's say, the whole world now dominates the idea of ​​this kind of uh space, this eclectic space treatment is something that you will see now all over the world, so it has been quite successful, what I like and here in the strategy is that in the end the temples, the elements that you will see in this Garden still They are H. incorrect scale and are obviously made in England, so in the end they are both for and actually part of the country, even the trees in the United States.

I don't know if they grow in the English climate, they obviously become something more than something else. Not American, because they will react and grow in a different way, maybe they will flower at a different time or more or less or whatever they react to the condition, so they become this type of hybrid and the identity in many cases is this type of hybrid, they do not influence that. You have from your parents, from your education, from your travels, from your immigration, etc., so this type of hybrid is that humans are not actually one-dimensional and have an identity, they are never just verified, no, they can also being blonde, for example, yes, which helps, no, so you can be. two three four things at a time and so on and the Garden or the English garden in some way resembles that, so these strategies, on the one hand, the idea of ​​allowing people to bring their objects of Desire of identification of their cultures to the

public

realm, uh, this is one base and the other base is the idea of, let's say, the idea of ​​the English garden, so this is the park in Copenhagen, in the back you can see the Baltic Sea, the park, this It is the Red Square that he used.

For a Trum, these are some Trum holes in this area. The Trum used to pass here through Copenhagen, but it was removed, so these are the different areas of the park: the red, the red area, the black, the black square and the green part. As I said, another important topic was the idea of ​​participation, you know, in Danish Scandinavian culture, in general, participation is a highly valued topic and they actually expect for every project a well-developed participation strategy, the problem In this neighborhood, this neighbor's neighborhood is a neighborhood with 99% immigrants who in many cases do not have the education, they do not have the language and they do not have the time to do these urban gardening problems and participate.

You know why they have other problems, they have to look for work they have two small apartments maybe they are waiting for permits to stay etc etc they have to take care of their children so they don't have they don't imagine that there is a need to make them talk about the park or the

public

realm in front of you, so we had to find another strategy to get people involved and we said, actually, you know one of the most joyful moments when you do a project both as an architect and as a landscape designer. architect is the moment when the things you just imagined become reality, so we said that this kind of experience of joys, not joys, we would like to share with people, so instead of sharing, let's say the painful decision process and this kind of blah, blah, blah, blah, uh, discusses discursive, um, uh, strategies, uh, uh, talks about objects because they have, they're much more immediate and much easier to talk about and understand and create. property through the objects that are in the park, so in the end, in the end, we first started making a landing page to try to get people to give us ideas of these objects that also didn't work because they weren't interested, so that in the end we went.

We had five doll parties and we went door to door, we knocked on everyone's doors and asked them if they could provide us and give us an object from their culture to then place it in the Plaza, but most of the objects you see in this animation are es from Iraq, you see, this is from England, this is also advertising because, unlike the English garden, we embrace, let's say, more everyday objects than the glorious objects of classicism or whatever and um and um, yes, that It's all around here, so advertising is part of it, so you don't know, so you're a little dislocated, where am I?

These types of questions you know where I was, where I was last week. Sometimes I have that, where? go swimming, actually, yes, these types of questions appear to us more and more, so you have to find another one, then you look at your iPhone and then you know where you were. No, that helps, actually, I have it with me. Also, can you read? Can you buy the things this year or not? Yes, this is the model we present to the city. It's one of the meetings we had with the people on site. These are the 100 objects. that we put even the cover of the switch are strange so there is like in the neighborhood everyone is strange in the park everything is strange every tree every object every lamp even as I said the covers of the switches are uh uh strange so and in this process of participation one of us, we, we went to one of these guys or one of these uh NE to one of these neighbors, we knocked on his door and he came in his boxers, opened the door and we said with five people you know it was a bit. shocked he thought we would do it we would do it he said I didn't do anything yeah he thought we would get him so we explained or one of our dmes explained to him what we were doing and we are looking for and he said no I don't.

I have something and I'm not interested blah blah blah but then it happened that dolm H met him by coincidence and then they started chatting and whatever and said okay I have something actually my uncle who is a dentist in uh in Muskat. PA paid for me to come here and study in Denmark so I'm very proud of that and I'm very grateful so maybe that's interesting to you and of course it was and then we recreated it in super. kill, yes, and what's important, like in the English temples that there are, you know that this object is both uh H, let's say symbolic symbolically Islamic and if you look at it, it has this kind of technical quality because it was made in Germany, yes. it will last forever, yeah, indifference to that thing that's probably already falling apart, yeah, so, um and that and but it also has this kind of cool Danish connotation, this kind of Scandinavian cleanliness, so and this is for me the ideal of immigration, that immigration is rich. when uh when he's able to create this kind of hybrid between worlds and and being and you don't have to have a choice you don't have to have a choice you don't have to say I am that or I am that or I I am whatever you can be everything if you want, you know and that everything is what you are and this is the idea for these objects obviously it also has a different scale etc. so these are the technical drawings for the objects this is an American star this is a sign of donut uh um what you'll see here so speaking of dissolving borders you know suddenly you have this donut sign here at the end of the park on a big road so At the beginning of the project, people stopped looking for donuts that can be bought, other people thought this is not a bad French car manufacturer but part of our facility yeah so you start to confuse in Parks actually originally when these.

The English parks are over, they also confused you, you know you were in this kind of immersed, you know they were made before the movie, you were immersed in this kind of surreality, uh, of space in which the real, real, actually it doesn't. exists, so everything is copied, no, and maybe in the end it will be because it is made in Germany. No, it will last so much longer than the things the Americans built, which is why the Americans will probably come to Denmark to see the last one. donut sign in two or 300 years, yeah, the bull of Andalusia, you know, that's the emblem, it used to be an advertisement for uh Brandy for cognac in um for um in Spain and the but and they use this bull as their sign and as advertising and they had them especially in the Andalusian hills, you know, so when the hordes of Dutch and Germans invaded the south of Spain, they would be the bull and then they would know that they can get out of the car because They arrived, yes, the company at some point decided take out the bull and he was no longer interested in having it, so they left him, but then the problem was that all the Germans and Dutch didn't know where. stop, so they all ended up in the ocean, yes, yes, then, and they get a lot of complaints and, in the end, the Spanish government bought the rights to the bull and put the bull back in the mountains.

So sometimes also things that are meant to be just advertising also become part of, say, the identity of a place, so things can also change evenduring its existence, the meaning of objects can obviously also change during its existence and because everything has I had to go fast and you couldn't wait to say that in many parks you know when you study landscape architecture the first thing the old professors tell you you have to be very patient and wait because trees need a long time to grow, blah, blah, blah, so and and what is right, yes, but sometimes you don't have time, you know, because, like I said, immigration, the movement of people, The movement in which things are created and problems come and go is so fast that in many cases quick results are also needed. that and that is the reason let's say we also have 100.

A journalist asked me why we didn't make any trees, but we planted 150 trees here, but they are small and for now they are not so interesting maybe, but in 30 40 50. For years , when the color of the ground disappears, the trees will take over, but at the time of creation it is necessary to have these kinds of striking U qualities that really create attraction and quality in a space, so thinking about the flow of the space of the second and third place. dimension that we were also able to resolve, let's say the boundary between a building in that case and the square by actually lifting the square up on the façade, this is the floor plan, so the floors are actually following the the as well. color concept of the park, so we have all the red H species here spilling into the black square, we have the quite darker evergreens and some palm trees in that area and then more green types in the green area of ​​the park, so here you can see that if there are some landscape architects in the audience maybe they will be happy.

This is Leanon's seed that is there in the black square. You know, the black square. There is another aspect to our gratitude for global warming. We also have some palm trees. here, yes, over and over again, the question is where are we, so if you see that image, it could be Gran Canaria or wherever the bustle is again, some lamps from different places, so this lamp here is actually from Berin. I just ran by because I want to see. I don't know what this one is, it's not that relevant, this one is from London, you probably know, yeah, this one from the United States, this one from China, this one from Russia, there's also an app so you can run your app through the space. and read the history of each object that proposed it what context does it have Etc because otherwise there are no signs in space this is Iraq swing strange sports I don't actually know what they are playing like this and and and this is another one of my favorite objects that we have and it shows, let's say, another conceptual theme that I haven't talked about yet and that is the theme of um, I like to talk about the aesthetics of conflict, you know, many places, many squares. many parks many cities in general tend to lose their identity you know everything seems like a kind of copy of something no and um and it's like with humans we know that we are all imperfect in some way so we yes but if we cultivate this imperfection no yes we uh yes We are able to deal with these things that are actually ugly about us and incorporate them into who we are, then we have character, if we try to fight them and optimize ourselves to become all Americans, then it is really horrible, yes, then we are. everyone likes Martin no, but he's Irish, but okay, yeah, so, um, this is like that and in the end, speaking of

spaces

, in many cases when there are conflicts instead of dealing with them or playing with them, they are being repressed, so one of the problem here in the square was that the young people were making too much noise and playing music etc., so instead of banning music we just gave this problem another frame, so we made these boxes big, these big speakers from Jamaica, which is one of the objects that we picked up in the field because one thing that uh I forgot to tell you because also this knocking on doors didn't work so well in fact we started offering trips to people so we could go, we offered to five The participants had the opportunity to go to their country, to their culture and pick up the object that we would put in the plaza, so we had this Jamaican group that we went to Jamaica with and picked up these speakers, so the idea is that, um, you can use this iPhone app to play your music in the square, but it's obviously not very loud and it does it on and off at night, so in the end what was a problem now becomes a very joyful object and great to play and then you can listen and then and then it's like the dissolution between the private and the public your private music is suddenly also part of the plaza but it's part of, let's say, the official infrastructure of the plaza and it's no longer something that is prohibited as it was before. yes, the same is for the boxing ring.

I like to talk about an approach, let's say, psychoanalytic because you know that when you go to a psychiatrist they also tell you that it is not about solving your problems, but simply about dealing with them, no, because you are not going to be able to solve them, no. , it's just framing them again so that they become part of you at best or become tolerable, so this area of ​​the city is a very aggressive area, very violent and you know when there are people in the background. and hitting their face this is violence it is actually prohibited you can end up in prison if you do that but if you do it 40 cm from the ground and surround it with a rope Sports and it is allowed no and it is fun to see other people hitting each other's faces no, so this is this tie boxing ring it was also one of the items we picked up in Thailand in Bangkok yes there is a Thai boxing community or club just around the corner from the side where Denny also trains yes this is not so good The type is better and this is the black square.

Before it was called the black market and we kept it black. It used to be the biggest drug sales place. The square in D is still in Copenhagen and so, um, and the idea is again that it is. It is not about Urban Design. It is not about repressing certain situations, let's say unpleasant or unwelcome, but perhaps making them visible and part of everyday life and with that accepting that obviously there are not only beautiful things in life but that you can integrate them. , if you integrate them in a slow process maybe you can try to make them more tolerable or more pleasant this is an object from Japan this idea of ​​translocation you know something that in a new country is boring like in Japan every playground has one of these octopuses in Germany By the way, in every stupid playground we have a boat.

I don't know, we never used a big oceanic nation. I mean, we have more sea than you, but not much more, so I don't know where we have boats everywhere. Yes, but in Japanese that fits better, they have the octopus, no and we like that, so we, we, we, and it was the only object built by a Japanese company. We had the Japanese build it and because it was in black. Square we made it black and um and you can also see how the inhabitants are beginning to adapt to our concept of color what is part of our idea the formal idea oh this is an object this is an object that I proposed I was born in Argentina and we are the most grills bigger and bigger after the Australians maybe, and because you know, when it comes to public space it is also about what you are allowed to do in public space.

You know, in Berlin we have all these stupid huge parks and at one point they were heavily used. by the Turkish community to make barbecues, they are also great grillers, they brought whole pieces, some alive, they even killed them on the grass and grilled them there, no, it's not true, but they really made barbecues, that was the best use of the garden now ours. The main park once had it, but then the social democrats in coalition with the left party banned the use of the park saying there was too much filth produced by the Turkish community.

No, so I think barbecuing is cool and if you see. other people eating it gives you a certain confidence, you know, you think, oh, they're human, they're hungry so we don't need to send them back, no, they're fine and it smells better than the one we have, you know, I mean the Danish is What they eat is worse than the Germans, I'm telling you, yes, and obviously it creates a situation that is suddenly a bit like coming out. No, if you do things in private, then you become paranoid. People don't see you, so you don't know what they're doing, but if things suddenly happen in the public realm, then trust can be established in a gentle way, you know, without having to educate people you know.

That way, maybe another formal way. To give off the idea of ​​the third and second dimension that I was talking about in Red Square, we also have here all these tall lines that really define this black square creating a real hill at the end and go through the objects, the Moroccan fountain, the tables chest type from Germany, yes, a beautiful object that used to be in each and every social housing project, uh, but quite widespread, so we said if we put them together maybe it will be better, yes, and this is an object from Palestine, from Israel, we had this very strong political group from Palestine that said, actually, no, they proposed to re-build one of the tunnels that go between Gaza and Israel, yes, and we think it's a great idea, but It's probably difficult. to um build and and and security Etc and obviously politically maybe a little risky but we said actually but this interesting maybe it's not the tunnel but maybe it's the Earth that you took out of the tunnel no, so that red Earth that you see there Actually, it's its installation, it was also one of the objects we went to to meet with the Palestinian ladies people, so here you can see there are some films from the trips, so here you see, here we are. in Andalusia picking up the bull here I think it's Bangkok this is Jamaica this is Palestine here is Palestine too uh filling the Earth uh to bring it to um to uh Copenhagen these are the two Palestinian ladies putting it on the ground like this For some people this ground can be sacred, but other people just walk on it without saying no and this is if you want to have many cultures living together, obviously you have to create a certain distance if you think that yours is sacred and more valuable than anyone else or that the relevance that things they have for you they have to have for other people so obviously you already lost it and this difference in meaning of the objects is something that perhaps as a designer is relevant to do this is a more normal part of the park the green part with a skating area and ball games different objects two poor Latin Americans drinking beer next to the bull this is an object from usbekistan it is a bus stop uh uh with slamic Ways in which we transport ourselves to Copenhagen.

There is also a bus, a bus stop sign in Arabic that says bus stop and there is also a nursing home next door. There is no bus stop here. The guy doesn't know it yet, but. Hopefully, someone told you that the idea of ​​creating, let's say, dysfunctionalities, not cities, especially northern European cities, are highly functional systems and that is the reason why in many cases, if you are not lucky enough to Berlin. it's having to do it because berin is only interesting because it went through two wars, a revolution, a communist system and unification, you know, so imagine Berlin without everything, it would be worse than Vienna, it would be purely boring, no, and that's Copenhagen. in the end, you know, some or some places need order, other places need disorder and dysfunction, you have to know how to relax, especially Protestant countries, um, they need a little disorder, so and all this narrative, you know, public space In the end it no longer exists. just also the dissolution of space in the sense that I've seen, I've got five minutes right, thank you um, the dissolution of space between, let's say, public space, the construction of public space and the fictional public space that could be the Internet or The narrative or the stories around the place become more and more relevant, so because there is always an interaction between real reality and fictional reality, you know that what came first in the English Park was an image first or was actually the project first and what is actually more relevant is a more relevant image or the most relevant real image not and and because of this strong narrative, the projects create a self-reference that helps the project to survive processes, for example, of maintenance.

No, if the projects get more attention they also get more money for their maintenance and also people start going to these areas like in Neu which used to be a nogo area with shootings etc. and people start going there, start visiting it and the people who live there start being proud of their project, you know, these kinds of processes are very relevant and I think we have to incorporate them in our work as well, so the Super King project is on the official site of um de de. Denmark, the national site, the Copenhagen um site, there is a Wikipedia about it, it has about 5 million results when you google it, it has many nominations, including the miss fera nomination and the newest one that hasn't yet It's decided it's the aakhan uh prize for islamic architecture, actually it's a bit of a joke, but it doesn't matter,It's a $1 million price tag, so I don't care what joke it is, I don't think we get it, but I don't.

I don't think we understand it if they understand what we were doing or maybe they are very open and not like we think everyone is stupid, no, a lot of posts, uh, CNN was talking about it, uh, Str's being the strangest one, the most strange. Park is a public park in Europe and also became the 10th most visited site in Denmark, so after TR go see Tioli and Christiania and whatever they are going to see our park, yes there is a book.that It is worth looking at and then there is a story that happened after there is a school in the vicinity of the park and the teacher of that school sent that photo for Apple's campaign for the new phone that is two a year ago Maybe for the iPhone 6, as you can see, then the photo was not taken and then, in fact, our park also began to be part of many different

spaces

like here, this one I took myself, this is in Alexander's plot. in Hamburg this is in Milan in Italy this is in Tokyo this is in Los Angeles San Francisco this is in Los Angeles this is in Bogotá in Colombia this was in Chile yes and then it was also even in the The back of the song magazine which is a great national newspaper in Germany and also on the back of the New Yorker, which is a great newspaper in the United States.

Thank you so much.