1
00:00:02,000 --> 00:00:07,000
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2
00:00:08,000 --> 00:00:13,000
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3
00:00:11,039 --> 00:00:13,664
(somber brass music echoing)

4
00:01:17,539 --> 00:01:21,039
(echoing instruments)

5
00:01:22,539 --> 00:01:25,539
(deep brass music over high notes)

6
00:01:43,497 --> 00:01:45,414
(low and high brass sounds)

7
00:02:45,622 --> 00:02:48,622
(echoing swelling trumpet notes)

8
00:02:57,997 --> 00:03:01,122
(deep booming sound)

9
00:03:14,414 --> 00:03:17,372
(swelling booming brass sounds)

10
00:03:23,539 --> 00:03:26,372
(echoing trumpet sounds)

11
00:03:31,997 --> 00:03:34,997
(booming brass sounds
over high trumpet tones)

12
00:04:04,622 --> 00:04:06,622
(music fading out)

13
00:04:30,414 --> 00:04:31,664
(birds chirping)

14
00:05:17,372 --> 00:05:19,372
(he takes a deep breath)

15
00:05:33,539 --> 00:05:36,039
(traffic noise and honking)

16
00:07:04,164 --> 00:07:06,664
(birds chirping)

17
00:07:13,914 --> 00:07:16,664
(he mumbles something)

18
00:08:25,164 --> 00:08:27,122
(wind noise)

19
00:08:35,664 --> 00:08:38,664
(delicate, mysterious string music)

20
00:10:15,872 --> 00:10:18,664
(swelling deep string music)

21
00:11:04,164 --> 00:11:06,664
(string music fades out)

22
00:11:22,789 --> 00:11:25,289
(wind whistling)

23
00:12:55,872 --> 00:12:58,372
(muffled rumbling)

24
00:13:46,164 --> 00:13:48,664
(powerful white noise)

25
00:14:20,789 --> 00:14:23,289
(cracking)

26
00:14:59,497 --> 00:15:01,997
(loud crashing noise)

27
00:15:23,622 --> 00:15:25,164
(threatening silence)

28
00:15:44,497 --> 00:15:47,497
(very slow swelling white noise)

29
00:16:40,997 --> 00:16:43,789
(muffled deep rumbling)

30
00:17:53,289 --> 00:17:55,289
(De Lucchi) This one is beautiful.

31
00:17:55,414 --> 00:17:57,289
(Mauro Mella) Oh, yes, it is.

32
00:18:07,039 --> 00:18:10,414
- (De Lucchi) Is this the last time?
- Yes, the last lap.

33
00:18:12,664 --> 00:18:16,039
(De Lucchi) I'm coming too,
I'll take the round ones.

34
00:18:20,289 --> 00:18:22,789
(brief swelling bass)

35
00:18:26,539 --> 00:18:29,039
(church bells ringing in the distance)

36
00:18:32,414 --> 00:18:35,039
(Mella) Ok, let's choose the position.

37
00:18:35,122 --> 00:18:36,164
(De Lucchi) Yes.

38
00:18:36,872 --> 00:18:38,872
(De Lucchi grunts)

39
00:18:48,914 --> 00:18:52,289
- (Mella) We have to find the center.
- (De Lucchi) Let's try here.

40
00:18:53,664 --> 00:18:56,039
- Right here is the center, yes?
- Yes.

41
00:18:59,039 --> 00:19:02,539
Let's do it gently first,
so we can see how it looks.

42
00:19:02,664 --> 00:19:04,914
(Mella) Yes. Okay.

43
00:19:08,164 --> 00:19:11,414
Let's make, I don't know ...
Somewhat ...

44
00:19:11,497 --> 00:19:13,164
(De Lucchi) A little more.

45
00:19:13,914 --> 00:19:17,039
So that it comes ...
it comes up to here.

46
00:19:18,664 --> 00:19:19,789
Up to here?

47
00:19:19,872 --> 00:19:21,914
Yes, a little more, and here.

48
00:19:27,789 --> 00:19:28,789
Here.

49
00:19:29,664 --> 00:19:31,789
Here. A little more.

50
00:19:32,747 --> 00:19:34,414
(Mella) Let's take the ...

51
00:19:35,247 --> 00:19:38,039
This is too big.

52
00:19:38,122 --> 00:19:40,372
(Mella) Too big? A little smaller?

53
00:19:40,789 --> 00:19:41,789
Here?

54
00:19:42,039 --> 00:19:43,164
Here, like that.

55
00:19:45,414 --> 00:19:46,539
Is there a mallet?

56
00:19:52,289 --> 00:19:53,914
(Mella) Gently, slowly.

57
00:19:53,997 --> 00:19:57,414
(De Lucchi) Now here, down here.

58
00:19:58,039 --> 00:20:00,664
It has to be something ...

59
00:20:00,747 --> 00:20:02,789
that goes like this.

60
00:20:04,872 --> 00:20:06,164
Up to here.

61
00:20:07,164 --> 00:20:09,497
Then it should be of these dimensions,
more or less.

62
00:20:09,539 --> 00:20:10,914
Shall we try to draw it?

63
00:20:11,039 --> 00:20:13,247
Yes, how do we draw it?

64
00:20:13,539 --> 00:20:15,414
Well, again with that stick.

65
00:20:17,247 --> 00:20:20,664
- It's a little chilly, isn't it?
- My hands are frozen.

66
00:20:24,539 --> 00:20:29,289
- Shall we try to draw it like this?
- Yes, let's put that stick here, Davide.

67
00:20:29,914 --> 00:20:31,039
We'll put it here as a reference.

68
00:20:31,164 --> 00:20:33,664
- How many sticks do we have? Four?
- Four.

69
00:20:34,289 --> 00:20:36,039
Let's put one of them there.

70
00:20:38,789 --> 00:20:40,372
One here, Davide.

71
00:20:53,664 --> 00:20:54,872
Another one here.

72
00:20:56,414 --> 00:20:57,414
One here.

73
00:21:06,539 --> 00:21:10,539
And another one,
which we already have here.

74
00:21:10,622 --> 00:21:14,372
We'll put the four stones
on the four points of the compass.

75
00:21:14,914 --> 00:21:19,914
So one ... at each point.
The round stones, the black ones.

76
00:21:20,289 --> 00:21:21,289
The black ones.

77
00:21:43,622 --> 00:21:47,664
(Mella) Let's try ...
how deep to sink them.

78
00:21:50,539 --> 00:21:53,664
- Shall we do something like this?
- Yes, even a little bit deeper.

79
00:21:53,789 --> 00:21:55,622
- A little bit deeper?
- Yes.

80
00:21:56,247 --> 00:21:58,914
Yes, because ...

81
00:22:00,372 --> 00:22:03,039
It should stay there for a lifetime.

82
00:22:03,872 --> 00:22:04,872
Oh, really?

83
00:22:06,164 --> 00:22:07,164
Beautiful.

84
00:22:11,039 --> 00:22:12,289
(birds chirping)

85
00:22:25,664 --> 00:22:28,164
(brief swelling bass)

86
00:22:38,789 --> 00:22:41,289
(repeating bass)

87
00:22:58,873 --> 00:23:01,998
(echoing high flute notes)

88
00:23:16,998 --> 00:23:20,498
(bass accompanied by soft organ music
and flute notes)

89
00:23:57,165 --> 00:24:00,165
(heavy string music sets in)

90
00:24:40,415 --> 00:24:43,415
(music fades away in echoing bass)

91
00:25:11,540 --> 00:25:14,373
(individual distorted flute notes set in)

92
00:25:32,498 --> 00:25:35,998
(organ music accompanied by echoing tones)

93
00:26:12,748 --> 00:26:15,540
(heavy string music sets in)

94
00:26:34,040 --> 00:26:36,540
(stomping footsteps)

95
00:27:01,540 --> 00:27:03,748
(dramatic string music)

96
00:27:29,665 --> 00:27:32,623
(sad string music)

97
00:27:48,665 --> 00:27:51,540
(stomping footsteps)

98
00:28:18,290 --> 00:28:20,790
(dramatic music fades out)

99
00:28:23,415 --> 00:28:26,415
(soft high organ music)

100
00:28:34,540 --> 00:28:37,373
(brief swelling bass)

101
00:28:40,915 --> 00:28:43,790
(soft high organ music)

102
00:29:10,415 --> 00:29:13,248
(soft organ and string music)

103
00:29:35,665 --> 00:29:36,915
(music fades out)

104
00:30:00,540 --> 00:30:01,915
(De Lucchi) Perfect.

105
00:30:03,915 --> 00:30:04,915
Perfect.

106
00:30:09,290 --> 00:30:10,748
Here comes the snow.

107
00:30:11,540 --> 00:30:13,123
(Mella laughs quietly)

108
00:30:14,415 --> 00:30:15,415
Beautiful.

109
00:30:23,748 --> 00:30:26,165
Beautiful that it's starting to snow,
isn't it?

110
00:30:26,248 --> 00:30:27,998
Ah, really, yes.

111
00:30:44,165 --> 00:30:47,790
- Did it come out of the ground?
- (Davide Alioli) Yes, yes.

112
00:30:48,790 --> 00:30:50,290
(De Lucchi) What is it?

113
00:30:51,498 --> 00:30:54,415
Could it be ... It looks like a ...

114
00:30:55,040 --> 00:30:56,165
What could it be?

115
00:31:18,915 --> 00:31:22,665
Of course, finding a circle
while making a circle ...

116
00:31:23,290 --> 00:31:24,915
(Mella laughs)

117
00:31:28,915 --> 00:31:30,540
It's meant to be.

118
00:31:30,665 --> 00:31:34,290
It's something that has been
prepared ... for years.

119
00:31:45,623 --> 00:31:51,040
Now, I even feel embarrassed
to be inside the circle.

120
00:31:57,248 --> 00:32:01,540
(Mella) Yes, beautiful.
Finding a circle while making the circle.

121
00:32:10,415 --> 00:32:11,915
(stony knocking)

122
00:32:14,790 --> 00:32:15,915
Watch out.

123
00:32:28,123 --> 00:32:30,623
(soft mysterious string music)

124
00:32:33,415 --> 00:32:34,998
It's a hard one, isn't it?

125
00:32:35,040 --> 00:32:36,123
A bit.

126
00:32:36,998 --> 00:32:38,873
It doesn't have a weak point.

127
00:32:43,873 --> 00:32:46,665
(soft mysterious string music continues)

128
00:32:51,915 --> 00:32:54,415
(soft crunching)

129
00:33:54,498 --> 00:33:56,998
(loud crumbling and cracking)

130
00:34:01,665 --> 00:34:03,748
(tense string music)

131
00:34:56,748 --> 00:34:59,040
(music fades out)

132
00:34:59,165 --> 00:35:01,290
(explosion)

133
00:36:19,165 --> 00:36:21,540
(repeated synthetic honking)

134
00:36:32,665 --> 00:36:34,790
(honking fades out)

135
00:36:55,915 --> 00:36:57,415
(crashing)

136
00:38:10,498 --> 00:38:12,415
(machine rattles quietly)

137
00:38:39,665 --> 00:38:42,498
(electronic rhythmic music)

138
00:39:11,665 --> 00:39:14,123
(booming synthetic bass)

139
00:39:46,873 --> 00:39:49,665
(muffled electronic music)

140
00:40:07,665 --> 00:40:10,290
(dreamy high music)

141
00:41:07,748 --> 00:41:10,248
(swelling rattling noise)

142
00:41:19,540 --> 00:41:22,790
(sound sequence
over synthetic music continues)

143
00:41:50,165 --> 00:41:53,165
(majestic swelling music)

144
00:42:25,915 --> 00:42:28,873
(repetitive high tones)

145
00:42:51,540 --> 00:42:54,540
(soft high organ music)

146
00:43:21,415 --> 00:43:24,373
(synthetic rhythm sets in)

147
00:43:50,665 --> 00:43:53,290
(booming synthetic bass)

148
00:44:14,665 --> 00:44:16,665
(music fades out)

149
00:44:16,915 --> 00:44:18,290
(De Lucchi) A circle.

150
00:44:21,498 --> 00:44:23,040
(squeaking)

151
00:44:29,790 --> 00:44:31,165
(De Lucchi) Leave ...

152
00:44:32,123 --> 00:44:33,123
it ...

153
00:44:35,915 --> 00:44:37,790
be.

154
00:44:46,540 --> 00:44:47,790
(birds chirping)

155
00:44:53,665 --> 00:44:55,290
Try this one.

156
00:44:56,123 --> 00:45:00,998
Now, we have to pick
a round stone for this point.

157
00:45:01,415 --> 00:45:02,415
Yes.

158
00:45:28,040 --> 00:45:29,915
I'll just leave it here.

159
00:45:35,290 --> 00:45:38,248
We are almost halfway!

160
00:45:48,665 --> 00:45:50,415
Now comes the hardest part.

161
00:45:56,123 --> 00:45:58,623
- Are we doing well, Architect?
- Good.

162
00:46:11,415 --> 00:46:13,915
There are some
that are a little too big.

163
00:46:16,415 --> 00:46:19,790
It's snowing.
What a beautiful surprise today.

164
00:46:19,915 --> 00:46:23,623
Who knows if there will be snow or not
in years to come.

165
00:46:32,040 --> 00:46:34,790
In the mountains,
there will be a beautiful ...

166
00:46:34,915 --> 00:46:37,998
a beautiful disaster.

167
00:46:45,790 --> 00:46:48,290
(soft mysterious string music)

168
00:47:34,790 --> 00:47:36,373
(music continues)

169
00:47:36,415 --> 00:47:37,665
(soft cracking)

170
00:48:03,540 --> 00:48:04,790
(louder cracking)

171
00:48:22,123 --> 00:48:24,123
(crashing)

172
00:48:25,415 --> 00:48:28,248
(tense string music)

173
00:49:17,165 --> 00:49:18,915
(music slowly fades out)

174
00:49:28,248 --> 00:49:30,748
(chainsaw whizzing)

175
00:50:38,040 --> 00:50:39,915
(crashing)

176
00:51:09,915 --> 00:51:11,998
(high static sound)

177
00:51:33,748 --> 00:51:36,373
(echoing deep brass tone)

178
00:51:50,915 --> 00:51:52,540
(scratching brass tone)

179
00:52:08,040 --> 00:52:09,915
(individual rhythmic tones)

180
00:52:19,165 --> 00:52:21,998
(repetitive swelling trumpet tones)

181
00:52:50,498 --> 00:52:53,998
(continued rhythmic tones
accompanied by trumpets)

182
00:53:44,165 --> 00:53:46,665
(soft rhythmic strokes)

183
00:53:56,165 --> 00:53:58,123
(machine buzzing)

184
00:53:58,165 --> 00:54:00,165
(music fades out)

185
00:54:51,915 --> 00:54:54,623
(traffic noise in the distance)

186
00:55:20,040 --> 00:55:21,248
(loud white noise)

187
00:56:26,623 --> 00:56:28,498
(rumbling and crashing)

188
00:57:23,873 --> 00:57:26,040
(sirens in the distance)

189
00:57:32,123 --> 00:57:33,665
(honking)

190
00:58:35,248 --> 00:58:38,415
- Architect, are you okay?
- I'm getting all wet ...

191
00:58:40,665 --> 00:58:41,665
Now ...

192
00:58:48,415 --> 00:58:50,040
Let's lay the last stone.

193
00:58:50,665 --> 00:58:52,040
We're almost ready.

194
00:58:53,498 --> 00:58:54,915
You have to choose it.

195
00:59:01,040 --> 00:59:06,165
This is the most beautiful one,
we put it in the North.

196
00:59:06,915 --> 00:59:08,790
- No, in the West.
- In the West.

197
00:59:43,540 --> 00:59:44,540
Good.

198
00:59:47,165 --> 00:59:49,290
- Beautiful one.
- Beautiful one.

199
00:59:51,290 --> 00:59:52,915
So we're putting it here.

200
00:59:53,998 --> 00:59:57,665
It was meant to be.

201
01:00:04,873 --> 01:00:06,665
(rumbling in the distance)

202
01:00:07,623 --> 01:00:09,665
(soft chirping)

203
01:00:55,790 --> 01:00:57,915
(traffic noise in the distance)

204
01:02:29,415 --> 01:02:31,165
(honking in the distance)

205
01:02:40,165 --> 01:02:42,040
(soft rumbling)

206
01:03:58,998 --> 01:04:01,498
(echoing deep sound)

207
01:04:32,790 --> 01:04:34,915
(croaking brass sound)

208
01:04:52,915 --> 01:04:55,665
(repeated swelling deep brass sound)

209
01:05:15,915 --> 01:05:19,040
(individual echoing trumpet tones)

210
01:05:23,540 --> 01:05:26,040
(muffled rhythmic strokes)

211
01:06:10,415 --> 01:06:12,498
(high trumpet tones)

212
01:06:39,790 --> 01:06:42,290
(echoing trumpet tones)

213
01:08:13,998 --> 01:08:16,998
(echoing trumpet tones)

214
01:08:58,790 --> 01:09:00,165
(slow drumming)

215
01:09:23,790 --> 01:09:24,790
(Mella) Done.

216
01:09:25,665 --> 01:09:27,123
(De Lucchi) Perfect.

217
01:09:28,665 --> 01:09:30,873
The last one getting in here is me.

218
01:09:33,040 --> 01:09:34,790
I beg your pardon, Architect?

219
01:09:34,873 --> 01:09:37,040
I will be the last man
who enters the circle.

220
01:09:37,123 --> 01:09:38,123
Okay.

221
01:09:41,623 --> 01:09:43,123
This is a magic circle.

222
01:09:44,540 --> 01:09:48,873
Because to make a circle like that,
there is simply no need.

223
01:09:48,915 --> 01:09:51,498
It has no practicality.

224
01:09:53,790 --> 01:09:54,790
All right.

225
01:09:58,790 --> 01:10:01,040
As soon as Davide arrives,
we load those things.

226
01:10:01,165 --> 01:10:02,915
Yes, let's load this stuff.

227
01:10:07,873 --> 01:10:09,290
(De Lucchi) Perfect.

228
01:10:12,540 --> 01:10:15,623
The last man who came in here.

229
01:10:26,123 --> 01:10:27,998
(Mella) Only the dog,
Ugo, can get in.

230
01:10:28,040 --> 01:10:30,915
Yes, the dogs can enter.

231
01:10:31,623 --> 01:10:34,248
- The horses as well.
- The horses as well.

232
01:10:37,748 --> 01:10:39,165
The man backs down.

233
01:11:52,123 --> 01:11:54,123
(barking in the distance)

234
01:12:05,123 --> 01:12:07,165
(relaxed whistling music)

235
01:12:17,748 --> 01:12:19,915
(faster rhythm sets in)

236
01:12:29,790 --> 01:12:31,790
(synthetic bass sets in)

237
01:12:50,998 --> 01:12:52,915
(breathy melody)

238
01:13:04,165 --> 01:13:07,040
(music stops,
soft and heavy breathing)

239
01:13:11,540 --> 01:13:14,165
(faster, relaxed rhythm)

240
01:13:24,915 --> 01:13:27,415
(whistling melody and soft breathing)

241
01:13:54,415 --> 01:13:56,915
(wave-like booming bass)

242
01:14:06,873 --> 01:14:09,790
(whistling melody over mysterious music)

243
01:14:30,373 --> 01:14:33,040
(breathy vocals
over mysterious music)

244
01:14:44,165 --> 01:14:45,540
(peaceful music)

245
01:14:51,665 --> 01:14:55,373
(soft breathing and whistling melody
in the background)

246
01:15:01,290 --> 01:15:03,415
(peaceful music fades out)

247
01:15:06,873 --> 01:15:08,873
(soft breathing)

248
01:15:12,415 --> 01:15:15,248
(soft vocals over peaceful music)

249
01:15:40,915 --> 01:15:43,415
(music fades out)

250
01:16:09,873 --> 01:16:11,373
It's all cut off.

251
01:16:21,915 --> 01:16:25,498
Who knows ... what kind of ...

252
01:16:27,748 --> 01:16:29,540
technology they used?

253
01:16:52,540 --> 01:16:57,623
It seems like here
they made a straight cut.

254
01:17:10,790 --> 01:17:11,790
Hi.

255
01:17:11,873 --> 01:17:14,040
(Abdul Nabi Al-Afi)
Hi, welcome, welcome!

256
01:17:14,123 --> 01:17:15,290
- Abdul?
- Welcome.

257
01:17:15,415 --> 01:17:16,748
- Abdul?
- Abdul.

258
01:17:17,165 --> 01:17:19,540
- It is written here.
- Abdul Afi.

259
01:17:20,040 --> 01:17:21,040
You?

260
01:17:21,790 --> 01:17:24,373
You cleaned everything?

261
01:17:24,915 --> 01:17:28,540
(Al-Afi) English, Français, no.
Welcome, welcome.

262
01:17:29,040 --> 01:17:32,123
Are you an architect?

263
01:17:32,665 --> 01:17:33,915
- No.
- No.

264
01:17:34,915 --> 01:17:37,915
- Which is your profession?
- 30 years here.

265
01:17:38,373 --> 01:17:41,790
- 30 years.
- I started in 1993.

266
01:17:42,623 --> 01:17:43,665
With a ...

267
01:17:43,790 --> 01:17:48,165
Yes, cleaning. 30 years here.
Clean, clean.

268
01:17:48,998 --> 01:17:50,165
And why you did it?

269
01:17:50,915 --> 01:17:51,915
What why?

270
01:17:54,040 --> 01:17:56,873
- Pourquoi? Why?
- Pourquoi?

271
01:17:56,915 --> 01:17:58,665
Français, English, no, no.

272
01:18:04,415 --> 01:18:05,915
Thank you, thank you.

273
01:18:05,998 --> 01:18:09,248
Here you have to clean ... to clean.

274
01:18:09,415 --> 01:18:10,540
Come, come, Sir.

275
01:18:11,290 --> 01:18:12,290
Come, look.

276
01:18:15,498 --> 01:18:17,290
(De Lucchi) It's very heavy work.

277
01:18:19,373 --> 01:18:24,540
(Al-Afi) Look. Five meters by five meters.

278
01:18:30,290 --> 01:18:35,290
You have to clean all this now.
Big work. Really impressive.

279
01:18:35,748 --> 01:18:36,748
L, XL.

280
01:18:37,790 --> 01:18:39,123
(laughing) Yes, XL.

281
01:18:39,540 --> 01:18:42,540
Thousand tons,
thousand and six hundred tons.

282
01:18:42,873 --> 01:18:45,415
Abdul, these are big columns?

283
01:18:45,540 --> 01:18:48,165
There are three stones in Baalbek.

284
01:18:48,290 --> 01:18:50,915
Here are number four and five.
All of them for Baalbek.

285
01:18:51,040 --> 01:18:52,873
The Romans were finishing Baalbek.

286
01:18:52,915 --> 01:18:53,915
Just here.

287
01:18:53,998 --> 01:18:57,790
- And those are Byzantine tombs.
- And tomb.

288
01:18:58,290 --> 01:19:01,040
- Byzantine. Forty tombs.
- The graves.

289
01:19:06,290 --> 01:19:08,540
But it's detached from the ground.

290
01:19:09,290 --> 01:19:11,790
Do you know how they cut it?

291
01:19:12,165 --> 01:19:14,665
(unintelligible)

292
01:19:15,165 --> 01:19:17,415
And they cut it like that?

293
01:19:18,040 --> 01:19:19,790
- Laser cut it.
- Yes.

294
01:19:21,540 --> 01:19:23,040
I don't know how it happened.

295
01:19:24,290 --> 01:19:28,873
13, 14, 15, 16, 17, 18, 19, 20,

296
01:19:28,915 --> 01:19:32,415
21, 22, 23, 24, 25,

297
01:19:32,498 --> 01:19:35,540
26, 27, 28, 29, 30,

298
01:19:35,665 --> 01:19:38,748
31, 32, 33, 34, 35,

299
01:19:38,790 --> 01:19:41,915
36, 37, 38, 39, 40,

300
01:19:41,998 --> 01:19:45,248
41, 42, 43, 44, 45,

301
01:19:45,290 --> 01:19:48,665
46, 47, 48, 49, 50.

302
01:19:50,123 --> 01:19:52,790
This is what we call progress.

303
01:21:06,040 --> 01:21:08,540
(rattling in the distance)

304
01:21:40,415 --> 01:21:42,415
(loud rattling)

305
01:22:34,040 --> 01:22:36,248
(traffic noise)

306
01:22:54,248 --> 01:22:56,415
(swelling trumpet music)

307
01:23:19,665 --> 01:23:21,748
(dramatic music)

308
01:24:36,373 --> 01:24:38,248
(heavy trumpet melody)

309
01:24:56,540 --> 01:24:58,040
(synthetic tones)

310
01:25:45,666 --> 01:25:48,166
(trumpet music fades out)

311
01:25:53,291 --> 01:25:56,291
(tense synthetic music)

312
01:26:16,291 --> 01:26:18,249
(thundering debris)

313
01:26:20,291 --> 01:26:22,541
(slow, dark brass music)

314
01:26:46,541 --> 01:26:48,499
(sad trumpet melody)

315
01:27:40,666 --> 01:27:42,916
(siren-like sounds)

316
01:28:00,374 --> 01:28:02,291
(music fades out)

317
01:28:07,916 --> 01:28:10,541
(echoing grinding sounds)

318
01:28:36,166 --> 01:28:38,249
(sounds fade out)

319
01:28:46,624 --> 01:28:49,749
(Viktor Kossakovsky)
I'm not blaming architects.

320
01:28:49,791 --> 01:28:52,041
I guess it's a question to all of us.

321
01:28:55,166 --> 01:28:57,916
Why people knew
how to make buildings

322
01:28:58,041 --> 01:28:59,791
which lasted thousands of years?

323
01:28:59,916 --> 01:29:00,999
And why we build,

324
01:29:01,749 --> 01:29:04,624
we are making buildings
which last 40 years?

325
01:29:05,791 --> 01:29:07,791
And why ...

326
01:29:07,916 --> 01:29:11,166
I believe that all people
who are not architects,

327
01:29:11,249 --> 01:29:13,124
they have the same question.

328
01:29:14,291 --> 01:29:19,124
Why we build ugly, boring buildings
if we know how to build beautiful ones?

329
01:29:27,041 --> 01:29:29,916
(De Lucchi)
It's a very deep question for me.

330
01:29:32,666 --> 01:29:38,041
And it's bringing me back to the decisions
that I never took in my life.

331
01:29:48,541 --> 01:29:53,916
Right now we are doing
a skyscraper in concrete.

332
01:29:54,124 --> 01:29:55,416
- Where?
- In Milan.

333
01:29:56,666 --> 01:29:58,124
And I'm ashamed of it.

334
01:29:58,541 --> 01:30:03,166
I am asking my colleagues

335
01:30:03,249 --> 01:30:05,916
to do in a way

336
01:30:05,999 --> 01:30:10,291
that we are not responsible.

337
01:30:11,666 --> 01:30:12,666
Because ...

338
01:30:13,624 --> 01:30:16,791
Because it's just ...

339
01:30:16,916 --> 01:30:20,291
it's just one
of these skyscrapers,

340
01:30:21,791 --> 01:30:23,041
more or less tall

341
01:30:24,166 --> 01:30:27,541
that we build in concrete
and that everybody does.

342
01:30:27,666 --> 01:30:29,791
This is just ...

343
01:30:31,499 --> 01:30:33,791
another box
in the center of Milan.

344
01:30:35,916 --> 01:30:39,874
It is not symbolic at all,
it has no meaning.

345
01:30:39,916 --> 01:30:43,874
And this will last
for 40 years, 50 years.

346
01:30:44,291 --> 01:30:48,124
But I hate concrete
because concrete is arid.

347
01:30:48,166 --> 01:30:49,374
Its aridity.

348
01:30:49,416 --> 01:30:55,041
Nothing will grow up
in a concrete building.

349
01:30:56,874 --> 01:30:59,541
And it doesn't belong to nature.

350
01:31:00,416 --> 01:31:04,249
But do you think we will ever,
ever solve the problem

351
01:31:04,291 --> 01:31:05,874
of cement, of concrete?

352
01:31:06,541 --> 01:31:09,791
Yes, I think that this is possible.

353
01:31:10,416 --> 01:31:15,916
This is possible, for example,
with something that is not,

354
01:31:17,791 --> 01:31:20,874
is not ...

355
01:31:20,916 --> 01:31:24,291
it doesn't become garbage
when it is done.

356
01:31:24,416 --> 01:31:27,666
That becomes ...

357
01:31:29,666 --> 01:31:32,374
It comes back to life again.

358
01:31:32,416 --> 01:31:34,541
Everything that is dead,
is dead.

359
01:31:34,624 --> 01:31:39,249
Everything that has not fertility inside

360
01:31:39,624 --> 01:31:40,874
is dead.

361
01:31:40,916 --> 01:31:44,124
And it'll stay there ugly forever.

362
01:31:44,166 --> 01:31:48,791
Everything that is fertile
and grows and develops

363
01:31:48,874 --> 01:31:54,249
and comes back to a new life,
this is what we need.

364
01:31:54,916 --> 01:31:59,666
And if we want to survive
in such a huge number on this planet,

365
01:32:00,791 --> 01:32:02,791
we have to question ourselves:

366
01:32:03,374 --> 01:32:08,041
what we built
that will nourish the planet

367
01:32:08,166 --> 01:32:11,416
and what we built
that is destroying the planet?

368
01:32:13,416 --> 01:32:18,374
This will be part of
the evolution of the world

369
01:32:18,416 --> 01:32:19,916
in the next centuries.

370
01:32:20,416 --> 01:32:23,416
But if I listen to you,
then ideally,

371
01:32:23,499 --> 01:32:26,416
we have to replicate
your "circle of life"

372
01:32:26,541 --> 01:32:28,499
in the center
of all our cities, right?

373
01:32:28,541 --> 01:32:29,541
Yes.

374
01:32:29,624 --> 01:32:31,624
It's a beautiful idea, but ...

375
01:32:32,374 --> 01:32:34,374
will people listen to you?

376
01:32:37,499 --> 01:32:39,874
For example, your own family,

377
01:32:41,791 --> 01:32:46,874
will they keep this circle
in your own garden after you?

378
01:32:47,666 --> 01:32:49,749
Will they keep it forever?

379
01:32:50,666 --> 01:32:52,124
Maybe yes, maybe not.

380
01:32:53,374 --> 01:32:54,374
Because ...

381
01:32:56,041 --> 01:33:00,166
to be conscious
that we have limited resources,

382
01:33:00,541 --> 01:33:03,999
and we have limited
possibilities of surviving

383
01:33:04,624 --> 01:33:06,749
that was not like that until now.

384
01:33:07,416 --> 01:33:13,374
This is the big change
of a paradigm

385
01:33:13,416 --> 01:33:16,624
that we have to produce
in our mind.

386
01:33:18,416 --> 01:33:21,291
We have to find out
a new idea of beauty,

387
01:33:21,416 --> 01:33:23,624
a new idea of ...

388
01:33:27,749 --> 01:33:31,791
ambitions that we can achieve,
and we need to achieve.

389
01:33:35,541 --> 01:33:39,666
And architecture
is just a way to think

390
01:33:39,791 --> 01:33:42,999
about how we live,
how we behave.

391
01:33:43,499 --> 01:33:49,041
There is a famous sentence
that we say,

392
01:33:49,166 --> 01:33:50,791
when we design something,

393
01:33:50,874 --> 01:33:55,416
we do not design only products
or buildings or spaces,

394
01:33:55,499 --> 01:33:57,916
but we design
the behavior of people.

395
01:33:59,874 --> 01:34:02,041
(soft breathing)

396
01:34:02,166 --> 01:34:04,499
(echoing chinking)

397
01:34:11,041 --> 01:34:13,041
(heavy exhale)

398
01:34:22,541 --> 01:34:24,791
(breathing and drumming)

399
01:34:38,499 --> 01:34:41,166
(chinking and drumming)

400
01:34:44,041 --> 01:34:46,541
(breathing continues)

401
01:35:13,291 --> 01:35:16,666
(trumpets and chinking
accompanied by tense music)

402
01:37:16,541 --> 01:37:17,749
(music fades out)