Philippe de Montebello in conversation with Moshe Safdie, an architect, urban planner, educator, and author who has embraced a comprehensive and humane design philosophy for over 50 years.

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COMING UP ON 'NYC-ARTS,' A CONVERSATION WITH RENOWNED ARCHITECT, EDUCATOR AND AUTHOR, MOSHE SAFDIE.

EVERY ARCHITECT HAS A DUAL OBLIGATION.

ONE IS TO FULFILL THE PURPOSE OF THAT BUILDING.

THE OTHER ONE IS TO SEE TO IT THAT THAT CONTRIBUTES TO THE GREATER WHOLE.

FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P. WALTER, KATE W.

CASSIDY FOUNDATION, JEAN DUBINSKY, APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S. MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK, AND

> FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT.

IT'S A PRIVILEGE TO SERVE YOU.

AND BY SWANN AUCTION GALLERIES.

WE OFFER FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFE-LONG COLLECTOR, FIRST-TIME BUYER OR LOOKING TO SELL.

GO TO SWANN DPAL RIS.COM.

GOOD EVENING AND WELCOME TO 'NYC-ARTS.'

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT THE MORGAN LIBRARY AND MUSEUM.

ON THIS EVENING'S PROGRAM WE HAVE AN OPPORTUNITY TO MEET MOSHE SAFDIE AN ARCHITECT, URBAN PLANNER, EDUCATOR, AND AUTHOR WHO HAS EMBRACED A COMPREHENSIVE AND HUMANE DESIGN PHILOSOPHY FOR OVER 50 YEARS.

SAFDIE HAS APPLIED HIS PHILOSOPHICAL APPROACH AROUND THE WORLD, THE DESIGN OF EACH PROJECT RESPONDING TO LOCAL HISTORIC, CULTURAL AND ENVIRONMENTAL CONTEXTS.

HIS WORK CAN BE FOUND IN NORTH AND SOUTH AMERICA, THE MIDDLE EAST, THE DEVELOPING WORLD, AND THROUGHOUT ASIA AND AUSTRALIA.

IT INCLUDES AIRPORTS, MUSEUMS, PERFORMING ARTS INSTITUTIONS, LIBRARIES, HOUSING AND IN SOME CASES, MASTER PLANS FOR ENTIRE CITIES.

TODAY SAFDIE ARCHITECTS IS BASED IN BOSTON WITH OFFICES IN TORONTO, JERUSALEM, SINGAPORE AND SHANGHAI.

A CITIZEN OF ISRAEL, CANADA AND THE UNITED STATES, HIS CATALOGUE OF WORK HAS HAD A LASTING INFLUENCE ON GENERATIONS OF YOUNGER ARCHITECTS.

I RECENTLY HAD A CHANCE TO SPEAK WITH HIM HERE IN NEW YORK CITY.

THE OCCASION FOR HIS VISIT WAS TO RECEIVE A LIFETIME ACHIEVEMENT AWARD AT THE 2016 NATIONAL DESIGN AWARDS, PRESENTED BY THE COOPER HEWITT, SMITHSONIAN DESIGN MUSEUM.

THE AWARDS ARE BESTOWED IN RECOGNITION OF EXCELLENCE, INNOVATION AND ENHANCEMENT OF THE QUALITY OF LIFE.

WELL IT'S A PLEASURE TO BE WITH YOU HERE AT THE COOPER HEWITT, WHERE YOU ARE RECEIVING THIS WONDERFUL PRIZE.

CONGRATULATIONS.

THANK YOU.

LET ME ASK YOU ABOUT SOME OF THE THINGS YOU NOT MAY HAVE BUILT, BUT HAVE SAID, BECAUSE YOU ARE NOT ONLY AN ARCHITECT, YOU ARE ALSO AN AUTHOR, YOU ARE A TEACHER.

AND YOU REFER VERY MUCH TO URBAN PLANNING THAT YOU SEPARATE FROM YOUR RHETORIC GENERALLY FROM ARCHITECTURE.

HOW ARE THE TWO SEPARATE?

ARCHITECTURE FITS INTO AN URBAN FABRIC, DOES IT NOT?

WELL, I THINK ARCHITECTURE IS A BUILDING BLOCK OF URBANISM.

IN OTHER WORDS, BY DEFINITION, THE CITY IS MADE UP OF MANY BUILDINGS DONE AT DIFFERENT TIMES BY DIFFERENT PEOPLE.

AND, I THINK EVERY ARCHITECT, WHEN THEY DESIGN A BUILDING, HAVE A DUAL OBLIGATION.

ONE IS TO FULFILL THE PURPOSE OF THAT BUILDING.

THE OTHER ONE IS TO SEE TO IT THAT THAT ACTIVE BUILDING CONTRIBUTES TO THE GREATER WHOLE, SO THAT IF YOU'RE BUILDING ALONG THE STREET, THE STREET BECOMES MORE WONDERFUL.

IF YOU'RE DOING A GROUP OF BUILDINGS, THAT THE RESIDUAL SPACES WHICH ARE THE PUBLIC REALM ARE EFFECTIVE AND WORKABLE.

NOW, YOU SPEAK A LOT IN YOUR WRITINGS ABOUT ETHICS, TO PICK UP ON WHAT YOU JUST SAID.

DOES THAT FALL FOR YOU WITHIN YOUR ETHICAL REALM?

I CONSIDER MY RESPONSIBILITY AS AN ARCHITECT TO CONTRIBUTE TO THE CITY AS A WHOLE, TO THINK ABOUT THE CITY AS A WHOLE, TO RESOLVE THE PROBLEMS OF THE CITY AS WELL AS OF THE INDIVIDUAL BUILDINGS, OR GROUPS OF BUILDINGS THAT I'M IN CHARGE OF DESIGNING.

WELL, YOUR ARCHITECTURE CERTAINLY DISPLAYS IT WELL BUT I WANT TO GET TO YOUR HABITAT, IN MONTREAL.

TELL US A LITTLE BIT HOW THIS CAME ABOUT.

IT WAS MY THESIS AS A STUDENT.

I HAD GONE ON A TRAVELING FELLOWSHIP TO STUDY HOUSING IN NORTH AMERICA, AND I SAW PEOPLE WANTING TO LIVE IN SUBURBS BY CHOICE, LEVITTOWN WAS IN ITS HEYDAY.

OR PUBLIC HOUSING, WHICH PEOPLE HATED, HIGH-RISE NEW YORK STYLE PUBLIC HOUSING.

AND I CAME BACK SAYING WE'LL SOLVE THE PROBLEM BY MAKING APARTMENTS LIKE HOUSES.

AND OUT OF THAT CAME THE WHOLE IDEA OF HOUSES IN THE AIR, WITH GARDENS STACKING ONE ON TOP OF THE OTHER, PREFABRICATED FOR ECONOMY.

AND LO AND BEHOLD, THE WORLD'S FAIR CAME TO MONTREAL AND I GOT TO BUILD MY THESIS.

SO THE GENESIS OF HABITAT IS MAKING URBAN LIVING BETTER, DEALING WITH THE SCALE AND DENSITY OF THE CONTEMPORARY CITY AND MAKING IT LIVABLE.

BUT THEN, I GOT INVOLVED IN JERUSALEM, IN THE EARLY '70s, WHERE THERE WAS ANOTHER QUESTION, HOW DO YOU BUILD A CONTEMPORARY ARCHITECTURE IN A HISTORIC CITY, WITH A RICH HERITAGE.

CAN YOU MAKE THE OLD AND THE NEW HARMONIZE?

AND THAT'S WHEN I BECAME OVER THE SECOND ASPECT OF MY ARCHITECTURE, WHICH IS GETTING THE CULTURAL ESSENCE TO RESONATE IN WHAT YOU DO, MAKING BUILDINGS SPECIFIC TO THAT PLACE.

TO WHAT DEGREE DOES THIS SUBTRACT FROM THE USUAL EQUATION OF STAR ARCHITECTURE, THE SIGNATURE, THIS IS MOSHE SAFDIE, LIKE A CHAMELEON, TO ADAPT TO EVERY CITY?

WHAT IS A MOSHE SAFDIE BUILDING?

I THINK I'VE BEEN CONFUSING THE CRITICS, THAT'S FOR SURE.

I HAVE ALL KINDS OF OBSESSIONS, I LOVE GARDENS, AND I LOVE BRINGING GREEN INTO A BUILDING, AND SO FORTH.

BUT, NEVERTHELESS, THE DESIGN GROWS OUT OF WHAT'S SPECIFIC TO A BUILDING.

AND THAT HAS LED TO BUILDINGS IN SINGAPORE, AND JERUSALEM, AND SAVANNAH, AND SALEM, QUITE DIFFERENT FROM EACH OTHER.

I HAVE DONE NOW OVER A DOZEN MUSEUMS.

THESE MUSEUMS, SOME OF THEM DEAL WITH ART, SOME OF THEM DEAL WITH SCIENCE, SOME OF THEM DEAL WITH THE HOLOCAUST, AND THEY'RE IN DIFFERENT CITIES.

AND SO THEY GROW -- THE DESIGN GROWS AS MUCH AS AN EXPRESSION OF ME AS AN ARCHITECT, AS MUCH AS WHAT THEY ARE ABOUT.

BUT AT THE SAME TIME, MOSHE, YOU ARE HUMAN, AND ONE WOULD EXPECT THAT WHEN YOU UNDERTAKE A MAJOR PROJECT, YOU ALSO WISH TO MAKE A STATEMENT, SO HOW DO YOU RECONCILE YOUR MELDING IN, INTO THE URBAN ENVIRONMENT, AND YET MAKING A STATEMENT?

SURELY, THE YAD VASHEM MUSEUM WHICH CUTS THROUGH THE MOUNTAIN IN JERUSALEM AND BURSTS OUT OF A MOUNTAIN IS A BIG STATEMENT, I'D BE CRITICIZED IF IT'S TOO BIG A STATEMENT.

MARINA BAY SANDS IN SINGAPORE WITH ITS FLOATING ROOF AND THE INFINITY POOL THAT YOU KNOW, IN SINGAPORE, IS REFERRED TO AS KIND OF THE SPACESHIP, HAS BECOME THE SYMBOL OF SINGAPORE.

IF ANYTHING, PEOPLE SAY I'VE OVERSTATED.

BUT THAT, IF YOU LOOK AT THESE STATEMENTS, THEY ARE UNIQUE TO THE PARTICULAR PROJECT.

I WOULD AGREE WITH YOU ON THAT.

AND SINGAPORE IS A DRAMATIC EXAMPLE IN FACT OF MULTIPLE STATEMENTS, BECAUSE IT'S A WHOLE COMPLEX OF BUILDINGS.

A GREAT DEAL OF GLASS.

VERY TALL BUILDINGS.

AGAINST A BACK DROP OF TOTALLY RECTILINEAR BUILDINGS.

YOU'VE INTRODUCED SO MANY CURVES.

IT'S TO MAKE THEM GROW OUT OF THE LANDS, SO THAT THEY ARE NOT JUST, LIKE, ARTIFICIAL PLANTS.

IT'S TO MAKE THEM REACH TO THE SKY WITH OPEN SPACES.

COLLEAGUES HAVE ASKED ME, UH, WHY DID YOU TAKEN ON MARINA BAY SANDS, IT'S A CASINO! SO APART FROM THE FACT THAT THE CASINO IS JUST FIVE PERCENT OF THE PROJECT, THE REASON I TOOK IT ON WITH SOME PASSION, I THOUGHT THAT THE PROJECT THAT'S 8 MILLION SQUARE FEET IS AN OPPORTUNITY TO SHOW HOW WE CAN CREATE THE PUBLIC REALM.

A WONDERFUL PUBLIC REALM, CONNECTED TO THE WATER, TO THE REST OF THE CITY.

AND WHAT REALLY EXCITES ME ABOUT MARINA BAY SANDS, IS THAT IT IS A PLACE OF GATHERING OF THE SINGAPOREANS AND THE TOURISTS OF THE CITY LIKE NO OTHER.

AND IT INCLUDES OBVIOUSLY, A NUMBER OF ELEMENTS THAT ARE IN THE SENSES OF SIGNATURE ELEMENTS FOR YOU AT LEAST VERY IMPORTANT IN YOUR CONCEPTION OF ARCHITECTURE, WHICH IS LIGHT AND WATER.

I CAN THINK OF A FEW PLACES THAT EXEMPLIFY THIS BETTER THAN THE NEW CRYSTAL BRIDGES MUSEUM WHERE YOUR ARCHITECTURE ACTUALLY NESTLES AND EMBRACES THE WHOLE LANDSCAPE AND THE WATER.

ARE YOU PLEASED WITH THAT BUILDING?

I'M VERY PLEASED.

I'M THRILLED WITH THAT BUILDING.

AND THAT BUILDING ALSO TELLS YOU SOMETHING ABOUT HOW WE DO OUR BEST WHEN WE HAVE GREAT CLIENTS.

AND WE WORK TOGETHER.

BECAUSE THE GENESIS OF THE PROJECT IS, I WALK THE SITE WITH ALICE WALTER, IT'S A FAMILY ESTATE, AND IT HAD AT ITS CENTER A LITTLE STREAM.

AND I DELIGHTED IN CREATING AN ARCHITECTURE THAT LITERALLY, LITERALLY BRIDGES OVER.

IN OTHER WORDS, THE BUILDINGS ARE CABLE STRUCTURES WHICH SPAN WITH WOOD TRUSSES, AND THE BASE IS LIKE A DAM, AND SO THE WHOLE EXPERIENCE IS ONE OF ART AND NATURE TOGETHER.

WITH THE NATIONAL GALLERY IN CANADA, YOU ECHOED WITH THE TALLEST PART OF YOUR BUILD'ing THE NEARBY CATHEDRAL, HOUSES OF PARLIAMENT, AND THAT SENSE OF MONUMENTAL WHERE YOU DID IT IN GLASS, AND IN THE PEA BODY ESSEX YOU WERE ECHOING SOME OF THE GRAVESTONES IN THE LOCAL GRAVEYARD.

I SUSPECT THAT'S A HIGHLY PERSONAL THING BECAUSE HOW MANY MEMBERS OF THE PUBLIC WOULD MAKE THAT ASSOCIATION?

WELL, THE FIRST DECISION WAS TO BREAK DOWN THE MUSEUM INTO HOUSE-LIKE PAVILIONS, SO THAT THEY INTEGRATE WITH THE DOMESTIC SCALE OF THE NEIGHBORHOOD.

SO I BROKE IT UP.

AND THEN THERE WAS A DISCUSSION, SHOULD THEY BE DIFFERENTIATED IN MATERIALS, IN COLOR, SO NOT ONLY ARE THEY DIFFERENT LITTLE HOUSES THAT FORM THE GALLERIES, BUT SHOULD THERE BE A VARIETY.

SO A LITTLE TONGUE IN CHEEK.

I SAID WE HAVE THE CEMETERY RIGHT NEXT DOOR.

THE OLD CEMETERIES ARE EITHER ARCHED OR CONVEX OR CONCAVE.

AND I LITERALLY TOOK THESE FORMS AND MADE EACH ONE REFLECT ONE OF THE TOMBSTONES.

BUT THE PUBLIC GETS IT, THEY ABSOLUTELY GET IT BECAUSE IT'S RIGHT NEXT DOOR.

OH, THEY DO, YEAH.

I SEE.

THEY DO GET IT.

BUT IN PEABODY, THERE WAS AN INTERESTING DISCUSSION ABOUT THE COLLECTION, BECAUSE BEING OBJECT AND BOATS AND STUFF.

AND ASIAN, A LOT OF THE MATERIAL --

AND ASIAN --

THE TRADITION IS TO BLACK BOX GALLERIES.

I SAID, NO, BLACK BOX DPAL RIS DON'T DO A COLLECTION SKRUS TIS.

I LOVE DESIGNING GALLERIES FOR DELICATE OBJECTS THAT CAN BE EXTREMELY SENSITIVE, AND JUST HAVING ENOUGH LIGHT, ENOUGH OF A GLIMPSE THAT YOU KNOW IT'S DAYTIME, IT'S NIGHTTIME, YOU KNOW WHAT TIME IT'S OUT THERE.

SO NO MORE BLACK BOXESES.

YOU HAVE SAID MORE THAN ONCE AND I QUOTE YOU, UH, THAT ARCHITECTS SHOULD 'RESPOND TO THE TIMELESS RATHER THAN THE IMMEDIATE.'

NOW, TO ME, I SENSE A BIT OF A CONTRADICTION.

HOW CAN YOU BE TIMELESS, MEETING THE NEEDS OF THE IMMEDIATE AND YET NOT BE IMMEDIATE?

I'M SUGGESTING THAT IN ARCHITECTURE, WHEN WE ARE CONSTANTLY TRYING TO IMPROVE, WE WILL REACH A KIND OF BEAUTY THAT IT DOES NOT BECOME ON SO LESS ENT.

BY TIMELESS, THAT THE ARCHITECTURE THAT WOULD SEEM RELEVANT AND MEANINGFUL IN 30, 40 YEARS.

I REMEMBER BUILDINGS, NO NEED TO NAME, OF THE POST-MODERN ERA THAT WERE PUBLISHED ON THE COVER OF EVERY MAGAZINE, AND HERE WE ARE 30 YEARS LATER AND WE DON'T EVEN REMEMBER THEM.

THEY HAVE NO MEANING WHATSOEVER, NO RELEVANCE.

BECAUSE THEY WERE JUST ABOUT A FASHION OF THE MOMENT.

AND YET THERE'S OTHER BUILDINGS, BUILT 40, 50 YEARS AGO THAT WE LOOK AT, IF I MIGHT MENTION HABITAT IN MONTREAL, MY OWN BUILDING, THAT SEEM AS FRESH TODAY AS THE DAY THEY WERE BUILT.

THE BUILDING HAS A VALUE ABOUT THE BEAUTY THAT IS NOT A FAD, THAT IS -- IT HAS MORE DEPTH AND ESSENCE TO IT.

THAT'S VERY WELL PUT.

WE'VE TOUCHED ON THE CULTURE OF RELEVANCE.

IN INDIA, I THINK IT'S PROBABLY ONE GOOD EXAMPLE OF THAT.

THE HISTORICAL MUSEUM IS A NATIONAL MUSEUM OF THE SIKHS.

BUT THE GENESIS OF IT WAS BY VISIT OF THE PRIME MINISTER OF THE PUNJAB WHICH IS THE SIKH STATE IN INDIA.

TO YAD VASHEM, THE HOLOCAUST MUSEUM.

AND HE WAS VERY MOVED, ASKED TO MEET THE ARCHITECT.

I HAPPENED TO BE THERE AT THE TIME AND HE SAID COME, I'M DEEPLY MOVED, WE HAVE A HISTORY OF PERSECUTION AND SUFFERING.

WE'RE BUILDING OUR NATIONAL MUSEUM.

COME AND DESIGN IT.

AND A LOT OF THE PUBLIC AND, AND THE OFFICIALS WERE SAYING WHAT ARE YOU BRINGING?

AN ISRAELI AMERICAN JEW.

WHAT DOES HE KNOW ABOUT SIKHISM?

WELL, I IMMERSED MYSELF.

I TOTALLY IMMERSED MYSELF BOTH IN THE SITE AND THE CULTURE, AND SOMEHOW A DESIGN EMERGED THAT WAS COMPLETELY EMBRACED BY THE SIKH COMMUNITY.

NOW OF COURSE WHEN YOU DID YAD VASHEM THAT, YOU DID NOT NEED TO LEARN ANYTHING ABOUT IMMERSING YOURSELF.

SO HOW DIFFERENT WAS THAT EXPERIENCE?

HOW PROFOUNDLY DO YOU STILL FEEL THAT BUILDING AND ITS USE?

EMOTIONALLY, THAT WAS BY FAR THE MOST DIFFICULT BUILDING.

THOUGH MY FAMILY DID NOT SUFFER IN THE HOLOCAUST, MY WIFE'S FAMILY, THERE'S A SURVIVE.

MY FIRST WIFE WAS ALSO A HOLOCAUST SURVIVOR HERSELF.

SO I'VE BEEN IMMERSED IN THE MATERIALS, LET'S PUT IT.

AND MY FIRST ASSIGNMENT WAS A CHILDREN'S MEMORIAL.

AND I JUST FELT WHEN YOU COME OUT OF THE HISTORIC MUSEUM, YOU'RE SATURATED.

YOU CANNOT GET MORE INFORMATION.

I PROPOSED A PLACE ON THE GROUND WITH A SINGLE CANDLE WHICH REFLECTS INTO INFINITY.

JUST A PLACE OF CONTEMPLATION.

AND FOLLOWING THAT WAS THE REBUILDING OF THE HISTORIC MUSEUM.

AND THE QUESTION THERE WAS, HOW DO YOU MAKE A BUILDING TO TELL THE MOST HORRIFIC STORY IN HISTORY?

IT CAN'T JUST UB BE A BUILDING.

AND THAT'S WHERE I GOT THE IDEA TO BUILD UNDERGROUND, TO CUT THROUGH THE MOUNTAIN, TO ALMOST BE IN CAVES, AND THEN COME OUT TO LIFE.

AND IN THE INTERESTING CONTROVERSY, IT WAS, IS IT RIGHT TO BE SO OPTIMISTIC TO COME OUT TO THE LIGHT AND THE VIEW OF THE FOREST AND THE CITY AT THE CULMINATION OF THAT EXPERIENCE.

AND THAT DISCUSSION WAS PROFOUND WITH THE BUILDING COMMITTEE.

AND I CONVINCED THEM TO DO THAT.

THAT WAS THE MOMENT OF HAVING EXPERIENCED THAT, YOU REALIZE THAT LIFE PREVAILED, AN OPTIMISTIC STATEMENT.

YOU CERTAINLY HAVE MADE A STATEMENT AND WE'RE GRATEFUL FOR YOU, TO YOU FOR EVERYTHING YOU'VE DONE FOR THE URBAN ENVIRONMENT THROUGH YOUR ARCHITECTURE AND YOUR GENEROSITY WITH YOUR TIME AND YOUR WORDS THIS MORNING.

THANK YOU, MOSHE.

THANK YOU.

WONDERFUL SEEING YOU.

AND I HOPE I SEE YOU SOONER THAN 25 YEARS AGO WHEN WE LAST SAW EACH OTHER.

ALL RIGHT, IT'S A PROMISE.

THANK YOU.

FOR MORE INFORMATION ON THE LATEST IN ARTS AND CULTURE NEWS, HERE'S CHRISTINA HA WITH THE 'NYC-ARTS' NEWS.

GOOD EVENING, I'M CHRISTINA HA WITH TONIGHT'S 'NYC-ARTS' NEWS.

WE'RE AT THE AMERICAN MUSEUM OF NATURAL HISTORY, PERHAPS BEST KNOWN FOR ITS DINOSAURS AND DIORAMAS, TAKING VISITORS OF ALL AGES TO THE PREHISTORIC PAST.

I'M STANDING IN 'CUBA,' A NEW BILINGUAL EXHIBITION THAT FOCUSES ON THE LIVING HISTORY THE PEOPLE AND CULTURE AS WELL AS THE RICH BIODIVERSITY OF THIS ISLAND NATION.

THE OBAMA ADMINISTRATION'S OPENING TO CUBA AND RECENT DEATH OF CUBAN LEADER FIDEL CASTRO HAS BROUGHT RENEWED FOCUS ON CUBA AND FEARS OF WHAT INCREASED DEVELOPMENT MIGHT MEAN.

BUT CUBANS HAVE LONG BEEN COMMITTED TO PROTECTING THE ISLAND'S ENVIRONMENT.

HERE YOU CAN VISIT REMOTE FORESTS, MYSTERIOUS CAVES, EXPANSIVE WETLANDS AND DAZZLING REEFS.

THE EXHIBIT HIGHLIGHTS ANIMALS FOUND ONLY ON THE ISLAND.

ON DISPLAY ARE FOSSIL REMAINS OF THE ONCE-COMMON GIANT GROUND SLOTH, AND A MODEL OF THE EXTINCT GIANT OWL.

AT OVER THREE FEET TALL, IT'S THE LARGEST OWL THAT EVER LIVED.

IT ALSO INCLUDES SOME LIVE SPECIMENS, REPTILES AND TRIP.

BUT YOU CAN ALSO TAKE A STROLL DOWN THE STREET FOR A TASTE OF THE VIBRANT LIFE OF CUBA'S CITIES.

YOU WILL ALSO SEE A DISPLAY ON TOBACCO, ONE OF THE ISLAND'S MOST FAMOUS CROPS; AN ALTAR CELEBRATING THE AFRO-CUBAN ORISHA RELIGION, AND A GALLERY SHOWCASING CUBAN ART.

THIS INTERACTIVE GALLERY INTRODUCES VISITORS TO WORK CREATED BY A NEW GENERATION OF CUBAN ARTISTS.

VISIT CUBA AT THE AMERICAN MUSEUM OF NATURAL HISTORY THROUGH AUGUST 13TH.

BROADWAY'S FIRST A CAPELLA MUSICAL COMES TO THE CIRCLE IN THE SQUARE THEATER.

A LOVE LETTER TO THE CITY, ITS PEOPLE, AND OUR FAVORITE MODE OF TRANSPORTATION 'IN TRANSIT' IS SET IN THE NEW YORK CITY SUBWAY SYSTEM.

FOR THIS MUSICAL, ALL THE SOUNDS PRODUCED ON STAGE COME FROM THE SINGERS.

NO INSTRUMENTS ALLOWED.

VOCAL ARRANGEMENTS ARE BY DEKE SHARON, WHO WORKED SIMILAR MAGIC IN THE TWO 'PITCH PERFECT' MOVIES.

DIRECTED AND CHOREOGRAPHED BY THREE-TIME TONY AWARD WINNER KATHLEEN MARSHALL, 'IN TRANSIT' FOLLOWS 11 STRANGERS IN SEARCH OF HARMONY.

THEIR LIVES INTERSECT ON THE A, OR PERHAPS THE NEW SECOND AVENUE SUBWAY.

WHETHER SEEKING ROMANCE OR FAME AND FORTUNE, THE MUSICAL IS ULTIMATELY ABOUT THE JOURNEY AND THE PEOPLE WE MEET ALONG THE WAY, NOT THE DESTINATION.

CATCH 'IN TRANSIT' AT THE CIRCLE IN THE SQUARE THEATER.

A TIMELY EXHIBITION AT GALERIE ST. ETIENNE IN MIDTOWN MANHATTAN EXPLORES THE RELATIONSHIP BETWEEN ARTISTS AND POLITICS.

'YOU SAY YOU WANT A REVOLUTION -- AMERICAN ARTISTS AND THE COMMUNIST PARTY' FEATURES LEADING AMERICAN ARTISTS WHO SOUGHT SOCIAL CHANGE DURING AND AFTER THE DEPRESSION.

BUT ITS THEMES AND ISSUES RESONATE WITH US TODAY.

THE EXHIBITION INCLUDES MORE THAN 60 WORKS FROM DRAWINGS AND PAINTINGS TO LITHOGRAPHS AND PRINTS CREATED DURING THE 1930S AND 1940S BY AMERICAN ARTISTS WHO WERE ASSOCIATED WITH OR SUPPORTERS OF THE AMERICAN COMMUNIST PARTY.

ARTISTS DIRECTLY ADDRESSED THE DESPAIR OF THE GREAT DEPRESSION AND THE APPEAL OF SOCIALIST EXPERIMENTS THEN BEING CONDUCTED IN THE SOVIET UNION.

WORKS INCLUDE PORTRAITS OF EVERYDAY PEOPLE BY BEN SHAHN AND RAPHAEL SOYER, WOODCUTS AND SCULPTURES BY LEONARD BASKIN; AND APOCALYPTIC VISIONS OF NUCLEAR DESTRUCTION BY PHILIP EVERGOOD.

'YOU SAY YOU WANT A REVOLUTION: AMERICAN ARTISTS AND THE COMMUNIST PARTY' IS AT GALERIE ST. ETIENNE IN MIDTOWN MANHATTAN THROUGH MARCH 4TH.

COMPLEXIONS CONTEMPORARY BALLET RETURNS TO THE JOYCE THEATER FOR A SEASON OF NEW YORK PREMIERES AND REPERTORY WORKS.

FOUNDED IN 1994 BY CHOREOGRAPHER DWIGHT RHODEN AND DANCER DESMOND RICHARDSON, THIS COMPANY MIXES METHODS, STYLES AND CULTURES.

THE SEASON INCLUDES THE NEW YORK PREMIERE OF 'STAR DUST,' THE FIRST INSTALLMENT OF A FULL-EVENING LENGTH BALLET TRIBUTE TO GENRE-BENDING ROCK STAR DAVID BOWIE WHO PASSED AWAY LAST YEAR.

ADDITIONAL WORKS FROM THE REPERTORY HIGHLIGHT THE COMPANY'S ATHLETICISM AND VIRTUOSITY, ON POINTE AND OFF.

COMPLEXIONS CONTEMPORARY BALLET IS AT THE JOYCE THEATER JANUARY 24TH THROUGH FEBRUARY 5TH.

THE BAMKIDS FILM FESTIVAL RETURNS TO THE BROOKLYN ACADEMY OF MUSIC'S ROSE CINEMAS.

THE PROGRAM INCLUDES 56 FILMS FROM 27 COUNTRIES, LIVE-ACTION AND ANIMATED SHORTS AS WELL AS FEATURE-LENGTH DOCS.

THIS INTERNATIONAL FESTIVAL INCLUDES MOVIES IN TEN LANGUAGES.

BUT SOME HAVE NO DIALOGUE USING A VISUAL LANGUAGE AND DEALING WITH UNIVERSAL THEMES THAT ALL CAN RELATE TO -- THE TRIALS OF GROWING UP, THE IMPORTANCE OF FRIENDSHIP AND FAMILY, AND THE WONDER AND JOY OF DISCOVERY.

THE FILMS RANGE FROM STOP-MOTION ANIMATION TO LIVE ACTION COMEDY.

THE FESTIVAL INCLUDES A DOCUMENTARY FILM FROM SWEDEN ABOUT THE FIRST-EVER FEMALE CHAMPIONS OF THE LARGEST HIP-HOP STREET-DANCE COMPETITION IN THE WORLD.

AND TED SIEGER'S POPULAR GERMAN TV SERIES, 'MOLLY MONSTER,' WHICH WILL BE PRESENTED IN ENGLISH.

THE BAMKIDS FILM FESTIVAL IS AT THE BROOKLYN ACADEMY OF MUSIC'S ROSE CINEMAS JANUARY 28TH AND 29TH.

AND THAT'S THE 'NYC-ARTS' NEWS.

FROM THE AMERICAN MUSEUM OF NATURAL HISTORY, I'M CHRISTINA HA.

> I'M RAFAEL.

WELCOME TO LINCOLN CENTER.

GUESTS FROM AROUND THE WORLD VISIT THIS CULTURAL MECCA WITH THEATERS WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILM.

THE METROPOLITAN OPERA PRESENTS GOUNOD'S ROMEO ET JULIETTE, IN A NEW PRODUCTION DIRECTED BY BARTLETT SHER.

THIS ADAPTION OF SHAKESPEARE'S CLASSIC LOVE STORY STARS DIANA DAMRAU AS JULIETTE AND VITTORIO GRIGOLO AS ROMEO IN A RUN THAT GOES THROUGH JANUARY 28TH.

A NEW CAST WILL TAKE OVER IN MARCH.

ALSO AMONG CURRENT MET OPERA HIGHLIGHTS, ROSSINI'S 'IL BARBIERE DI SIVIGLIA' PERFORMED IN THE FULL-LENGTH ITALIAN VERSION WITH PETER MATTEI REPRISING HIS PORTRAYAL OF THE BARBER FIGARO.

THIS REVIVAL -- ALSO DIRECTED BY BARTLETT SHER -- RUNS THROUGH FEBRUARY 11TH.

FOR COMPLETE DETAILS PLEASE VISIT METOPERA.ORG.

FOR MORE INFORMATION ABOUT EVENTS AT LINCOLN CENTER, VISIT THEIR WEBSITE AT LINCOLN CENTER.ORG.

> I HOPE YOU'VE ENJOYED OUR PROGRAM.

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT THE MORGAN LIBRARY & MUSEUM.

GOOD NIGHT, AND SEE YOU NEXT TIME.

NEXT WEEK ON 'NYC-ARTS.'

A VISIT TO THE HISTORIC EDGAR ALLAN POE COTTAGE, LOCATED IN THE BRONX.

AND A PROFILE OF ACCLAIMED MUSICIAN AND COMPOSER VIJAY IYER.

FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER KATE W. CASSIDY FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S.

MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK AND

> FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS OFFERING VINTAGE BOOKS AND FINE ARTS FROM 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

INFORMATION AT SWANN GALLERIES.COM.

-- Captions by VITAC -- www.vitac.com