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. Then NYC-ARTS tags along with Manhattan florist Lewis Miller on a “Flower Flash,” one of his unique floral installations.

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COMING UP ON 'NYC ARTS,' A CONVERSATION WITH DISTINGUISHED ARCHITECT, MASTER PLANNER AND EDUCATOR.

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 SO THAT IF YOU'RE BUILDING ALONG THE STREET, THE STREET BECOMES MORE WONDERFUL.

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

WE CALL ALONG WITH FLORIST MILLER AS HE SHARES HIS FLOWER ART WITH THE PUBLIC.

THEY ARE FOR THE PEOPLE.

I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM.

TAKE A PICTURE, TAKE A BLOSSOM, TAKE SOME HOME.

THE MORE WE CAN HAVE SOFT MOMENTS OF BEAUTY AND JOY FOR NO OTHER REASON, EVEN IF IT'S FOR AN HOUR OR 10 MINUTES, ITS JOB IS DONE.

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

WALTER.

THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

JEAN DUBINSKY APPLETON ESTATE.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELLEN AND JAMES S.

MARCUS.

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.

FIRST REPUBLIC BANK PRESENTS 'FIRST THINGS FIRST.' AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

BY SWANN AUCTION GALLERIES.

SINCE 1941 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

SWANNGALLERIES.COM.

> GOOD EVENING AND WELCOME TO 'NYC ARTS.' I'M PHILIPPE DE MONTEBELLO AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

ARCHITECT, URBAN PLANNER, EDUCATOR AND AUTHOR WHO HAS EMBRACED A COMPREHENSIVE AND HUMANE DESIGN PHILOSOPHY FOR OVER 50 YEARS.

SATIER HAS APPLIED HIS FILL SOFFIC APPROACH THROUGHOUT THE WORLD RESPONDING TO THE 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 THEY'RE BASED IN BOSTON WITH OFFICES IN TORONTO, JERUSALEM, SINGAPORE, AND SHANGHAI.

A CITIZEN OF ISRAEL, CANADA, AND THE UNITED STATES, LAST YEAR HE RECEIVED THE 2019 WOLF PRIZE IN ARCHITECTURE, AN INTERNATIONAL AWARD GRANTED IN ISRAEL FOR A CAREER MOTIVATED BY THE SOCIAL CONCERNS OF ARCHITECTURE.

IT WAS A LANDMARK YEAR WITH MORE THAN EIGHT MAJOR OPENINGS OF NEW PROJECTS AROUND THE WORLD.

I SPOKE WITH HIM IN NEW YORK WHEN HE RECEIVED A LIFETIME ACHIEVEMENT AWARD AT THE COOPER HEWITT SMITHSONIAN DESIGN MUSEUM.

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 ONLY HAVE BUILT BUT HAVE SAID.

BECAUSE YOU ARE NOT ONLY AN ARCHITECT, YOU ARE ALSO AN AUTHOR, YOU ARE A TEACHER, AND YOU ALSO REFER VERY MUCH TO URBAN PLANNING.

WHICH YOU SEPARATE IN YOUR RHETORIC GENERALLY FROM ARCHITECTURE.

HOW ARE THE TWO SEPARATE?

ARCHITECTURE FITS INTO AN OAR BAN FABRIC, DOES IT NOT?

I THINK ARCHITECTURE IS A BUILDING BLOCK OF OAR BANNISM.

BY DEFINITION THE CITY IS MADE UP OF DIFFERENT TIMES BY DIFFERENT PEOPLE.

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 ACT OF 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 BUILD 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.

I THINK YOUR ARCHITECTURE CERTAINLY DISPLAYS IT WELL.

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.

I SAW PEOPLE WANTING TO LIVE IN SUBURBS BY HOUSE.

LEVITTOWN.

OR PUBLIC HOUSES, WHICH PEOPLE HATED.

HIGH RISE NEW YORK-STYLE PUBLIC HOUSING.

I CAME BACK SAYING, WE'LL SOLVE THE PROBLEM BY MAKING APARTMENT-LIKE HOUSES.

AND OUT OF THAT CAME 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 LIVEABLE.

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 RIDGE HERITAGE, CAN YOU MAKE THE OLD AND NEW HARMONIZE?

I CAME UP WITH THE SECOND ASPECT OF MY ARCHITECTURE, WHICH IS GETTING THE CULTURAL ESSENCE TO RESONATE IN WHAT YOU DO, MAKING BUILDINGS SPECIFIC TO THEIR PLACE.

TO WHAT DEGREE DOES THIS SUBTRACT FROM THE USUAL EQUATION OF STAR ARCHITECTURE, THE SIGNATURE, THIS IS MOSHE SATIER, SINCE YOUR AUGUST TECH TOUR MORPHS, CHANGES, TO ADAPT TO A CITY?

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 ON.

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

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

I'VE 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.

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

BUT AT THE SAME TIME, MOSHE, YOU ARE HUMAN AND 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 AVESHEM MUSEUM WHICH CUTS INTO THE MOUNTAIN IN JERUSALEM AND BURSTS OUT OF THE MOUNTAIN IS A BIG STATEMENT.

I'VE BEEN CRITICIZED IT'S TOO BIG A STATEMENT.

MARINA BAY SANS IN SINGAPORE WITH ITS FLOATING ROOF AND THE INFINITY POOL THAT SINGAPOREANS REFER TO AS THE SPACESHIP HAS BECOME THE SYMBOL OF SINGAPORE.

IT'S NOW LIKE THE SAID KNOW OPERA HOUSE.

I DON'T THINK OF MY PROBLEM AS BEING STATEMENTS.

IN FACT, IF ANYTHING, PEOPLE HAVE SAID I'VE OVERSTATED.

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

I WILL AGREE WITH YOU ON THAT.

AND SINGAPORE IS A DRAMATIC EXAMPLE, IN FACT, OF A MULTIPLE STATEMENT BECAUSE IT'S A WHOLE COMPLEX OF BUILDINGS, A GREAT DEAL OF GLASS, VERY TALL BUILDINGS, AGAINST A BACKDROP OF TOTAL REC THAT LINEAR BUILDINGS.

YOU'VE INTRODUCED SO MANY CURVES.

IT'S TO MAKE THEM GROW OUT OF THE LAND SO THAT THEY'RE NOT JUST LIKE ARTIFICIAL PLANTS.

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

COLLEAGUES HAVE ASKED ME, WHY DID YOU TAKE ON MARIA BAY SANDS?

IT'S A CASINO.

SO APART FROM THE FACT THAT THE CASINO IS JUST 5% OF THE PROJECT, THE REASON I TOOK IT ON WAS 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 THE ELEMENTS THAT ARE IN A SENSE SIGNATURE ELEMENTS FOR YOU THAT IS VERY IMPORTANT IN YOUR CONCEPTION OF ARCHITECTURE, WHICH IS LIGHT AND WATER.

I CAN THINK OF 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 YOU KNOW, THAT BUILDING ALSO TELLS YOU SOMETHING ABOUT HOW WE DO OUR BEST WHEN WE HAVE GREAT CLIENTS.

AND WE WALTZ TOGETHER.

BECAUSE THE GENESIS OF THE PROJECT IS, I WALKED THE SITE WITH ALICE WALTON.

IT'S THE 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 BUILDING THE NEARBY CATHEDRAL, HOUSES OF PARLIAMENT, THAT SENSE OF MONUMENTAL.

YOU DID IT IN GLASS.

IN THE PAPAL DE ESSEX YOU WERE ECHOING SOME OF THE STONES IN THE GRAVE YARD.

I SUSPECT THAT WAS A HIGHLY PERSONAL THING.

HOW MANY MEMBERS OF THE PUBLIC WOULD MAKE THAT ASSOCIATION?

THE FIRST DECISION WAS TO BREAKDOWN THE MUSEUM INN HOUSE-LIKE PAVILIONS.

SO THAT THEY INTEGRATE WITH THE DOMESTIC SCALE OF THE NEIGHBORHOOD.

SO I BROKE IT UP.

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

THEY DO GET IT.

BUT IN THE PEABODY THERE WAS AN INTERESTING DISCUSSION ABOUT THE COLLECTION.

BECAUSE BEING OBJECT AND BULLETS --

AND ASIAN.

AND ASIAN, THE TRADITION TO SOLVE THIS IS BLACK BOX GALLERIES.

AND I SAID, NO, NO.

BLACK BOX GALLERIES JUST DON'T DO A COLLECTION JUSTICE.

I LOVE DESIGNING GALLERIES FOR DELICATE OBJECTS THAT CAN BE EXTREMELY SENSITIVE.

AND JUST HAVING ENOUGH LIGHT, ENOUGH OF A GLIMPSE THAT YOU KNOW THAT IT'S DAYTIME, IT'S NIGHTTIME, WHAT'S GOING ON OUT THERE, AND STILL RESOLVE THE CONSERVATION.

SO NO MORE BLACK BOXES.

YOU HAVE SAID MORE THAN ONCE, AND I QUOTE YOU, THAT ARCHITECTURES RESPOND TO THE TIMENESS 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, YET NOT BE IMMEDIATE?

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

BY TIMELESS, I MEAN THAT THE ARCHITECTURE 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, 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 ADMIT MENTION HABITAT DE MONTREAL, MY OWN BUILDING, THAT SEEM AS FRESH TODAY AS THEY WERE THE DAY THEY WERE BUILT.

IT'S THAT THAT I'M AIMING AT.

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

I THINK THAT'S VERY WELL BUT.

SO WE'VE TOUCHED UPON THE ISSUE OF CULTURAL RELEVANCE.

IN INDIA, PROBABLY ONE GOOD EXAMPLE OF THAT?

THE HASSA MEMORIAL MUSEUM IS THE NATIONAL MUSEUM OF THE SIKHS.

BUT THE GENESIS OF IT WAS BY THE PRIME MINISTER OF THE PUNJAB, WHICH IS THE SIKH STATE IN INDIA TO YAD VASHEM, THE HOLOCAUST MUSEUM.

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

I HAPPENED TO BE THERE AT THE TIME.

HE SAID, COME.

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 THE OFFICIALS WERE SAYING, WHAT ARE YOU BRINGING AN ISRAELI-AMERICAN JEW, WHAT DOES HE KNOW ABOUT SIKHISM?

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

OF COURSE WHEN YOU DID YAD VASHEM, 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 PROJECT.

AND THOUGH MY OWN FAMILY DID NOT SUFFER IN THE HOLOCAUST, MY WIFE'S FAMILY IS A SURVIVOR AND MY FIRST WIFE WAS ACTUALLY A HOLOCAUST SURVIVOR HERSELF.

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

AND MY FIRST ASSIGNMENT AT YAD VASHEM WAS A CHILDREN'S MEMORIAL.

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 THAT 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 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 THE INTERESTING CONTROVERSY THERE WAS, IS IT RIGHT TO BE SO OPTIMISTIC AND 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 MANAGED TO CONVINCE THEM TO DO THAT.

SO THAT IS THE MOMENT WHERE HAVING EXPERIENCED THAT, YOU REALIZE THAT LIFE PREVAILED, AN OPTIMISTIC STATEMENT.

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

THANK YOU.

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.

> SEVERAL YEARS AGO MANHATTAN LEWIS MILLER DECIDED TO BRIGHTEN NEW YORK BY SHARING HIS ART WITH THE PUBLIC.

SINCE THEN HIS POPUP ARRANGEMENTS KNOWN AS FLOWER FLASHES HAVE APPEARED ALL OVER THE CITY, USUALLY ONCE OR TWICE A MONTH.

COME WITH US AS WE TAG ALONG WITH MILLER AND HIS CREW FOR ONE OF HIS EARLY MORNING ADVENTURES.

FLOWERS WERE ALWAYS PART OF MY DNA.

I COME FROM A FAMILY OF GARDENERS.

I WENT FROM LANDSCAPE AND HORTICULTURE TO THE FLOWER WORLD, AND HERE I AM.

THE FLOWER FLASH WAS SOMETHING THAT WAS KIND OF BOPPING AROUND MY BRAIN FOR A WHILE.

IT DIDN'T HAVE A NAME.

IT WAS SORT OF MORE THIS VAGUE IDEA OF HOW TO TAKE FLOWERS AND FUSE THEM IN AN URBAN CITY ENVIRONMENT.

IT GOT TO THE POINT A COUPLE OF YEARS AGO WHERE I WAS VERY SATISFIED WITH BUSINESS, THINGS GOING SUPER WELL, KIND OF NEEDING TO FEEL CREATIVELY ENERGIZED AGAIN, BUT ALSO FEELING THE NEED IN MY OWN WAY TO GIVE BACK.

I'M CLEARLY SURROUNDED BY NOWERS ON A DAILY BASIS, AS ARE MY CLIENTS.

AND WE TEND TO GET IMMUNE TO HOW BEAUTIFUL THEY ARE WHAT AN EXPRESSION OF JOY THEY ARE TO PEOPLE.

AND IT'S REALLY ABOUT TAKING THAT WHICH IS SO BEAUTIFUL AND EPHEMERAL AND KIND OF MERGING IT WITH THE TEXTURE AND THE GRIT OF OUR URBAN CITY LIFE AND CREATING SOMETHING THAT'S VERY SPONTANEOUS, VERY FLEETING, AND SORT OF ABSTRACT.

WE SPEND A GREAT DEAL OF TIME REALLY FINDING LOCATIONS THAT FEEL NEW YORK FIRST.

SO THAT COMBINED WITH THE SEASON, WHAT'S LOOKING GOOD, AND ALSO THE FLOWER FLASHES ARE AN ACCUMULATION OF OLD FLOWERS FROM THE FLOWER MARKET, STUFF THAT'S LEFT OVER FROM THE STUDIO, AND STUFF THAT'S LEFT OVER FROM EVENTS.

SO WE HAVE TO WORK WITH THAT AS WELL.

THESE FLASHES HAPPEN VERY QUICKLY.

WE PLAN IT TO A CERTAIN EXTENT, THEN WE JUST DO IT AND SEE WHAT HAPPENS.

THERE'S A LITTLE ANXIOUS ENERGY, WHICH IS USUALLY DARK, A LOT OF TIMES IT'S COLD.

FLOWERS ARE FOR NEW YORKERS.

THEY ARE FOR THE PEOPLE.

AND I WANT BECAME TO TAKE THEM AND INTERACT WITH THEM.

OBVIOUSLY TAKE A PICTURE, BUT TAKE A BLOSSOM, TAKE SOME HOME.

NEW YORK IS NEW YORK.

ALL THESE PEOPLE PILE ON TOP OF EACH OTHER.

TO ME, THE TWO BIGGEST LUXURIES IN THIS CITY ARE NATURE AND SPACE.

SO THE MORE THAT WE CAN HAVE THESE KIND OF SOFT MOMENTS OF JUST BEAUTY AND JOY FOR NO OTHER REASON, EVEN IF IT'S FOR AN HOUR OR TEN MINUTES, ITS JOB IS DONE.

> 'NYC ARTS' COMES TO YOU EACH WEEK FROM OUR STUDIOS AT LINCOLN CENTER.

HERE'S WHAT'S COMING UP ON THE NEIGHBORHOOD CALENDAR.

THROUGH MARCH 1st, NEW YORK CITY BALLET PRESENTS 'ROTUNDA,' A WORLD PREMIERE BY THE COMPANY'S RESIDENT CHOREOGRAPHER AND ARTISTIC ADVISER JUSTIN PECK SET TO A SCORE.

THE PROGRAM INCLUDES 'IN G MAJOR' BY JER REASON ROBINS.

THE FINAL WEEK OF THE COMPANY'S WINTER SEASON WILL ALSO FEATURE THE VARIATION SOLO FROM GEORGE BALANCHINE'S EPISODES CREATED FOR DANCER PAUL TAYLOR, AS WELL AS JEROME ROBINS' CONCERT TINO, AND DANCE FOR EPISODES.

VISIT NYCBALLET.COM FOR COMPLETE EPISODES.

> NEXT WEEK ON 'NYC ARTS,' A PROFILE OF THE AMERICAN COMPOSERS ORCHESTRA.

THE ONLY ORCHESTRA IN THE WORLD DEDICATED TO THE CREATION AND PERFORMANCE OF MUSIC BY AMERICAN COMPOSERS.

YOU'RE HEARING WHAT'S BEEN IN A COMPOSER'S MIND WHICH THEY PUT INTO A BIG ORCHESTRAL SCORE, THEY WROTE IT ALL DOWN, AND NOW THEY'VE PUT IT IN FRONT OF THE CONDUCTOR AND THE CONDUCTOR IS GOING TO BE CONDUCTING THIS IN FRONT OF 60 MUSICIANS WHO ARE MAKING THE MUSIC HAPPEN LIVE FOR THE VERY FIRST TIME.

I THINK THIS PROGRAM IS JUST FANTASTIC.

BECAUSE THE COMPOSERS NOT ONLY GET THE FEEDBACK FROM THE MENTOR COMPOSERS, BUT ALSO FROM THE PLAYERS, THE ORCHESTRA.

I THINK THAT'S EXTREMELY IMPORTANT.

AND A TRIP TO BROOKLYN BRIDGE PARK TO VISIT JAMES CAROUSEL, A SHINING EXAMPLE OF THE GOLDEN AGE OF CAROUSEL-MAKING IN THE U.S.

I THINK IT WAS 27 YEARS THAT I WORKED ON IT.

WE BOUGHT IT IN '84, IT OPENED IN THE PARK IN 2011.

THANK YOU FOR JOINING US THIS EVENING.

I'M PHILIPPE DE MONTEBELLO AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

GOOD NIGHT AND SEE YOU NEXT TIME.

TO ENJOY YOUR FAVORITE SEGMENT OF 'NYC ARTS,' VISIT OUR WEBSITE AT NYC-ARTS.ORG.

LEONARD WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE WITH YOU TOO.

WHERE ARE WE?

WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH THE CURATOR ARE THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

♪♪ ♪

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

WALTER.

THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

JEAN DUBINSKY APPLETON ESTATE.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELLEN AND JAMES S.

MARCUS.

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.

FIRST REPUBLIC BANK PRESENTS 'FIRST THINGS FIRST.' AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

INFORMATION AT