Caltrans Building

Announcer: VISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.

[CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION AND FRIENDS OF NCI] Huell Howser: WELL, HERE WE ARE IN BEAUTIFUL DOWNTOWN LOS ANGELES.

I LOVE TO COME DOWNTOWN BECAUSE THERE'S SO MUCH HISTORY HERE, SO MUCH INTERESTING ARCHITECTURE, LIKE THE GRAND OLD CITY HALL BUILT BACK IN 1928 AND RECENTLY RESTORED TO ITS FORMER GRANDEUR.

THERE'S A LOT OF OLD HISTORY, OLD ARCHITECTURE DOWN HERE, AND THEN THERE ARE BUILDINGS LIKE THIS, AND THIS IS WHERE WE'RE GONNA BE SPENDING THE AFTERNOON.

IT'S NEW, IT'S MODERN, IT'S CONTROVERSIAL, AND I THINK IT'S BEAUTIFUL IN ITS OWN WAY, AND THIS IS WHERE WE'RE GONNA BE SPENDING THE AFTERNOON KIND OF NOSING AROUND THIS BUILDING.

HERE'S THE ARCHITECT RIGHT HERE.

THOM.

Thom Mayne: HOW ARE YOU?

Huell: WE GOT HERE--WE'RE GONNA BE SPENDING THE AFTERNOON WITH YOU, BUT WHEN WE GOT HERE YOU WERE ALL UPSET STANDING OUT HERE.

YOU SAID, "WHAT'S HAPPENED TO MY BUILDING?

THIS ISN'T MY BUILDING."

Thom: WELL, I THOUGHT IT MIGHT BE THE WRONG DAY.

THEY'VE COVERED IT ALL UP.

THEY'RE MAKING ANOTHER FILM.

THIS IS L.A., YOU KNOW, RIGHT.

Huell: SO YOU'RE MAKING A FILM DOWN HERE.

YOUR NAME IS?

Bruce Smith: BRUCE SMITH.

Huell: AND TELL US WHAT YOU'RE DOING--WELL, FIRST OFF, THOM, YOU WERE UPSET ABOUT THE TREES.

Thom: I'M NOT UPSET ABOUT IT.

I WAS COMPLETELY STARTLED.

DO YOU REALIZE THAT IS NOT A TREE?

THOSE ARE PLASTIC LEAVES.

Huell: THIS ISN'T A TREE.

Bruce: NO, NO, WE PUT 'EM IN HERE JUST TO MAKE IT A LITTLE MORE UNIQUE FOR THE SHOW.

Huell: SO YOU'VE RE-LANDSCAPED THOM'S BUILDING, AND YOU'VE BUILT--WHAT IS THIS OVER HERE?

Bruce: WELL, IT'S JUST ANOTHER SECTION, SO--WE HAVE ANOTHER STAGE DOWN IN SONY STUDIOS THAT HAS AN ENTRANCE, AND WE'RE TRYING TO TIE THIS INTO THE ENTRANCE THERE SO THE ACTOR CAN WALK IN HERE AND IT LOOKS LIKE YOU'RE GOING UP TO THE-- Huell: SO THIS ISN'T--THIS SECTION RIGHT HERE-- Bruce: IT'S ALL FAKE.

Huell: IT'S ALL FAKE.

THIS ISN'T REALLY CONCRETE.

Bruce: THAT'S WOOD WITH A THIN CONCRETE OVER IT.

Huell: SO YOU CAME IN, AND IN ONE AFTERNOON BUILT ALL OF THIS.

Bruce: PRETTY MUCH.

Huell: YOU'RE GONNA SHOOT HERE TOMORROW.

WHAT'S THE NAME OF THE MOVIE?

Bruce: FUN WITH DICK AND JANE.

Huell: SO ALL THE STARS WILL BE HERE, ALL THE CAMERAS WILL BE HERE.

Bruce: OH, I DON'T KNOW ABOUT THAT.

I DON'T KNOW WHERE THEY'RE GONNA BE, BUT THEY'LL BE AROUND HERE SOMEWHERE.

Huell: WELL, THEY GOTTA BE CLOSE TO WHAT YOU JUST BUILT!

AND THEN WHEN YOU GET THROUGH FILMING YOU'RE GONNA TAKE IT ALL AWAY.

Bruce: THAT'S RIGHT.

Huell: AND THE BUILDING WILL LOOK LIKE-- Bruce: JUST EXACTLY LIKE IT DID, YEAH.

WE DID THAT OVER THERE, TOO.

THAT'S ALL BRAND-NEW.

WE DID THAT YESTERDAY.

Huell: THIS BUILDING OVER HERE.

Bruce: YEAH, ALL THAT, THE WHOLE PARKING LOT.

Huell: SO THAT'S NOT REALLY CONCRETE BLOCK EITHER.

Bruce: NO, SAME THING.

Huell: BOY, LEAVE IT TO HOLLYWOOD.

SO IT'S GONNA BE A COUPLE OF DAYS BEFORE YOU GET YOUR BUILDING BACK.

Thom: YES.

Huell: BUT IT'S COMING BACK.

Thom: IT IS.

BUT YOU KNOW, ANY GOOD BUILDING SHOULD WITHSTAND A CERTAIN AMOUNT OF ABUSE AND STILL BE A GOOD BUILDING.

THAT SHOULD BE THE TEST, DON'T YOU THINK?

Huell: WELL, IT'S ALSO INTERESTING THAT IT'S ALREADY BEING PUT IN THE MOVIES.

Thom: YEAH, I THINK THIS IS ACTUALLY--I THINK THIS IS THE SECOND OR THIRD FILM.

Huell: REALLY?

THEY'VE BEEN DOING A LOT OF FILMING DOWN HERE.

Jim Hammer: WEEKLY HERE.

Huell: REALLY?

Jim: YES, WE HAVE A COMPETITION OF WHICH PRODUCTION COMPANY CAN GET HERE FIRST.

Huell: REALLY?

Jim: YEAH, AND THEY'RE TRYING FROM THE EXTERIOR NOW TRYING TO GET ON THE INSIDE, ANY PART PART THAT WE'LL ALLOW THEM ACCESS THEY'LL COME IN AND USE IT.

Huell: WELL, LET'S TAKE A LOOK AT THE BUILDING.

FIRST WE HAVEN'T MET YOU.

YOUR NAME IS?

Jim: JIM HAMMER.

Huell: AND YOU'RE WITH?

Jim: CALTRANS.

I'M A MANAGER HERE AT CALTRANS.

Huell: THIS IS THE CALTRANS BUILDING.

Jim: YES, IT IS.

Huell: SO YOU'VE BEEN IN HERE SINCE... Jim: SINCE SEPTEMBER.

WE STARTED OUR MOVE IN SEPTEMBER, AND WE'VE BEEN HERE EVER SINCE, AND WE'VE MOVED ABOUT 1,400 EMPLOYEES INTO THIS SITE SO FAR.

Huell: IT'S AN ABSOLUTELY SPECTACULAR BUILDING, AND, THOM, LET'S JUST KIND OF ALL GO ON THE WALK HERE.

I'M NOT SURE WHERE TO START BECAUSE WHAT WE'RE GONNA DO IS GET AN ANALYSIS OF THE BUILDING FROM THE CALTRANS' STANDPOINT AND FROM THE ARCHITECT'S STAND POINT, AND SO MANY TIMES ARCHITECTS ARE REALLY UNRECOGNIZED AND UNAPPRECIATED.

Jim: HE'S OUR FRIEND.

Huell: THAT'S WHY WE WANTED TO HOOK UP WITH YOU TODAY.

START OFF BY TELLING US WHAT THE--WHAT THE IDEA WAS BEHIND THE WAY THE BUILDING--THE STRUCTURE, THE WAY IT LOOKS.

Thom: WELL, IT LOOKS LIKE IT LOOKS BECAUSE IT BEHAVES A CERTAIN WAY.

I THINK A LOT OF PEOPLE--I DON'T KNOW IF YOU'VE THOUGHT ABOUT IT, BUT THEY LOOK AT A BUILDING AND THEY SEE IT AS JUST A VISUAL THING, AND IT'S ACTUALLY A RESULT OF SOME IDEA, OR IT PERFORMS.

LIKE YOU WOULD LOOK AT AN AUTOMOBILE.

IT BEHAVES A CERTAIN WAY AND SO THE CAR LOOKS DIFFERENTLY BASED IF IT GOES FAST OR IF IT CARRIES BIG THINGS, ET CETERA, RIGHT?

AND THIS BUILDING PROBABLY LOOKS DIFFERENT BECAUSE IT DOESN'T HAVE ANY--WELL, IT MOVES.

YOU'RE LOOKING AT THE SKIN, WHICH IS OPEN, WHICH ALLOWS PEOPLE TO SEE THROUGH THE GLASS NORMALLY LIKE A SHADE.

Huell: YEAH, THE WINDOWS KIND OF OPEN OUTWARD.

Thom: AND THEN THEY CLOSE.

THEY'RE ALL ON HYDRAULICS, SO THE WHOLE BUILDING AT ONE POINT IS JUST A SKIN OF PUNCHED METAL, OF THIS ALUMINUM SKIN, AND SO THAT'S UNUSUAL BECAUSE PEOPLE ARE USED TO SEEING WINDOWS IN A CONVENTIONAL BUILDING, RIGHT?

Huell: ARE ALL THE WINDOWS THAT CAN OPEN, ARE THEY ALL OPEN NOW?

Thom: THEY ARE, THEY ARE.

SO EVERYBODY THAT HAS VIEW, EVERYTHING WITH VIEW YOU'RE LOOKING AT THAT'S OPEN.

Huell: AND WHO OPENS THEM?

IS THERE A BUTTON?

Thom: IT'S ALL DONE COMPUTER.

IT'S AUTOMATIC.

Jim: ALL AUTOMATED SYSTEM WITHIN OUR CONTROL CENTER BASED UPON THE MOVEMENT OF THE SUN OF THE DAY.

ON THE OTHER SIDE, THE EAST SIDE OF THE BUILDING, THOSE ARE BEING CLOSED AND THESE OPEN BECAUSE THE SUN HASN'T MOVED OVER HERE YET, SO THE FACT IS ONE SIDE'S OPEN, ONE SIDE'S CLOSED.

IT'S ALL AUTOMATED, ABOUT 15 TO 20 MINUTES IT TAKES FOR THIS WHOLE WALL TO OPEN UP, AND THEY'RE JUST PANELS THAT EXPOSE THE LIGHT, OPEN VIEW TO THE OUTSIDE, EVEN THOUGH THE WINDOW'S TECHNICALLY NOT OPEN.

YOU'RE LOOKING AT A SKIN AS THOM SAID OVER THE WINDOW FACE.

Thom: IF WE'RE HERE LONG ENOUGH, VERY, VERY QUICKLY THE SUN IS GONNA START TOUCHING THE SKIN.

IT'S JUST COMING AROUND.

IN ANOTHER 15, 20 MINUTES AS IT COMES AROUND EVERYTHING CLOSES DOWN.

WHAT IT IS IS A WINDOW SHADE THAT'S ON THE OUTSIDE OF THE INSIDE, SO IT RADIATES THE HEAT OUTSIDE.

Huell: IS THAT DONE FOR ENVIRONMENTAL REASONS, TO HELP THE HEATING AND COOLING OF THE BUILDING?

Thom: YES, IT'S ABOUT A 20% BOOST ON ENERGY, WHICH TODAY, OF COURSE, IS EXTREMELY CRITICAL.

Huell: BUT NOW THAT'S GOTTA BE ONE OF THE THINGS THAT PEOPLE COMMENT ON THE MOST WHEN THEY COME, ISN'T IT?

Jim: IT BRINGS LIFE TO THE BUILDING.

THEY'RE WONDERING WHAT'S THE PURPOSE, FUNCTIONALITY, AND IT SERVES ONE THING FOR THE VIEWING ON THE OUTSIDE.

YOU SEE THIS MOVEMENT, YOU SEE THE DIFFERENT AESTHETIC EFFECT OF IT, AND ON THE INSIDE IT PROVIDES AN OPEN ACCESS TO THE VIEW FROM THE OUTSIDE WHEN THE SUN'S DOWN OR NOT ON THIS SIDE.

WHEN THEY CLOSE, IT PROVIDES SOME SCREENING FROM THE SUN WHEN IT'S ON THIS SIDE OF THE WALL.

Huell: NOW THIS IN HERE KIND OF--NOW YOU'RE BEGINNING TO REALLY GET THE IDEA OF THE WAY THESE THINGS JUST KIND OF POP OUT.

Jim: THEY'RE ON A PNEUMATIC SYSTEM THAT OPENS THEM UP LIKE I SAID EARLIER, ABOUT A 15, 20 MINUTE CYCLE TO OPEN UP THIS ENTIRE WALL.

Thom: YOU CAN SEE THE LIGHT COMING RIGHT AROUND HERE, RIGHT?

IT'S GOT ANOTHER ABOUT 5 DEGREES AND EVERYTHING CLOSES DOWN.

Huell: THAT IS AMAZING!

Jim: VERY SILENTLY, TOO.

YOU DON'T EVEN KNOW IT UNLESS YOU'RE LOOKING OUT THE WINDOW.

ALL OF A SUDDEN THIS THING STARTS LOWERING.

Huell: NOW WHAT IS THIS STICKING OUT HERE?

THAT'S SOMETHING ELSE I NOTICED JUST DRIVING DOWN FIRST STREET IS THIS THING JUST COMES OUT.

Thom: THIS--IT'S A LIGHT BAR.

IT'S 250 FEET LONG, AND IT'S, UM, IT'S CONCEPTUAL.

IT BOTH REPRESENTS MOVEMENT AND IT REPRESENTS KIND OF THE IDEA OF CALTRANS.

THEY MAKE FREEWAYS, THEY'RE INTO CITY INFRASTRUCTURE, AND IT'S ABOUT THAT, AND AT NIGHT YOU SEE THIS PIECE OF LIGHT THAT JUST STREAKS THROUGH.

YOU KNOW WHEN YOU TAKE A PHOTOGRAPH AT NIGHT AND YOU SEE THE LINES OF RED, THE CARS MOVE?

IT WAS A NOTION OF CATCHING THAT--THE NOTION OF THE AUTOMOBILE IN MOVEMENT BECAUSE THAT'S WHAT THIS PLACE IS, AND AT NIGHT YOU'RE GONNA SEE THIS BIG LINE, AND THE LINE IS AT THE SAME LEVEL AS DISNEY ON FIRST STREET.

THAT LINE IS GONNA POINT RIGHT TO DISNEY AND DOROTHY CHANDLER, AND IT'S LITERALLY A CONNECTING LINK OF THE CITY AND REPRESENTS--AND I HAVE AN IDEA OF A BUILDING THAT'S CONNECTING THINGS.

IT'S PART OF AN URBAN STRUCTURE.

IT'S NOT JUST A THING OF ITS OWN.

IT'S ABOUT CONNECTING THE CITY.

Huell: WOW.

DID HE SELL YOU ON ALL THIS?

WHERE YOU WITH HIM EVERY STEP OF THE WAY?

Jim: I UNFORTUNATELY WAS NOT, BUT I GOT IN TOWARDS THE END OF THIS AS WE WERE COMPLETING CONSTRUCTION BEFORE MOVE IN, AND IT'S BEEN A GREAT PARTNERSHIP.

Huell: I WAS GONNA SAY I'M BEGINNING TO GET THE FEELING YOU SHARE HIS ORIGINAL PASSION FOR THIS BECAUSE YOU KNOW ARCHITECTS ARE VERY PASSIONATE PEOPLE.

Jim: AS BEING RESPONSIBLE FOR THE BUILDING USE NOW AND TO MAINTAIN AND OPERATE, I FEEL VERY FORTUNATE THAT I GOT A BUILDING SUCH AS THIS FROM THOM HERE.

Huell: NOW WE'RE HERE IN THE AFTERNOON, SO IT'S NOT--ALL THESE LIGHTS ARE NOT ON.

I THINK WE'RE GONNA COME BACK TONIGHT AND GET SOME PICTURES OF IT TO USE AT THIS POINT IN OUR PROGRAM, BUT THIS BUILDING IS ALSO A LIGHT SHOW, ISN'T IT?

Thom: EXACTLY.

THIS IS A PUBLIC ROOM.

THIS IS A ROOM FOR THE CITY, AND IT CAN BE USED FOR ANY KIND OF EVENTS THAT ANYBODY WANTS IT USED FOR.

Huell: THIS ROOM RIGHT HERE.

Thom: IT'S PART OUTSIDE AND PART INSIDE, AND WHAT YOU'RE LOOKING AT IS A PIECE THAT WAS A COLLABORATION WITH KEITH SONNIER OUT OF NEW YORK, AND THIS WHOLE PIECE IS GONNA LIGHT UP.

YOU'RE LOOKING AT JUST A LITTLE BIT OF THE LIGHT ON NOW.

IT'S GONNA CHANGE CONTINUOUSLY ON A PROGRAM, AND IT'S MOVING, LIKE AGAIN THE DYNAMICISM OF THE PLACE AND THE AUTOMOBILE.

IT'S CONTINUALLY CHANGING, AND WHEN IT'S COMPLETELY ON, BEHIND US THIS WHOLE PIECE LIGHTS UP.

IT'S GOT A BLUE LIGHT AND A RED LIGHT, AND THEY'RE CONSTANTLY MOVING AND CHANGING FROM A VERY DENSE PATTERN TO A SPARSE PATTERN, ET CETERA.

Huell: WOW!

THIS IS SO INTERESTING.

LOOKING UP NOW AT THE BUILDING YOU CAN SEE THE SHADES KIND OF JUST KIND OF POPPED OUT THERE, AND IN JUST LESS THAN AN HOUR THE SIDE OF THE BUILDING THAT WE'RE LOOKING AT NOW WILL BE COMPLETELY FLAT AFTER THOSE SHADES HAVE CLOSED.

Thom: THAT'S RIGHT.

ACTUALLY WHEN YOU SEE THEM CLOSE IT'S QUITE WONDERFUL.

THE WHOLE THING JUST STARTS MOVING AT ONCE AS IT CLOSES.

IT'S KIND OF UNUSUAL.

YOU DON'T THINK ABOUT IT.

ON THE HATCHBACK OF A CAR OR-- WE LIVE IN A WORLD THAT EVERYTHING IS KIND OF OPERATIONAL.

I MEAN YOU DON'T EXPECT IT ON A BUILDING AS MUCH I DON'T THINK, DO YOU?

Huell: WELL, YOU CERTAINLY DON'T EXPECT THE WHOLE BUILDING, THE WHOLE SIDE OF THE BUILDING TO KIND OF MOVE LIKE THAT AT ONE TIME.

Thom: AND OF COURSE WE'RE INTERESTED IN THE TRANSFORMATION.

IT LOOKS LIKE ONE WAY WHEN YOU SEE IT AT ONE TIME.

YOU COME BACK AND IT LOOKS LIKE SOMETHING ELSE.

Huell: SO DEPENDING UPON WHERE YOU'RE STANDING IN DOWNTOWN L.A. AND WHAT TIME OF DAY OR NIGHT IT IS, THIS BUILDING LOOKS DIFFERENT.

IT'S ALWAYS CHANGING.

Jim: IT IS ALWAYS CHANGING WHETHER YOU'RE ON THE NORTHEAST CORNER OR THE SOUTH.

YOU CAN GO 2 BLOCKS AWAY OF THE SOUTH OF HERE AND IT HAS A WHOLE NOTHER EFFECT THAT THIS BUILDING OFFERS, WHETHER THE PANELS ARE OPEN OR NOT.

Thom: THE SKIN IN A WAY WAS SEEN LIKE A PIECE OF CLOTHING.

YOU CAN CHANGE, RIGHT, WE CAN KEEP CHANGING THIS, AND IT'S PART OF THE CULTURE OF THE HUMAN CHARACTER, AND THE BUILDING'S THE SAME.

YOU'LL SEE IT'S LIKE OUR CLOTHING.

WE DEMONSTRATED THAT AS IT WRINKLES YOU'VE NOTICED.

YOU DIDN'T ASK THAT, BUT YOU WERE ABOUT TO ASK THAT.

Huell: THOSE ARE LIKE WRINKLES.

LOOK AT THIS.

Thom: AND IT KIND OF WRINKLES A BIT LIKE A FABRIC AND THEN IT KIND OF MOVES OUT AND KIND OF ACTUALLY MAKES THE SPACE OF THE PLAZA.

IT KIND OF WRINKLES DOWN AND COMES AROUND-- Huell: OH, SO WAIT A MINUTE.

THIS IS PART OF THE WRINKLE RIGHT HERE.

Thom: LOOK AT IT COMING DOWN RIGHT HERE.

IT'S COMING DOWN, IT WRINKLES AND BENDS AGAIN AND THEN BENDS OUT, AND THEN IT'S THIS WHOLE FABRIC NOW.

IT'S THIS VERY SOFT, EPHEMERAL, ROLLS OUT, AND NOW YOU'RE UNDERNEATH IT, RIGHT?

YOU'RE ACTUALLY OCCUPY THE SPACE BETWEEN THE BODY AND THE SKIN.

Huell: AND THEN IT GOES OUT-- Thom: AND IT MAKES THIS SPACE, WHICH IS THE PLAZA, WHICH IS THE ENTRY, WHICH OF COURSE AS YOU MENTIONED EARLIER IS THE--HERE IT IS.

MAKING REFERENCE TO CITY HALL.

THE WHOLE IDEA OF THE PLAZA MAKING REFERENCE TO THE CENTER OF THE CITY.

YOU NOTICE THE 100 SIGN, FIRST AND MAIN, 100 FIRST, 100 MAIN, KIND OF THE EPICENTER OF THE CITY, THE BEGINNING OF THE ORIGINAL CITY, SO WE USED THE SIGN AS A--IT'S HOLLYWOOD.

I MEAN SIGNAGE IN L.A. ARE SINGULAR.

IT'S PART OF THE CITY, RIGHT?

Huell: NOW WE'VE MOVED AROUND FOR ANOTHER PERSPECTIVE ON THE BUILDING.

THIS SIDE OF THE BUILDING DOESN'T HAVE ANY SKIN ON IT.

Thom: NO, THIS ONE'S FACING NORTH, AND IT'S THE ONE THAT'S CLEAR.

IT REVEALS THE FUNCTIONS OF THE BUILDING.

Huell: SO IS THERE A FRONT SIDE OR A SIDE OR A BACK TO THIS BUILDING?

HOW DO YOU--HOW DO YOU DETERMINE WHERE THE FRONT OF THE BUILDING IS?

Thom: INTERESTING QUESTION.

IT DOESN'T REALLY HAVE A FRONT.

EVERY EDGE IS ITS OWN FRONT, ALTHOUGH IT CLEARLY HAS A FRONT IN TERMS OF ENTRY, WHICH IS THE PLAZA WE WENT THROUGH THAT FACES CITY HALL, RIGHT, AND THEN THAT SEQUENCE OF SPACES THAT GETS US INTO THE BUILDING.

Huell: AND NOW YOU BEGIN TO REALLY SEE THIS BAND THAT COMES OUT FROM THE BUILDING.

Thom: IT'S INTERESTING TO TALK TO YOU.

YOU'RE REALLY INTERESTED IN KIND OF IDEAS IN BUILDINGS.

IT MAKES IT REALLY FUN TO TALK.

Huell: YOU KNOW WHAT?

I'VE BEEN FASCINATED BY THIS BUILDING FROM THE BEGINNING BECAUSE IT'S SO UNIQUE AND SO DIFFERENT AND MAKES SUCH A STATEMENT.

I'VE BEEN INTERESTED AND AMUSED THAT IT'S BEEN SO CONTROVERSIAL.

Thom: WELL, IT'S INTERESTING BECAUSE THIS PIECE SEEMS TO BE THE ONE THAT'S BEEN ONE OF THE ONES THAT'S BEEN MOST INTERESTED, I THINK, BY THE PUBLIC IN THAT YOU MOVE UNDER IT.

IT MOVES OUT OVER THE SIDEWALK AND IT MOVES OVER THE EDGE OF THE BUILDING AND YOU ACTUALLY ARE PARTICIPATING.

YOU'RE IN THE BUILDING IN A WAY WITHOUT--JUST AS YOU WALK THROUGH THE CITY IT BECOMES A GATEWAY OR A THRESHOLD, AND SOMEHOW IT VIOLATES JUST THE RULES THAT PEOPLE--BUILDINGS ARE HERE AND STREETS ARE HERE, AND IT MOVES OUT OVER THAT AND EVERYBODY KIND OF LOOKS AT IT AND IS KIND OF FLABBERGASTED.

Huell: NOW WE'VE COME AROUND TO--THIS IS THE SOUTH SIDE OF THE BUILDING.

Jim: YES, IT IS.

SOUTH SIDE.

Huell: AND THIS HAS A TOTALLY DIFFERENT LOOK TO IT.

Jim: IT DOES.

THIS IS WHERE WE'RE COVERED THE PHOTOVOLTAIC CELLS COVERING THE ENTIRE SOUTH WALL OF THE BUILDING.

Huell: WAIT A MINUTE.

THIS WHOLE WALL HERE WHERE THE WINDOWS ARE IS COVERED BY--THIS IS ALL SOLAR POWER HERE.

Jim: THESE ARE PHOTOVOLTAIC PANELS, WHICH ARE BOTH SHADING THE GLASS AND PRODUCING ENERGY AT THE SAME TIME.

Huell: WOW!

Jim: THE PIECES ARE AT AN ANGLE.

YOU CAN SEE IT.

ALL THE PIECES THAT ARE SITTING ON AN ANGLE ARE THE PHOTOVOLTAIC PANELS.

Huell: SO YOU'RE PRODUCING ELECTRICITY FOR YOUR OWN BUILDING.

Jim: MM-HMM, YEAH, TO COVER THE COST AND THE POWER NEEDS FOR THE BUILDING.

Thom: THIS IS A VERY ECONOMICAL BUILDING THAT WAS DONE IN A VERY SHORT PERIOD OF TIME, BELIEVE IT OR NOT, AND-- Huell: DID I READ THAT IT WAS ON TIME AND ON BUDGET?

Thom: YOU DID.

Jim: YES, AND I'LL TESTIFY TO THAT.

Huell: ALL RIGHT, THAT'S WHY YOU'RE SO HAPPY.

Jim: YES, I AM.

Thom: BUT IN ANSWER TO YOUR QUESTION, YES.

EVERYTHING THAT'S PART OF A BUILDING HAS TO BE USED AESTHETICALLY.

IT HAS TO BE USED AS PART OF THE EXPRESSION OF THE BUILDING.

Huell: IT'S A GRAY BUILDING.

Thom: WELL, IT'S A CALTRANS BUILDING.

WE WERE ACTUALLY VERY INTERESTED IN THEIR ROLE OF BUILDING THE FREEWAY, WHICH IS THE INFRASTRUCTURE OF LOS ANGELES, WHICH MAKES L.A.

LA., AND WE WANTED TO USE CONCRETE, WE WANTED TO USE THE STEEL THAT COMES OUT OF THE SIGNING AND THE BRIDGES, WE WANTED TO HAVE THE TOUGHNESS AND THE CLARITY AND THE SIMPLICITY OF THE FREEWAY SYSTEM.

Huell: THIS REALLY GIVES YOU A SENSE OF THE WAY THIS COMES OUT TO A PEAK AND THIS SKIN, THE WAY IT--THE SKIN JUST COMES OFF THE SIDE OF THE BUILDING AND IT COMES OUT-- Thom: AND IT NOW BECOMES ANOTHER SKIN FOR THE STREET, AND THEN OUT OF THAT THESE 3-DIMENSIONAL LETTERS THAT ARE BOTH 2-D AND 3-D, THEY'RE KIND OF RIPPED OUT OF THE SKIN AND YOU SEE THE OTHER HALF OF THEM.

Huell: WHAT IS THAT, THE ADDRESS OF THE BUILDING?

Thom: IT IS.

IN FACT, IT WAS REALLY FUNNY.

AT SOME POINT THEY WERE ASKING US--WE HADN'T HAD AN ADDRESS SIGN, AND I WENT, "OH, DEAR!

HAVE YOU LOOKED UP?"

Huell: YOU'VE GOT THE BIGGEST ADDRESS SIGN IN DOWNTOWN L.A. Thom: I THINK SO.

YOU JUST HAVE TO KNOW WHERE TO LOOK.

Huell: YOU KNOW, YOU'RE RIGHT IN THE MIDDLE OF IT HERE.

HERE'S OLD ST. VIBIANA'S OVER HERE, THE OLD CATHEDRAL THAT'S BEING RESTORED AND GIVEN A NEW LIFE, YOU'VE GOT YOUR BIG BUILDING HERE, AND HERE'S THE HOLLYWOOD CREW HERE SITTING ON--I GUESS THEY'RE TAKING A LUNCH BREAK FROM THE MOVIE THEY'RE GONNA BE FILMING THAT BUILT THE SET INTO THE SIDE OF YOUR BUILDING, THERE'S CONSTRUCTION GOING ON ALL AROUND US, BUSES AND NOISE AND SOUNDS AND PEOPLE.

YOU'RE RIGHT IN THE MIDDLE OF IT HERE.

Thom: THIS IS L.A. FOR SURE.

WE KNOW IT TODAY, DON'T WE?

Huell: WE'RE IN THE AREA ADJACENT TO THE PLAZA OUTSIDE WALKING DOWN SOME STEPS.

THIS ALMOST LOOKS LIKE AN AMPHITHEATER YOU'VE BUILT OUT HERE.

Thom: EXACTLY.

IT'S THE END OF A LARGE ROOM, WHICH IS A COMMUNITY ROOM THAT CAN SEAT 1,000 PEOPLE.

Huell: DO YOU USE THIS AS AN AMPHITHEATER?

Jim: WE HAVE.

AT OUR GRAND OPENING IT WAS USED, AND THERE'S OTHER EVENTS THAT ARE WAITING TO BE SCHEDULED.

Huell: SO PEOPLE COULD SIT UP THERE TO LISTEN TO CONCERTS OR WHATEVER.

Jim: THEY CAN SIT, STAND, USE IT, OR JUST COMES HERE AND ENJOY WHAT THIS BUILDING HAS TO OFFER.

Huell: YEAH, BECAUSE NOW WE'RE GOING BACK INTO--I CALL THIS THE GRAND ROOM.

I GUESS YOU GOT A FORMAL NAME FOR IT, I'M SURE.

Thom: ACTUALLY, WE DON'T HAVE A NAME FOR IT, BUT IT IS.

IT'S THIS LARGE EXTERIOR ROOM THAT COULD ONLY HAPPEN MAYBE IN CALIFORNIA WITH A CLIMATE LIKE THIS.

Huell: NOW YOUR LIGHTS ARE BEGINNING TO COME ON NOW.

Thom: THEY ARE.

Huell: AND THIS LOOKS PRETTY IMPRESSIVE, THESE LIGHTS DO, EVEN IN DAYLIGHT.

Thom: WE'RE GONNA BE IN THE SHADE.

THEY'RE GONNA WORK ALL THROUGH THE DAY, AND WE WANTED THE ENERGY OF A REALLY ACTIVE URBAN SPACE LIKE YOU'D FIND IN MEXICO CITY OR SHIBUYA, TOKYO OR SOMETHING LIKE THAT.

Huell: AND AN URBAN SPACE THAT HAS A SURPRISE IN IT.

Thom: YES.

AS YOU COME CLOSER TO THE END OF THE SPACE AND BEGIN TO ENTER THE BUILDING, YOU REALIZE THERE'S A SKYLIGHT, A BIG COURTYARD, AND WHAT IT'S GONNA DO, IT BRINGS LIGHT ALL THE WAY DOWN TO THE GROUND.

Huell: WOW!

AND LIGHTS ALL THE INTERIOR OFFICES AS WELL.

Thom: THAT'S RIGHT.

Jim: IT CONNECTS US FROM FLOOR TO FLOOR.

YOU CAN BE ON ANY ONE OF THESE FLOORS AND SEE YOUR NEIGHBOR, YOUR PARTNERS HERE AT CALTRANS INTERACTING AS THEY MOVE WITHIN THEIR WORKSPACE.

IT BRINGS US ALL TOGETHER.

Thom: YEAH, YOU CAN SEE PEOPLE MOVING NOW.

THEY'RE ALL-- Huell: SO ARE THESE HALLWAYS UP HERE?

Jim: YES, YEAH.

Huell: ALL RIGHT, NOW HERE'S-- WHERE'S THE FRONT DOOR?

Jim: THIS IS IT.

NOTICE THERE'S STILL SOME ACTIVITY GOING ON.

Huell: YOU STILL GOT A LITTLE BIT OF CONSTRUCTION GOING ON HERE, GETTING ALL OF THE KINKS OUT OF THE BUILDING, AND WE'RE GOING INSIDE.

OK, WE'RE INSIDE THE LOBBY, AND RIGHT OFF THE BAT IT'S A BEAUTIFUL METAL LOBBY, BUT LEAVE IT TO THOM TO COME UP WITH HIS OWN LITTLE TAKE ON WHAT TO DO INTERESTING WITH THIS SPACE.

Thom: YOU'RE REFERRING TO THE CEILING.

Huell: YES, I'M REFERRING TO THE CEILING!

Thom: WELL, WE'VE SPENT SOME TIME TALKING ABOUT TRANSPARENCY, AND IT'S A CONTINUATION OF THAT.

YOU'RE LOOKING AT THE CONFERENCE ROOM THROUGH THE FLOOR, AND YOU'RE LOOKING OF COURSE AT THE CHAIRS NOW.

THERE'S NO PEOPLE IN THEM, BUT YOU COULD IMAGINE AS THEY GET INHABITED THEY'RE MOVING, THEY'RE DYNAMIC.

Huell: SO YOU'RE SEEING SHADOWS MOVE ABOUT WHEN THERE ARE PEOPLE THERE.

Thom: EXACTLY.

IT'S LIKE SEEING--HERE WE ARE WAITING IN A LOBBY FOR AN ELEVATOR.

YOU'RE SEEING YOURSELF IN A WAY FROM UNDERNEATH.

Huell: IT SEEMS SO ALIVE AND SO--I DON'T KNOW HOW YOU'D DESCRIBE IT.

Thom: WE KEEP WORKING WITH THE SAME THEMES OF RANDOMNESS, OF LIGHT, OF THE USE OF LIGHT AS A MATERIAL.

THE WALL IS A LIGHT FIXTURE IN THIS CASE.

Huell: WHAT IS THIS MADE OUT OF?

IS THIS PLASTIC?

Thom: THESE ARE FIBERGLASS RESIN PANELS THAT WERE CUSTOM-MADE FOR THIS JOB THAT WE MORE OR LESS INVENTED, A PROTOTYPE.

Huell: YOU KNOW, IT'S NOT A BIG LOBBY, BUT IT'S DEFINITELY A LOBBY THAT MAKES A STATEMENT.

Jim: IT DOES, IT DOES.

WITH THESE PANELS, THE LIGHTS, AND ALSO A FLOATING DESK.

AGAIN, YOU DON'T SEE ANYTHING HOLDING IT UP.

Huell: UH-HUH.

Tim: NOW AS WE HAVE OUR GUARDS HERE, SECURITY CHECK-IN AS PEOPLE COME IN, THERE'S THIS WHOLE PERCEPTION OF THIS FLOATING DESK WITH THE INFORMATIONAL PANEL.

FROM THE OUTSIDE, IT'S GOT EVERYONE IN AWE.

Huell: WELL, LET'S GO--LET'S GET ON THE ELEVATORS, AND THAT ONE OPENED UP FOR US, AND HEAD UPSTAIRS.

Thom: YOU SEE, ABOUT THE SIZE OF THE LOBBY THE NOTION WAS THAT THE EXTERIOR WAS THE LOBBY, THE BIG ROOM WAS THE LOBBY, AND THIS IS THE NEXT LOBBY, SO WE KIND OF BREAK--WE TRYING TO ATTACK KIND OF EVEN NOTIONS OF THE SIMPLICITY OF THE STREET AMD LOBBY.

THERE'S ACTUALLY A STREET AND A COURTYARD AND A SECOND COURTYARD LOBBY ROOM AND THEN THE LOBBY.

Huell: WE'RE GETTING OUT OF THE ELEVATOR ON THE 4 FLOOR, AND THERE'S A REASON WHY WE'RE ON THE FOURTH FLOOR INSTEAD OF THE THIRD OR THE FIFTH FLOOR, ISN'T THERE?

Thom: BECAUSE THE ELEVATOR STOPS EVERY 3 FLOORS.

IT MAKES PEOPLE EXERCISE, WALK MORE.

THEY WALK UP, WALK DOWN.

IT GIVES YOU THIS NICE LOBBY, A 2-STORY LOBBY.

IT'S VERY EFFICIENT.

WE HAVE A CONFERENCE ROOM BELOW US WHERE THE LOBBY DOESN'T EXIST, AND THE WHOLE NOTION OF THE EFFICIENCY OF THE ELEVATOR.

THINK ABOUT A BUILDING THIS TALL.

IT HAS ONE THIRD OF THE AMOUNT OF STOPS.

Huell: SO WAIT A MINUTE.

IF YOU GET OFF ON THE THIRD FLOOR, IF YOU OFFICE WAS ON THE FOURTH FLOOR, HOW DO YOU GET THERE?

Jim: A LITTLE BIT OF LEG WORK.

Huell: WHERE ARE THE STEPS?

Jim: THE STEPS ARE RIGHT AROUND THE CORNER HERE.

Huell: SO YOU GET OFF--OK, HERE THEY ARE, AND YOU WALK TO WORK.

Jim: YES.

Huell: NOW HOW IS THIS GOING DOWN WITH THE EMPLOYEES?

Jim: THE SURVEY HASN'T COME IN YET, BUT I THINK THEY BELIEVE IT'S A GOOD THING.

Huell: WELL, IT IS A GOOD THING.

Thom: YEAH, IT'S ONE FLOOR.

Huell: OK, NOW WE'RE ON THE--OK, WE'RE LOOKING DOWN AT THE COURTYARD, THE BIG ROOM THAT WE WERE JUST IN BELOW.

THIS GIVES YOU A WHOLE NOTHER PERSPECTIVE OVER HERE.

Thom: EXACTLY.

WE'RE ON THE BRIDGE BETWEEN THE 2 HALVES OF THE BUILDING, AND NOW WE'RE LOOKING OVER THAT PUBLIC SPACE.

Huell: AND WE'LL LOOKING UP AT THIS--THIS WAS THAT OPENING WITH THE SKY LIGHTS, SO WE'RE LOOKING UP AT THE OFFICES NOW, SO I SEE WHAT YOU'RE TALKING ABOUT.

YOU CAN SEE THE EMPLOYEES WALKING AROUND AND WORKING UP THERE.

Thom: EXACTLY.

EVERYTHING'S TRANSPARENT, AND YOU'RE COMING OUT, OF COURSE, ON THIS ON SIDE OF THE LOBBY, YES, AND THIS IS WHERE THE SUN'S COMING THROUGH THE COURTYARD, AND THIS REPRESENTS THE ENERGY HUB OF THE BUILDING, THE SOCIAL HUB.

Huell: BOY, THERE'S A LOT OF USE OF LIGHT AND OPENNESS IN THIS BUILDING, ISN'T THERE?

Thom: MM-HMM.

IT'S CALIFORNIA.

THE INSIDE AND THE OUTSIDE WANT TO BECOME ONE.

Huell: IT REALLY LOOKS GREAT OUT HERE.

THIS IS JUST A BEAUTIFUL, BEAUTIFUL VIEW HERE.

AND SOMETHING LIKE THIS HAS GOT TO MOTIVATE THE EMPLOYEES, DON'T YOU THINK?

Thom: I WOULD HOPE SO.

THAT'S WHAT WE'RE HOPING.

Jim: YES.

AS PEOPLE ENJOY IT, THEY'RE INTERACTING.

THEY'RE INTERACTING LIKE THEY'VE NEVER DONE BEFORE.

Huell: WITH EACH OTHER AND WITH THE BUILDING.

Jim: WITH THE BUILDING, EACH OTHER.

IT INCREASES PRODUCTIVITY.

Huell: NOW WE'RE ENDING UP ON THE SIDE OF THE BUILDING IN AN AREA THAT EVENTUALLY WILL BECOME A WALKING TRACK FOR THE EMPLOYEES, BUT, THOM, YOU BROUGHT US UP HERE BECAUSE THIS REALLY--I MEAN WE'RE LOOKING DOWN THE SIDE OF YOUR BUILDING HERE, LOOKING DOWN ACROSS AT LOS ANGELES, AND THIS IS REALLY WHAT GETS YOUR HEART BEATING FAST, ISN'T IT?

Thom: YES, THIS IS--THIS TALKS ABOUT THE IMPORTANCE OF THIS SITE AND WHAT AN AMAZING SITE THIS IS.

HERE WE ARE WITH CITY HALL IN THE MIDDLE OF THE CITY, AND, OF COURSE, AS YOU LOOK AROUND-- Huell: OH, LOOK OVER HERE!

Thom: YOU KEEP BRINGING UP SURPRISES, AND FOR ME IT'S MAYBE REINTERPRETING.

THIS ONE SINGLE IDEA OF THE SKIN KEEPS GETTING SEEN DIFFERENTLY, AND HERE IT'S A LANDSCAPE, RIGHT?

Huell: WELL, HERE'S THE SKIN.

HERE'S THE SKIN RIGHT HERE.

YOU'VE GOT AN OLD BUILDING THAT'S OVER 100 YEARS OLD THERE AND THEN THE MODERN SKYLINE OF L.A. Thom: YOU CAN SEE THE L.A. TIMES ON THE RIGHT AND HERE'S THE CITY IN FRONT OF US, SO THIS BECOMES THE BACKDROP FOR REALLY UNDERSTANDING THE VIEW AND THE LOCATION, THE CENTER OF THE CITY.

Huell: DO YOU THINK MOST PEOPLE--BE HONEST WITH ME NOW.

DO YOU THINK MOST PEOPLE GET THIS?

I MEAN, YOU KNOW, WE DON'T ALL HAVE THE LUXURY OF HAVING THE GUIDED TOUR BY THE ARCHITECT HIMSELF TO EXPLAIN THE SYMBOLISM OF ALL OF THIS AND THE THOUGHT THAT WENT INTO THE INTEGRATION OF ALL THESE FORMS AND SHAPES INTO WHAT THIS BUILDING IS TODAY.

Thom: EVERYBODY GETS SOMETHING DIFFERENT OUT OF IT, AND YOU WOULD HAVE TO ASK THE PUBLIC, AND I WOULD SAY MY EXPERIENCE HERE IS, YES, THEY GET IT, AND THEY ALL GET IT A LITTLE DIFFERENTLY.

THEY ALL SEE IT THE WAY THEY WANT TO SEE IT OR THE WAY THEY'RE TRAINED TO SEE IT OR WHAT THEY'RE INTERESTS ARE, AND IT'S--WHAT'S SO INTERESTING ABOUT ARCHITECTURE IS THERE IS NO CORRECT WAY TO LOOK AT IT.

IT OPERATES ON YOU HOWEVER YOU SEE IT, HOWEVER IT KIND OF STIMULATES YOU.

COME ON, YOU'RE A GUY THAT'S VERY INTERESTED AND HAVE ASKED ALL KINDS OF INTERESTING QUESTIONS, AND ANOTHER PERSON WOULD ASK ANOTHER SET OF QUESTIONS, DON'T YOU THINK?

Huell: YEAH, BUT I'D NEVER THOUGHT OF THIS AS SKIN BEFORE UNTIL YOU EXPLAINED IT TO ME.

Thom: WELL, SO I USED THE WORD "SKIN," BUT YOU LOOK AT IT AND FIND IT JUST INTRIGUING FOR ANOTHER REASON, DON'T YOU THINK?

Huell: YEAH.

Thom: BUT WHEN I SAY "SKIN," YOU PROBABLY EVEN THINK ABOUT IT DIFFERENTLY.

AM I RIGHT?

Huell: YEAH, AND I'M LOOKING AT THE WAY THE LIGHT COMES THROUGH THESE--IT COMES THROUGH.

Thom: NOW IT'S STARTING TO GET REALLY DELICATE, NOT QUITE SO MACHO MAYBE, A LITTLE SOFTER, YEAH, A LITTLE MORE DELICATE.

Jim: IT JUST DRAWS YOU IN AND A LOT OF PEOPLE ASK THE QUESTION, "WHAT IS THIS?

HOW DOES THAT WORK?

WHAT DOES IT SERVE?"

AND THEY DRAW IN CLOSER AND THEY START TO APPRECIATE IT.

Huell: THIS PANELING IS SO INTERESTING BECAUSE AT ONE POINT IT LOOKS ALMOST SOLID, AND THEN YOU COME OVER HERE, AND LOOK, WE'RE LOOKING AT THE CITY THROUGH THE SKIN.

Thom: YES, IT'S INTERESTING, ISN'T IT?

HOW IT TRANSFORMS FROM SOLID TO TRANSPARENT.

Huell: DEPENDING ON WHERE THE LIGHT IS.

Thom: THAT WAS OUR WHOLE INTEREST IN THE MATERIAL.

IT'S SUCH A DYNAMIC MATERIAL DEPENDING ON HOW YOU SEE IT, AND IT'S CONTINUALLY CHANGING IN WAYS THAT NONE OF US COULD'VE EVEN PREDICTED.

I DON'T KNOW HOW IT WORKS.

Huell: WOW!

NOW AREN'T THESE SUPPOSED TO BE CLOSING UP?

Thom: THEY ARE.

YOU CAN SEE THEM NOW.

THE TOP ONES ARE ALL STARTING TO CLOSE.

THE WHOLE SKIN'S GONNA CLOSE DOWN.

Huell: OH, THEY'RE CLOSING!

Thom: YEP.

THE SUN IS HITTING IT NOW.

IT CLOSES DOWN FOR EFFICIENCY FROM WEST SUN.

Huell: THERE'S ONE RIGHT--OH, ON THE TOP ROW THERE.

THEY'RE CLOSING.

Thom: THE WHOLE TOP ROW'S GONE ALREADY.

HERE IT GOES.

THE NEXT ONES ARE CLOSING RIGHT NOW.

OVER THE NEXT 10 MINUTES THE WHOLE BUILDING WILL CLOSE UP, AND NOW IT'S GONNA BE JUST A SIMPLE SKIN, NOTHING, THIS REALLY SIMPLE CONTINUOUS--I KEEP USING THE WORD "SKIN."

THIS SURFACE OF THE SAME PANELING YOU WERE TALKING ABOUT THAT YOU SEE THROUGH JUST LIKE WE SAW THROUGH THE CITY.

THIS IS FUN, ISN'T IT?

KIDS HAVE TO LIKE THIS.

BUILDINGS THAT MOVE AND--NO?

Huell: I'M HAVING A BALL!

Thom: HA HA HA!

GOOD!

Huell: THIS IS THE WAY TO END UP OUR PROGRAM RIGHT HERE AFTER THIS WONDERFUL AFTERNOON.

THANK YOU VERY MUCH FOR TAKING US AROUND.

THANK YOU VERY MUCH.

Jim: YOU'RE WELCOME.

Huell: AND THE LUCKY EMPLOYEES OF CALTRANS GET TO WORK IN THIS BUILDING, BUT THE REST OF US GET TO WALK BY AND SEE IT AND LOOK AT IT AND HOPEFULLY NOW NOW WE ALL ARE LOOKING AT IT AND WILL APPRECIATE IT EVEN MORE NOW THAT WE KNOW A LITTLE BIT ABOUT THE THOUGHT AND THE PLANNING THAT WENT INTO MAKING THIS BUILDING.

THIS IS GOING TO BECOME ON ITS OWN ANOTHER ARCHITECTURAL DOWNTOWN LANDMARK ABSOLUTELY.

CONGRATULATIONS.

Thom: THANK YOU SO MUCH.

Huell: CONGRATULATIONS.

Jim: THANK YOU VERY MUCH.

Huell: AND I GUESS I COULD SAY THIS IS OUR BUILDING.

WE OWN IT, DON'T WE, THE TAXPAYERS OF CALIFORNIA?

Bill: THE STATE OF CALIFORNIA OWNS THIS BUILDING, AND EVERYONE'S WELCOME TO COME VISIT IT ANY TIME.

Huell: WE OWN IT AND A BEAUTIFUL BUILDING IT IS.

WE'LL JUST STAND HERE AND WATCH THE SKIN CLOSE UP HERE IN THE AFTERNOON SUN IN DOWNTOWN LOS ANGELES.

WELL, IT'S ONE THING TO TALK ABOUT THIS BEAUTIFUL BUILDING WITH THE ARCHITECT AND WITH ONE OF THE HEAD GUYS HERE, BUT AS WE WERE LEAVING WE RAN INTO YOU.

YOU'RE A CALTRANS EMPLOYEE.

YOU WORK IN THIS BUILDING.

WHAT DO YOU THINK ABOUT IT?

Robbie Myles: I THINK IT'S WONDERFUL.

I ACTUALLY WORK ON THE 13th FLOOR.

Huell: OH, SO YOU'RE WAY UP THERE!

Robbie: YES, SIR, AND THE VIEW IS, AS MY SON WOULD SAY, "AWESOMISM."

Huell: AWESOMISM!

Robbie: THAT'S A NEW WORD.

Huell: NOW DO YOU WATCH THE SHADES OPEN AND CLOSE?

Robbie: YES, SIR, FROM TIME TO TIME WHEN I'M NOT AT WORK AS I SHOULD BE.

Huell: ABSOLUTELY.

AND WHAT DO YOU THINK ABOUT THE ARCHITECTURE?

IT'S A LITTLE DIFFERENT, ISN'T IT?

Robbie: YES, IT IS.

IT'S QUITE DIFFERENT.

I WAS--I'M FROM CALIFORNIA, ALTHOUGH I WAS RAISED IN NEW YORK, AND I'VE NEVER SEEN ANYTHING LIKE IT.

WE HAVE TALL BUILDINGS, BUT NOTHING TO COMPARE TO THIS.

Huell: YEAH, AND YOU WORK HERE.

Robbie: YES, SIR, AND I'M VERY PROUD TO WORK HERE, TOO, AS A CALTRANS EMPLOYEE.

Huell: THERE YOU HAVE IT, AN UNSOLICITED TESTIMONIAL FROM-- YOUR NAME IS?

Robbie: ROBBIE MYLES.

Huell: FROM CALTRANS.

AND THIS IS WHERE SHE WORKS EVERY DAY.

[CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION AND FRIENDS OF NCI] [CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE --www.ncicap.org] Announcer: VISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.