13日星期五，在嗡嗡作响的第十封文版本中的近月亮下nycxdesign，该市的Cognoscenti聚集在休斯顿街的安吉利卡电影中心进行挤满放映。Hubbub的原因（由PR公司编排）是毛，，，，a new记录about legendary designer Bruce Mau by Austrian filmmakers (and twin brothers) Benji and Jono Bergmann.毛讲述了设计师职业的故事，从他在加拿大萨德伯里的采矿小镇的成长到在Pentagram的任职，再到他担任Rem Koolhaas的合作者的突破性角色S，M，L，XL，the landmark architecture book/brick published in 1995. Mau’s abilities landed him increasingly large-scale commissions: branding work for Coca-Cola, a redesign of the processional experience within the holy city of Mecca, and a reimagination of the entire country of Guatemala under the slogan of«guateamala！（最后两个项目还没有实现。）这种愿景为他的巨大的变化展览 - 安装在温哥华，多伦多和芝加哥 - 并导致了巨大变化网络的妻子Aiyemobisi“ Bisi” Williams的创始人，毛全力以赴。（这多伦多设计办公室以他的名字命名保持活跃。）
在电影中出现的Bjarke Ingels在放映后主持了问答。早些时候，他在附近的Poltrona Frau陈列室的事件前接待处下车。Ingels穿着一件太空的金属金色外套，迎接Mau，穿着全黑色，除了闪亮的蓝绿色鞋子外。包括毛毛在内的手机出现了自拍照和快照。Mau可能是当晚的明星，但Ingels是它的淀粉。
围绕毛的24 Principles for Designing Massive Change，，，，这部电影展示了他的超级英雄野心。很明显，毛是一个有驱动的人，他将自己的心脏和灵魂投入他所接受的每个项目。他不再仅仅对变革感到满意，而是迫切地努力创造大规模的行动。如今，Mau似乎对设计行业不感兴趣，但似乎致力于设计作为可以改变社会的交流手段。
在问答期间，Ingels谈到了MAU对他的影响，并解释了S，M，L，XL在他在建筑学校的第一年中出来。他开玩笑了，早年BIG“stole a ton of shit” from Mau’s office, including a Christmas party PowerPoint presentation and the use of movable pinup boards. “[The boards] tend to make the studio look a lot more messy, but it also means that you can be constantly surrounded by all of the [office’s] current knowledge. It’s always there as evidence, and it attracts conversation and criticism and other spontaneous insights,” Ingels said. Perhaps more substantively, his Masterplanet scheme to redesign the earth seems, on some level, to be indebted to Mau’s巨大的变化项目。
毛是伯格曼兄弟（Bergmann Brothers）一起制作的第一部电影，他们也受到主题的影响。毛毛的原则之一是：“想像你迷失在森林中”；兄弟俩认为它是他们今天仍然使用的创造性挑衅。Benji甚至引用了Mau对设计师作品的哲学定义：“设计是随着时间的流逝的受控释放。”
Despite his stature as a visionary, Mau has also contradicted his rich insights. Early on in his career, he received an invitation to redesign MoMA’s graphic identity, but turned it down, saying that nothing could be better than the iconic word mark set in Franklin Gothic. Reflecting on that decision at the event, Mau said that his “preference is to do nothing. If I can get away with it, that would be my advice—it’s usually not possible, but that would be my preference.”
对话最终将设计变成了系统的企业。这对Mau来说是有问题的，因为“我们发明了这个想法，即如果我们无法在系统中解决它，我们将把它放在系统之外，我们将其称为外部性。”他的榜样是你车上的排气。这是一种外部性，因为其他人处理其后果。毛说，这不再起作用。“我们非常有意地以这种方式进行设计，它使我们能够在世界上做绝对可怕的事情。您不能说，“这不是我的问题，这是您的问题。”这是我们的问题。”对于Mau来说，需要的不是改变，而是动作。
人群充满活力，涌向休斯顿街。一些人降落在一家Soho Penthouse的一场派对上，其两个玻璃折叠门被扔向一个私人露台，俯瞰着鹅卵石街道，可欣赏下曼哈顿的景色，这是一个令人愉悦的全景，可以在吸收点心的散布和开放酒吧，同时考虑到。在经过两年以上的大流行预防措施之后，这一刻感觉就像是恢复正常的时刻，尽管被当晚的主题所解决的改变了世界的危机。
Deep into the merriment, Kyle Bergman, founder and director of the建筑学& Design Film Festival,rallied the revelers around Mau to solicit additional words of wisdom. Earlier, Mau had revealed that part of his current work includes the task of redesigning democracy. Braced against a marble tabletop and illuminated by tea lights, he recounted the clear threats posed by the rise of conservatism worldwide and the need to respond with antifascist efforts to reach those who have become disillusioned. Design, in the service of good politics, could help tilt the balance away from uglier contemporary forces. For a moment, the clouds parted, and the enormousness of the challenge—nothing less than the Fate of the World—stood before us. At least, until the speech ended and party talk resumed.
