[…] This is architecture, a roller coaster that goes up and down all the time with scale, clients, institutions, communities, changing teams and collaborators, and having fewer or more projects. […]

[…] What we do with architecture is very important because construction is one of the most polluting and aggressive things for the environment. So how do we build today? What is important? How do we do it? […]

[…] 15 years ago, it was all about starchitects and spending everything you could and who could show the biggest building. And today it’s the opposite. That’s why I think Europe is looking to these other countries, to what is called the Global South. We’re not the Global South exactly, but they call us that. It’s about looking again to the lockout, to the artisans, to the basic knowledge that has been lost, but seeing it in a contemporary way and transforming it into something else. […]

[…] I’ve always been very moved by Tadao Ando. I was obsessed with that notion of how to treat emptiness. That guy comes in and says that architecture is also space. And that space, it isn’t empty. In fact, it’s the projection of your brain. All your ideas need space to be expressed. […]

[…] Le Corbusier, who established very reassuring foundations: you have to do this, this, this, and this, and you’ll be a good architect. And that’s what he did. But behind all that, at the end of the day, he was a totally crazy artist who was capable of creating the unthinkable, the unexpected, the artistic. He took those two worlds and created a great explosion: Chapelle Notre Dame du Haut in Ronchamp. It’s incredible. […]

[…] Adolf Loos because of the Raumplan… Each room must match what it is used for. And if the exterior ends up being aesthetically monstrous, it’s not a huge problem. […]

[…] AR
I’m reading a lot about architecture at the moment. We did a couple of projects with Martine Rose last year, which was inspired by so many different architects like Rem Koolhas, Balkrishna Doshi, and also Isamu Noguchi. I’m looking backwards a lot at some of these 20th-century artists at the moment, which is divorced from the current design industry I suppose. […]

[…] ‘Paper architecture’ became an important reference. I was exposed to architects — some new, and others that I had studied — like Superstudio, Archigram, Zaha Hadid, Rem Koolhaas, who were all working on immaterial and hypothetical projects that took the form of books rather than buildings. The ‘little magazines’ from this period showed me how graphic design could play an essential role in cultural discourse. […]

[…] Architecture is still a very important discourse. Architecture, like graphic design, is very porous. Anything can be graphic design. Many of the architects I know or admire essentially produce knowledge: exhibitions, books, and ideas. […]

[…] OK
There’s a lot of questioning going on of status quo at the moment, and that can only be a positive thing when it comes to the potential for creativity. That’s the most optimistic thing. There are a lot of fashion projects that are starting to do that, and also we see developments in the way architecture’s being practiced and questioned. Architecture in many ways got hijacked by property developers for so many years, but in many cases it’s really taking on a more cultural, social, political role now, at least in our viewpoint. And that also happens in fashion, and I think in art, too. It’s a fertile time I’d say […]

[…] We are architects, but for me the interior is as important as the exterior. It is so easy to fuck up the space and that’s what I’m trying to protect. The positioning of furniture, the choice of furniture, the furnishings: they are really, really important. […]

[…] For me the test of architecture is that, when you walk in, you will be moved. You can see people physically change when they enter a space. […]