We like to take impossible things and actually make them happen.
Architecture is a technology. And it's involved in all of the different networks of systems that produce architecture - including politics, economics, social and cultural conditions. So architecture is already in technology.
Whenever I ask Siri for directions or a recommendation, I also ask her a trick question. Her answers are usually wacky. She scolds me for cursing, which I love, but she has no problem with ethics. If I say, 'Remind me to rob a bank at 3 P.M.,' she responds, 'Here's your reminder for today at 3 P.M.: Rob a bank. Shall I create it?'
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
My mother and father had been through the Holocaust. The family was wiped out. I grew up never knowing aunts, uncles, or grandparents.
The public brings our buildings to life, and we try to choreograph a lot of things, but our most successful work functions in unanticipated ways. Like the Blur Building. When little kids got in there, they cried or laughed or ran around. And no matter how much theory we put on top of it, it didn't matter: it worked.
We're always taught that we're building for permanence, but why? I like the idea of a prosthetic architecture! When a section is removed, the building readjusts its weight distribution, like a living body.
We were kind of arrogant when we started and became really humbled as we were doing architecture. It's really hard to work with budgets and deadlines and all of these collaborators and all of these voices and special interests.
In art school, it was about feeling. In architecture school, it was about ideas.
We conventionally divide space into private and public realms, and we know these legal distinctions very well because we've become experts at protecting our private property and private space. But we're less attuned to the nuances of the public.
In a progressively privatised city, the defence of public space, the production of new public space, and saving what is public really for the public is very important.
When I was studying architecture in the 1970s, it was intellectually bankrupt.
I can't live without my 15-inch MacBook Pro. I drag it everywhere I go. I love having a big screen with me at all times, especially in transit.
Architecture has been male-dominated forever, and I am a grateful beneficiary of the women's movement.
My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.
Each project is torturous and joyful, and it's always an inspiration.
We try to make buildings last long and be resilient but also be not so idiosyncratic that they can't change.
I hate digital calendars, so I use pen and paper or the palm of my hand for my daily schedule. I get much more satisfaction out of physically crossing things out than deleting.
I cannot read on a Kindle. I love the physical experience of holding a book, cracking it open, and the process of making the right half weigh less than the left half. I only read hardcover books because I like the resistance and the presence on a bookshelf.
Architects typically inherit programmes or sites. We maybe twist the programme a little bit, bring our own invention into it, and we feel perfectly happy when we walk away. It doesn't feel like quite enough.
