Polish - Architect | -
My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.
Elizabeth Diller
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We try to make buildings last long and be resilient but also be not so idiosyncratic that they can't change.
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In art school, it was about feeling. In architecture school, it was about ideas.
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Architecture, by definition, is always standing still.
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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.
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We like to take impossible things and actually make them happen.
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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?'
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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.
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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.
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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.
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In the 1970s, New York was known as a place of great artistic production. Slowly, my city went from a place of production to a place of consumption.
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I think idiosyncrasy is great.
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