Interviewer: So the questions are really 00:03______ aaa, and, I guess may be start talking about, aaa,

the founder of the 00:12____, your practice, how you came to do, what influenced that thinking, how
00:23_____. I think I am more interested in why and 00:34_____ rather than it was (inaudible)
Interviewee: aaa when I was just preparing 00:49_____ trying to design the situation which was aaa not
coming into me umm. I started the office in 1995 and for me personally coughs I had for me that I was
going to be an architect for a long time, but I am one of those, that is not the same for everybody and I
certainly 01:55_____ that there is a right way then to approach for architecture. But for me, I thought it
for about it for a longtime, it had been on my mind but 02:10_____ and to certain extent out of that I
continued to be connected to architecture because it was the one discipline as opposed to profession,
the one discipline that I felt was mostly 02:50_____ with the way the that I saw the and I felt like I could
potentially make things in the world that represented the way that I saw it using architecture.
Interviewer: As opposed to or urr these are the things you were involved with.
Interviewee: In a sense it was it literally that simple, in a equation. As I continued my education and the
beginnings of my practice wise, the ambition to try to aaa is directly connected to making things that
that represented them was a real driver 03:50_____ foremost on my mind and aaa I came to believe
that the only way that I was at least going to test whether that could be a reality was to go myself on the
line and try to do it for myself on my own with my own practice. I think I was nave about that
fortunately because aaa being less nave, I think it would have been a harder jump to me aaa because it
was quite literally a jump, aaa it was moving from one world at the time at Franks office where because
of the culture and the structure that had grown up 05:20______ their office over the years, I was able to
use at as a tool to access almost anything, least to believe that I could pick up the phone and literally call
anybody and they would take the call because I was calling from that place, and instantaneously over
the course of one day moving from there to my own practice that equation completely changed. I think
actually we called Franks office and they did not who I was.

(laughs). aaa
Interviewer: You 06:04______ the same experience going around this

Voice interventions

Interviewee: I think it stems a lot from an ambition to see how much of you can be brought to bear in
an unique way, in an authentic way to work to make 06:43_____. aaa The other probably important
distinction and that is that often people try to begin practice by balancing that would teach them which
is especially for people who aspired to design, more controlled certain amount of design. I think there is
a sense aaa, there are few ways into architecture, into practice and one of them is teaching. I chose not
to teach, taught a little bit but not but not 07:06______ and focused primarily on practice because I had
grown out of the culture that was most familiar with trying to make ideas and build and by building
those ideas aaa but that was where the real consequence was. Beginning that practice, beginning to
setup the office, very early on was as much as design project as any of the buildings because it seemed
to me or I believed especially again from some of my experiences, again to some extent from what I had
learned, working in Franks office that likely, the most significant way that you can achieve ambitious
design is first and foremost by having a practice, aaa, a real foundation of practice that believes like you
do that ambitious things are possible, and are going to do everything they can do to try to make that.
The culture of developing the practice, I think is in many ways aaa the real design project, much more
10:00______ any single building and I do not want to _____ that does not mean that I have done it well
where we have been successful about that at all moments, but I think over time, we have continued to
grow, that idea, and that culture in the office hopefully to believe that that things are possible and that
is a huge pivot from the way that frankly a lot of the world thinks and 10:43_____ of the work of starting
to learn how to practice successfully.

Interviewer: Talk about clearing throat may be one or two, they could be projects, they could be
commission, they could be some changes in thinking whatever, like real inflection points that changed
or shaped or propelled the trajectory of the office, you know, after it was found between then and now,
you know, that really made you or the office, how it is you think about it today or what it is today the
success level of all those kind of things.

Interviewee: Well, inevitably probably the first of those points was beyond getting your first _____. aaa
There are few things, one coming out of, aaa and these are connected, one would be actually very early
projects at the ____ residence and the second one being using a modern art 12:11______. The reason I
say _____ early project and I think it was an inflection point, but in a particularly aaa from me, negative
way. The project, I was very happy with the project, it was very successful and it got an enormous
amount of publicity, because of very early project, it was in a show museum modern art called the un-
private house which was, I think you have over the last four year the most heavily seen show or
designed show 13:10_____ but I considered it, aa, we finished that project, we got huge amount of
press and great deal of visibility which I think is a young architect most times you believe that is exactly
what you hope happens at your first project is a smash hit aa but I was not ready for that. I was not
looking for that and what I realized very quickly was that aa what had been the more traditional that
many architects had taken which was the practice clearing throat may be successfully but in some
anonymity for a number of years, until in the years in the mid 1950s was always the thing that the
people said and to be able to develop in a deeper way aa were to translate into a deeper way what your
ambitions were into architectural form and for that form to be something that felt you need and felt
again authentic to you as an author that that opportunity was gone because all of a sudden everything I
made was visible and it was terrifying. I think that around the time, that was the need to me