The diagram of the house is a portrait of the family, a true portrait, whether it's sad or happy.

I'm thinking about the idea of poetic license. People say that about certain writers: "Oh, the grammar sucks, but it's just the poetic license." We accept it as being an art form of sorts: the incorrect rearrangement of meaningful things. Unlike sciences, literature as art relies on societal acceptance of a certain vocabulary. We're just making sounds out of our mouths if we don't both accept that what I'm saying has very significant meanings, and I'm accurately targeting what vocabulary I use and how I arrange each word.

I think architecture could be understood as the construction of realities, or the construction of worlds.

Morphology happens over time. It's not necessarily a bad thing.

The role of architecture, in terms of communication, is not going to drastically change either.

As a visual discourse, architecture requires trained individuals to work on the refined philosophical debates. School gave me the necessary training, and I've built on this based on my own aesthetics, as most do.

I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.