The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

The architecture per se isn't at fault. The more important factor, in my view, is the political neglect of these areas, which have essentially been cut off from other neighborhoods.

Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.

We live in an almost perfect stillness and work with incredible urgency.

Architecture is a hazardous mixture of omnipotence and impotence. It is by definition a c h a o t i c a d v e n t u r e... In other words, the utopian enterprise.

Why I talked about political correctness: the colonial is now such a major taboo that any achievement of the colonial period, or any generosity implied in colonialism, is again fundamentally neglected or fundamentally not recognised. That's crazy, because history is a series of layers, and you cannot say, "This layer I support and this layer I cancel." History is history and you cannot retrospectively manipulate it.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.