I'm a private person by nature. I live in my brain half the time, not the world, and I'm not a natural negotiator. But I've learned to negotiate.
Find a place that you are comfortable with. Don't be afraid to make mistakes. Make a lot of mistakes.
So we can't go backwards, we can only go where the evolutionary trajectory is taking us and attune our ideas about ourselves and our existence to that course.
Do I provoke as a method of investigation? Of course. That's the essence of architecture. Do I do it with gusto? I do.
Architecture is a result of a process of asking questions and testing them and re-interrogating and changing in a repetitive way.
Architecture is the beginning of something because it's - if you're not involved in first principles, if you're not involved in the absolute, the beginning of that generative process, it's cake decoration.
For me the meaning of my work is much more fluid.
I'm not just influenced by the '60s - it's who I am. I grew up with Allen Ginsberg and Che Guevara. I flirted with various forms of communism when it was way out of style. It was this really strange and creative time in music and culture, and it was fabulous.
Architecture is the story of how we see ourselves. It is the architect's job to service everyday life.
Descriptions of my work depress me. They make me feel pinned down. Thom M
I have a preference for rough architecture, real, inexpensive, unfinished.
New York is this cacophony - a collection of radical differences, an agreement of non sequiturs. The diversity and intensity are startling.
Somehow, architecture alters the way we think about the world and the way we behave. Any serious architecture, as a litmus test, has to be that.
I'm interested in conflict and confrontation. Thom Mayn
So at a time in which the media give the public everything it wants and desires, maybe art should adopt a much more aggressive attitude towards the public. I myself am very much inclined to take this position.
So I am totally aware that when I defend the autonomy of art I'm going counter to my own development. It's more an instinctive reaction, meant to protect the private aspect of the work, the part I am most interested in and which nowadays is at risk in our culture.
I believe that artistic activities change people. You do effect change. I see architecture as a political, social and cultural act - that is its primary role.
Scientific reality is the modern human condition, and you can see that in the symbolic nature of my work.
We only exist in terms of how we think we exist. Meaning every cultural development is fabricated and can be fabricated.
I think all good architecture should challenge you, make you start asking questions. You don't have to understand it. You may not like it. That's OK.
I've grown up a little bit. I understand the importance of the negotiation. It is a collective act.
I don't know any architects that I respect who don't have their own voice. I think the difference between architecture and the other arts is your immersion in reality.
I've been such an outsider my whole life.
The multiplicity of ideas is what I'm interested in. Thom M
Who I am as an architect and the history of my work - that's clear to anybody who hires me. But I come in literally with nothing in my brain about what the building will look like.
Look around at day-to-day life for ideas, and it finds its way into your work.
In Paris, there has to be a presence. History becomes the most interesting when it's compared to the present. I mean there's a whole group of people that want to build new buildings that look like old buildings.
I lived in a state of rage from 12 to 20. Until college, I was beyond an outsider. I was a voyeur of life.
My buildings don't speak in words but by means of their own spaciousness.
You might say that when you step inside, you're entering a honorific space, but that's something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us.