Tim Ross

And that stuff's still at home.

He's still got it.

And he organises his collections of objects and remains and shards and remnants, like memories, which I think is beautiful because it's not minimalist.

I mean, this house is very, very, very well organised.

But it's designed to absorb things and stuff.

And I took a photograph from where we were sitting in the dining room.

The whole building is sort of embraced.

It's like a pair of open arms, isn't it?

And you sit in one wing and you look into another and into another.

And the kitchen had a bag in it and I think some remnants of somebody had made tea or coffee and there were some car keys.

All the usual stuff.

Yeah.

And in most homes, in most kind of beautiful architect-designed homes, that kind of stuff you want to clear away for the photography.

And I thought, it's actually so beautiful.

It just absorbed life.

And I think that there was a lesson there, I thought.

So tell me, when you talk about the craftsmen that you work with, and you work with a lot of crafts people and you respect, you collaborate with, right?

We do, yeah.

It's always fascinating to hear from you the story of the object, why it's there, how it came to be, who these people are, where on the planet they are, what they do.

But for you, is the narrative of the object and being able to tell the narrative, is that essential?