Tim Ross

Was there a turning point in the practice's work where you think actually this is what we should do more of, where you've embraced craft...

For a start, the shape of it's an embrace, and it's a warm human colour.

It's a flesh-like colour.

So there's a tremendous appeal, a sort of informality about it.

And an informality also in the texturality of it.

Is that a word?

Yeah, texturality.

Texturality.

If not, I just invented it.

Yeah, I like texturality.

But the way, I mean, it's a deliberately rough-and-ready finish, isn't it?

it's a ceramic house it's made from terracotta clay it's as much as possible it's made from earth but the joinery as ever in your work is a place where you kind of you get millimeter perfect and you get there must be a tremendous satisfaction is joinery a is it indispensable could you imagine building a house without that very fine grain

Yeah.

I mean, equally, of course, there are those buildings that look great, as you say, as a profiler, you know, from 500 metres and you get closer and closer and the closer you get, the worse the building looks.

I mean, it can be detailed.

It's just that the quality of the detailing is really poor.

Exactly right.

Which is so disappointing because you can somehow just understand the intention but it's never fully – it's not worked through.

Yeah.

Which is, I think, unforgivable almost.