Tim Ross

And isn't that good?

Yeah.

I mean, something we talk about is this idea that every experience for building, every alteration, everything written about a building, every picnic held in its grounds,

hear the stories it does become richer so there is that initial attraction that draws in that human experience that's generated through being curious how do you find the space the time to focus on the things such a good matter given because you're running a business it's a huge number of people a lot of families mouths you're responsible for how do you do it

There's a time when the whole of the architectural world is, you know, when the world of clients is demanding CGI walkthrough, you know, visualisations, fantastic renders.

You're working with, like, blokes in a shed somewhere, welding, and you're doing more of that.

You're focusing more on the craftsmanship, it seems to me.

Are you able to kind of happily let these things coexist?

I'm a young man with three kids and I want to kind of decorate my home.

I want to move, find somewhere architecturally inspiring.

Why should I invest in craftsmanship?

Why should I not buy that thing that's advertised on the internet that looks almost as nice in the catalogue?

It's in the collection.

It's in the assembly.

You put together the group of stuff.

And therefore when people, you know, when you get estates coming through probate and you see somebody's collection of objects being broken up and dispersed, it seems appalling because the value of the collection lay in the collection.

It was in the collective meanings of things and their variety.

Exactly.

You've also shown us one or two things today which have been gifts from people that you've worked with over the decades, you know, collaborated with.

Yes, because every time I've met John or stayed at his place, Susan has been there.