Tim Ross

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.

Susan is the sort of rock.

She worked actually for so long in the practice with him

And so many of their journeys and their travels and their visits to craftspeople all over the world, whether it's to a tilemaker in Japan or an Italian ceramicist or a glassblower in Murano in Venice.

Susan's there.

She's part of this.