"In a project you bring all of these things together and it's like an amazing experiment, and it has a timescale, and it's provisional; every project is provisional, they're never perfect or complete, and of course you finish the project and you pick things up from it and you take them to the next project, that's fine - maybe we don't do that enough - but it's not moving in a line, but kind of like that, like tentacles, feeling their way through reality, and making a project forces you to engage with reality."
The West London synagogue in Bayswater has a new nursery and playground. Designed by Andrew Houlton and Stephen Taylor, they're far removed from the garish iconography more usually associated with nursery schools.
Brasilia was built for cars not people. Ever since it was inaugurated in 1960, the city has provoked perennial criticism: that the $2 billion cost of building it in three years nearly bankrupted Brazil, which continues to struggle with debt; that it is a beautiful, sterile, cultural void that no one wants to live in; that a pristine, white monument to European-influenced modernism is an anomaly in vibrant, colourful, multiracial Brazil.
At his recent RIBA lecture Aaron Betsky identified a key paradox of our architectural age: the desire to be modest and sympathetic to the point of monumental heroism.
Amid some controversy, the second Valencia Biennale tries to answer local concerns about plans for the city.
"Peter Saville drives a Skoda." The appalling idea scared him off of renting one when it was offered in place of the VW Polo that he'd ordered. "I know everyone says they're really good cars now, but I'm not gonna be in a test group for them. It's still a Skoda," he says, terrified that people would think he drove one.