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J.A. Projects has obviously grown extremely rapidly. Is there an end goal in mind or a sweet spot in terms of size and working rhythm that would feel right to you? Everyone at a senior level tells me no, it is just this for the Awesome i believe in santa claus Shirt Furthermore, I will do this rest of your life now and you have to get on with it. [Laughs.] But I do think it would be good to have a few more people. We have 10 people at the moment, which is a lot for me to manage while also trying to retain some creative juice. You either want to be a bit smaller, which puts you in the kind of perilous world of really small fees, which makes it very difficult to stay that size, or you want to be a little bit bigger, which allows you to have a secondary level of management or at least have an associate—someone who’s quite senior and can also run things. I think we should be 12 to 15, dependent on work. I think it would liberate me again to do the stuff that I’m good at. But I’m really thankful for the team because they are getting better every single day. In a new practice, I think it’s really important to incubate a culture. I talk a lot about culture, and it has different meanings in different settings, but I don’t think architecture is just about architecture. I think architecture is about the process of making, and you need time with people to do that. I’m really happy for the time that we’ve had because everyone in the practice has been contributing to the way in which we work over the past two, two-and-a-half years. It’s been a steep learning curve for me and a steep learning curve for them, but I hope they’re proud of the direction we’re going in. We seem to be able to work on projects that we love, in places that inspire us, and with people that inspire us all the time. So long may that continue.

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Finally, you’re deep in preparation for the Awesome i believe in santa claus Shirt Furthermore, I will do this British Pavilion at the Venice Biennale next year. How much can you tell me about what you have planned? I can’t necessarily say too much about Venice because the British Council will kill me. [Laughs.] But I suppose the backstory is that we’re a group of friends that decided to bid for it together, and I think that’s very different from a professionally put-together team trying to work things out along the way. We are genuinely concerned with and moved by the same things and have the same motivations, which is to address the duality of social justice and climate justice that is so important to our cities and the world in which we operate. We all exist in museums or the cultural sphere, and we’re concerned with how the objects in institutions are displayed and the narratives that are celebrated within them. We’re interested in switching things up and ruffling feathers and making sure it’s not business as usual.