I have for many years been interested in a number of aspects of architecture. Primarily these consist of a fascination with technology, and a technology that doesn't shout at you, a technology that is going on behind the scenes, that does all the things that one looks for in today's world, without the sort of over—expressive thing that seems to happen in a lot of architecture. The idea of quiet technology for me came about when, in the 60's, I was part of a group in London called Archigram. We were a collection of six people who got together because of our similarity of attitude and our view of architecture — to talk about things and to publish a magazine. This magazine eventually became a vehicle for our projects and for our friends' projects, and was sent out all over the world. The prime thing that came out of this was the need to talk about your subject. It seems to me that many practising architects hide themselves away and get cloaked in their work and never get to talk in theoretical terms about what they're doing. And Archigram as a group did . this extensively. Although the group no longer exists as a practising element, it still obviously exists in conversation.

From this period, around 1967/68, is this project which I call 'tuned suburb' It was made to be shown at the Milan Triennale.of'!68. It took the thesis that it was possible to put into the existing environment a new, strange, slightly magical architecture that somehow could exist shoulder to shoulder with the Georgian architecture, or the speculative architecture of '68. It seemed to me that it was possible to make this coexistence work and I was interested, although I guessed this would slightly argue against my own thesis of a quiet technology, because, at this period, the technology seemed to shout at you; and I was as guilty as anyone of this; the sort of love for the imagery some— how took over.