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you were in the competition for the stadium
of the Arizona Cardinals we thought that
was the ultimate commission for a football
fan. And yet you have never wanted to do
one since.
PE: Doing a football stadium is not doing
architecture. There is very little architecture
you can do. The rules of the game are stronger
than any program for any building. The model
of the colosseum, an oval shape, is really the
model for all contemporary stadiums.
CD: The architecture becomes the facade.
In Arizona you did those strange interstitial
spaces that emerged when you wrapped the
stadium with those elements that put the
vertical circulations outside the facade. But
Santiago and Berlin are your most signifi-
cant works, maybe also the Wexner Center
for the Arts, from the early mid-eighties.
Santiago breaks my heart. To be there and
see the activity that I saw, and the people
who are working there, and the number of
cars in the parking lot, and to be shown
the statistic that 50,000 people a month
are visiting the museum alone, just the
museum, is very exciting. But to think that
those signs are not enough to push the
project back on track in some way… Not
that it has to go back on track this year
or the next year, but there should be that
kind of thinking of “we are going to finish
this,” because it would be really important
for this place and this people. For me what
