With the digital order in the ascendant, massive transformations have occurred in nearly every aspect of our lives. These have triggered a renewed interest in the obscure and the arcane, low-tech and "slow" enterprises, while at the same time accelerating the trend toward devices and environments defined by digital technology. However, like it or not, the human body is an analogue device. We can neither see, hear or touch digital information without a prosthesis—a screen that translates a stream of digital Xs and Os to produce an image, or a speaker cone driven by an analog signal derived from these Xs and Os. Our world, it turns out, is unremittingly analogue. We see that the glass is half empty and intuit how long it will take to fill it. We note the size of a container, assess its structure, and anticipate that it is either heavy or light. We do this with rooms and spaces, with staircases, chairs, drawers, and windows. Our first-person encounter with the world around us, unmediated by interpretive devices, defines our experience, and will, we suspect, well into the foreseeable future.

We embrace the digital revolution. Its impact on technology, design, and lifestyle cannot be overstated, and we are mesmerized by the degree to which it promises to liberate architecture from constraints that originated with the repetitive order of the industrial revolution. Promising speed which was unthinkable in the proto-digital world of Morse Code and the telegraph and accuracy beyond that attainable with the protractor and yardstick, digital tools can accomplish in seconds what Eiffel's draftsmen labored endlessly to produce. Yet, with all that power, digital tools and systems do not enable us to think more profoundly about the merits of our work. It is important, above all, to distinguish the physical reality of a building, an installation, or an object from the means of its conception and realization. For us, the highest value rests in the way disparate materials are assembled to form a harmonious whole, or the manner in which an entirely new material technology finds its place in the hierarchy of spaces, geometries, and textures that frame experience. Our work has its roots in experience, rather than in any sort of formal principles or processes—digital or otherwise. Governed by the eye of the viewer and the dynamics of motion, our aim is to design spaces that impel physical interaction, injecting users into environments that re-animate the senses.