I know some people are going to say: "Hey! That's Dan Flavin's act. Why in the hell is Irwin doing a Dan Flavin? Why is he suddenly so inconsistent – fluorescent one day and Cor-Ten the next?" The key to all of this is that we have to examples what we mean by consistency. And here the critical question is: "what do we use to measure consistency with?" If you measure consistency in terms of material, or gesture, then I will be found inconsistent. But, in all of the recent pieces and proposals, if you go to the actual site and look at it, you will find that the solution is absolutely consistent on the grounds within which it responds to its environment. This in turn is consistent with my development of the implications implicit in non-object art.
What of machines and prefabrication? How do they compare?
Well, the machine has its limits. We, using handcrafted methods, do things that machines cannot do. Of course, it's not fast like a machine. And in complicated areas like here, things wouldn't go the same using a machine as it would by hand.
We use numerous variations of all these connecting and splicing joints. Using a machine, [the wood joints] can all be made uniform, but really, we need to consider whether that's a good thing. It's better to make each mechanism and joint by considering what's suitable for each unique condition.
Problem: Buildings, and especially houses, with a graceful transition between the street and the inside, are more tranquil than those which open directly off the street.
Solution: Make a transition space between the street and the front door. Bring the path which connects street and entrance through this transition space, and mark it with a change of light, a change of sound, a change of direction, a change of surface, a change of level, perhaps by gateways which make a change of enclosure, and above all with a change of view.