In an interview with Louisiana Channel, Liz Diller, co-founder of the renowned architecture firm Diller Scofidio + Renfro, reflects on her unconventional journey into architecture and her innovative approach to design. Starting her career with aspirations of being an artist, Diller never initially intended to become an architect. Her artistic background, which included painting, sculpture, and filmmaking, continues to influence her work today. What drew her into architecture was a combination of curiosity and practicality, driven in part by concerns about the viability of a career in the arts.
Diller’s design philosophy is deeply interdisciplinary, as she views architecture as a field that requires far more than technical skill. She describes the role of an architect as multifaceted, encompassing a variety of disciplines and mindsets. To her, being an architect means being “a mind reader, an archaeologist, a psychiatrist, a dreamer, a poet,” and even a politician. This perspective highlights the complexity and humanity involved in her design process, which engages with the history, culture, and emotional resonance of spaces.
Her skepticism toward the traditional role of architecture, which she initially saw as a “corrupt profession” dominated by men and wealth, changed over time. She admits that early on, architecture did not seem intellectually stimulating or aligned with her values. However, as she became more involved in the field, particularly through independent projects and public space interventions, Diller discovered that architecture could, in fact, serve as a medium for critical thought and social commentary, much like the art forms she had previously worked in.
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One of the pivotal moments in Diller’s career was her realization that architecture could be more than just a technical practice; it could be a form of spatial storytelling. She explains that every project is connected to the history of its location, and architects must consider the cultural and social context of the spaces they design. This respect for memory and place is a core component of her work. Diller emphasizes that architects are not “landing from outer space onto something brand new,” but rather, they are entering into a dialogue with the past while creating something for the future.
Her work on the High Line in New York City exemplifies this philosophy. Originally an abandoned piece of infrastructure, the High Line was transformed into a public park that engages both the city’s industrial past and its future as a hub for urban development. Diller and her team sought to preserve the character of the overgrown, forgotten space, turning it into a living, breathing landscape that invites visitors to explore New York from a new perspective. The project was not just about creating a park but about allowing people to experience a hidden, raw side of the city.
Diller’s career demonstrates that architecture can be a powerful tool for societal change. She sees the role of the architect as a guardian of public space, responsible for protecting the interests of the people in a city often shaped by private developers and commercial interests. Her focus on creating public spaces that engage with their environment, rather than imposing on them, shows her commitment to fostering human connection through design.
Ultimately, Diller’s work bridges the worlds of art and architecture, and she continues to challenge traditional boundaries in both fields. Similarly, architect Andrés Jaques discusses architecture’s role in “shaping society” during his interview, expanding on the creative potential of architecture to intervene in reality and reconnect all elements of the environment. On the other hand, Yasmeen Lari encourages new definitions of the architect themselves, rethinking the architecture industry to address social disparities and resource deficiencies.
