In this episode, host Ana Miljački speaks with Lola Sheppard and Mason White of Lateral Office to discuss their work in the Canadian Arctic, architecture of expediency in rural areas, and the skill of deep listening.

Host Ana Miljački talks with Deborah Berke of New York City-based TenBerke about loving projects like children, striking a balance between reverence and irreverence, and measuring a project against a mission statement.

In this episode of I Would Prefer Not To, Ana speaks with Hilary Sample and Michael Meredith of NYC-based MOS Architects. Topics of discussion include the complex intertwining of work and life, playfulness and the publication of process, feedback between academic culture and the world of practice, and collaborative models.

In the premiere episode of season four, Ana Miljački talks with Germane Barnes about storytelling-as-design impetus, delivering on promises, and his skeptical relationship to emails, among other topics.

Ana Miljački speaks with Rodrigo Escandón Cesarman and Guillermo Gonzalez Ceballos of Mexico City-based practice APRDELESP about their case studies, the creation of architectural institutions, and designing appealing “spaces of encounter.”

In this episode of I Would Prefer Not To, Ana Miljački speaks with Adam Yarinsky, Stephen Cassell, and Kim Yao of Architecture Research Office about professional versus

Ana Miljački and Studio Gang founder Jeanne Gang discuss architects as the nexus of intersecting issues, advocating on behalf of animals as constituents, and growing one’s own building materials.

Ana Miljački speaks with members of the Mexico City-based group about the tumultuous nature of collective practice and a shifting paradigm in civic architecture.

Ana Miljački speaks with Ann Lui and Craig Reschke of Chicago-based studio Future Firm about expanding the role of the architect, absorbing risk, and how to respond when asked to do magic.

In the Season 3 premiere, Ana Miljački speaks with Annabelle Selldorf about how falling in love with projects can result in heartbreak, what it means to transcend style, and the limitations of typological experience.