I would say that the writing of Delirious New York had one major “aim”:
I wanted to construct—as a writer—a terrain where I could eventually work as an architect.
I was trying to de-emphasize the artistic part of being an architect and describe a role that was much more concerned with the intellectual issues, where other interventions were possible and therefore, by definition, could not be done through drawing.
I would say that almost at the beginning of every project, there is maybe not writing but a definition in words—a text—a concept, ambition, or theme that is put in words, and only at the moment that it is put in words can we begin to proceed, to think about architecture;
The words unleash the design.
All of our projects, or our best projects or maybe our most original projects, are first defined in literary terms, which then suggest an entire architectural program.