To me, Los Angeles and California and executive power are about big, open warehouse buildings. Tech companies are buying oversized buildings, because they project growth immediately.

If the person or artist doesn't touch it, and if the camera stays relatively far away from it, it doesn't really have to be real.

My approach is to 100 percent get the concept and the visual right. Get the client to love the space. Once they love the space, everything's possible.

There was a period there where I was like, "No, no, no, this is crazy. I don't want to take any more drawing classes and talk about what looks best. I want to study math and psychology and physics and all these nerdy things with computers." That was fun and great, but that didn't work out. At the end of high school, I was like, "Uhh, what's easier? Drawing is easier, I'll do that".

Once we have a nice, conceptual sketch and rendering and design approved, then it's really about pinpointing what's functional and what's not, because functional equals expensive.

These big Silicon Valley companies that are popping up are projecting growth skyrocketing in a few years. So they need a space they can grow into. Not so much in New York. Super conservative, super small.

I was a child of a single mother/art teacher, and a father who was an architect, so I've always been around the combination of art, fine art, and architecture my entire life.