Many artists I enjoy have a large body of work, and eventually the message is derived out from the sum of its parts.

I don't really know what's going to happen 10,000 years from now. We've been biologically modern for, what, almost 200,000 years? Let's go back to the cave paintings: I think the moment that someone landed a charcoal on a wall to describe reality, that's language already - that happened on a vertical surface, which, even though they didn't build it, somehow we could understand it as architecture because there's a cavity that separates the inside and outside. That's 40,000 years in the past.

In order for architecture to experience its ongoing evolution as a language, there has to be a lot of adjusted copies between how architects draw, think, engage bylaws and constraints.

Aesthetics is both politics and philosophy, a series of agreements and disagreements between subjective minds.

I think regionalism was a little easier before mass communication was made possible. This is not to say that regionalism doesn't exist anymore. I think it does.

Every time I traveled to a new city, I would learn about local heroes I did not know about, and I would learn about their very impressive contribution to their cities. There are nuanced senses that only people from the region can understand, and no amount of globalization can change that. It's almost like a maxim of a sorts, when you think about language, the way that people speak in a location. It does happen with architects, in terms of how they engage cities.

Architectural drawing is a language with conventions where the rules can be deliberately misused; a well-composed architectural drawing can both contain correct and incorrect arrangements of meaningful things.