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

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.

The obsession was so real and so prolonged. Sleeping was kind of like taking breaks from continuing the obsession.

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.

I think of architecture as language, and I look within the intra-communication between architects.

When I would present my work as a student, often I would hear, "Your project is too formal" - it's too form-based; it's too form-driven. Which is kind of shocking for a visual practice, for someone to say something discouraging about a focus on an exploration of aesthetics.

Unlike sciences, literature as art relies on societal acceptance of a certain vocabulary.