Serendipity looks a lot like creativity, at least at a distance, and if I can tap into these ways in which one thing resembles another.

[Buckminster Fuller] started talking about it far enough afterwards, an audience that was far enough from when they - when the air flow and the Zephyr and these cars in the time period that were made by mainstream automakers. It was far enough in the future, far enough after that point that nobody really bothered to fact-check.

I don't know whether what I do is art. But making things out in the world and having as many conversations as possible.

The city is better because the city has an economy of needs and once you're talking about a city, maybe you can start talking about how you manage the climate of that city as a whole. Not by putting a dome over it but by more passive means that can potentially be put together in creative ways.

We're back around to [Buckminster] Fuller again. Back around to the recognition of patterns, which may be true or may not be. But nevertheless, have enough of a semblance that they're worth exploring. That, to me, is where my work begins.

On the other hand, the way in which that car fit into this whole very roundabout way of attempting to solve the problem of what - the problem that [Buckminster Fuller] perceived as being the cause of his daughter's death and meningitis. I mean how you get from your daughter dying from meningitis to making a car with three wheels and saying that it's like a bird and a fish. That really is amazing.

I studied philosophy in school, became disgruntled by the fact that it was a way to have a very interesting conversation with very few people about very few things in very narrow terms and yet still believed (and still believe today) that there was something that I was getting myself involved in when I said I wanted to study philosophy.