I think I needed to really move past my first public work as memorialist, and be equally balanced. It's a bit unusual, to be working between the architecture, the art, and what I would say is a synthesis, the memorials - they're problem solving, but it's very symbolic. You get this triangle; I need to be balanced with those three. They're all equally a part of who I am. I love how different they are, and yet they're coming out the same thing, whatever it is.

Every memorial in its time has a different goal.

Math, it's a puzzle to me. I love figuring out puzzles.

I think I've always had an activist stance, yet at the same time, the other side of me - and this is where some people just don't get it, or they'd prefer it if the work was a lot uglier, a lot louder - I have this personality where I just want to put something out that's a fact and then let you interpret it. It's almost as if you might barely notice it, you might walk right by it, but you have to pay attention.

Warmth isn't what minimalists are thought to have.

Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.

For the most part things never get built the way they were drawn.