The idea of being in the desert is fundamental, but it's totally relative, and it's about that membrane: the way that one defines self versus the environment.

I think there's an interesting line drawn towards extreme environments, and the way I define extreme is through a sense of otherness. Or foreignness.

There's always a moment that tilts the scales of the project, and it's always different in every project.

The idea of being in the desert is fundamental, but it's totally relative, and it's about that membrane: the way that one defines self versus the environment.

I was approached by Neville Wakefield. I've known Neville for almost a decade, but we had never really worked together. We sort of threatened to work together on a number of other projects but never really did.

Sometimes I'm inspired by the material and sometimes there's an idea that speaks to a material.

When you're in [ Bahamas], it feels like a bunch of islands, with keys and things like that. It's an existential archipelago. It's funny, you try to escape who you are and where you're from, but it's always part of your social DNA.