As a kid I learned notions of art and notions of not having any money.

It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.

I like Richard Serra sculptures too but I wish they had a goddamn hot dog stand inside.

[My early performance work] started by being the activity of a person, any person, like any other - but once that person became photographed it became a specialized person, the object of a personality cult.

Any time you do something, you make decisions about time and space. I wanted those decisions to be out of my hands. I could be dragged, carried along by another person, I could be a receiver. I could be the agent of the overall scheme, but I didn't want to be the agent of the particular action. I could make the ultimate decision that my space is going to change now, but I don't know where it's going to go.

I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer.

Architecture is inherently a totalitarian activity. One thing we hate about it is that when you design a space, you're probably designing people's behavior in that space. I don't know if we know how to change that, but our goal is to make spaces for people rather than people being subservient to spaces.