There are some very similar moments in the early work where the focus was on drawing, abstraction and fragmentation. Then it moved to the development of ideas. Lately it has become what architecture should be, which is more fluid organization. There has not been so much 'a change' but 'a development'.

It was such a depressing time. I didn't look very depressed, maybe, but it was really dire. I made a conscious decision not to stop, but it could have gone the other way.

Two years ago I focused on one apartment to see how many variations you can come up with in a given space with the same parameters. I would work on this repeatedly for days and you see that there is maybe seven hundred options for one space. This exercise gives you an idea of the degree at which you can interpret the organization of space, it is not infinite but it's very large.

In terms of form, all the projects interest me equally, although there are obviously large differences according to the scale and process of each project.

Indeed, our designs become more ambitious as we see the new possibilities created by the technology of other industries.

I always thought I was powerful, since I was a kid.

Malevitch discovered abstraction as an experimental principle that can propel creative work to previously unheard levels of invention; this abstract work allowed much greater levels of creativity.