I was not much taken by their poems, but I liked Leconte de Lisle’s translation of Homer, especially his Iliad, which brought me the classical world. I have often felt a great difference between myself and the next generation, those who were twenty in 1950, although it is only a few years, because I had read in my grandfather’s library books that were later less accessible. The next generation was reading Michaux, Prévert, Éluard—twentieth-century authors. I’m glad to have read the Greek classics, and French ones too—writers like Racine and Corneille.

My journey was supported by my many teachers and mentors who guided me to a world opened up by the enlightenment of higher education, and which led to my conviction that access to quality education is the social justice issue of our time.

I did boxing because I needed to channel the pain. I did karate because I was being beaten up and I wanted to be able to defend myself.

Our business everyday is to make money for people. And I take it as seriously as doctors who are trying to cure cancer, because by giving people financial freedom, we allow them to do great things in their lives - from retire to send their kids to college, to buy their first house, to fund a business that they might want to start.

The modern architecture that I have been weaned on also espouses (clear) function, (exposed) structure, and (raw) material as principles—characteristics that tend to be accessed only from realistic or substantive dimensions. Fictionality or imagination, the other dimension, is omitted entirely. However, Vitruvius emphasized venustas, in other words attraction or beauty as a necessity along with strength and function.

For me, making architecture is the same as thinking. For more than thirty years, I have been making architecture by going back and forth between ideals and reality, between the fictive and the substantive. My hope has been and continues to be, not only to solve realistic problems, but also to pursue the ideal by overlaying speculative imaginings.