It looked like an agricultural frame, something you might grow peas up – a lot of wires and cables strung from posts over a space the size of 57 tennis courts. It was actually built to study radio emission from quasars. I built the prototype and then six of us took two years to build the real thing.

I decided that my attention would be in the dining room. I haven’t cooked in 28 years at Chez Panisse. ... I didn’t intend to be out of the kitchen. ... Now I’m in a different world and I contribute to the collaboration of the kitchen and I’m always working with a group of colleagues who inspire me, but I really miss being actually in the solving of the performance, that effort to really come up with dishes that are delicious and right.

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.

Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I’ve got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish – they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

You called it vision, I call it analyzing what my strengths were. It just so happened there was no market whatsoever for my strength, unless I was interested in becoming a show dancer, for which I tried, but I’m not tall enough. Also, when I auditioned for the Radio City Rockettes, they said, “We love your fouettés, but can’t you smile?” And things of that nature transpired between me and a commercial future. So, I managed to find a way of subsisting in the beginning by doing odd jobs, Kelly Girl temp work, selling perfume at Macy’s, and any and everything to be able to sustain studying and beginning a career with a group of dancers who were willing to devote five years, really, of their lives to me, working very seriously, with complete commitment, for not a penny.

I already knew this, because I had been studying classical ballet for a long time. But a lot of people insisted on a wall between modern dance and ballet, that the two disciplines were totally separate, and if you did one, you couldn’t do the other. I’m beginning to think that walls are very unhealthy things.