At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.

The work is flowing from an inner knowing of how things really are.

The fire was followed by a period of grieving and then by an incredible lightness, freedom, and mobility.

I think of moving as a kind of saving grace.

I felt it was part of the spirit of the whole program to do more than simply make an object.

The site I landed on feels much more isolated than it really is; it's almost magical. Within its limited radius, there was a whole range of the local ecology.

When I left the work world, I started designing my dream house. I dived into architecture and bought seven vacant lots. My plan was to build one house, move in, and build the next. If the next was better, I'd move in and sell the previous one - so on and so forth.

My private work is touched by this destiny of understanding that architecture and engineering have a social character and can serve the community.

When I work on sculpture, I don't have to worry about function. When I work on a piece of architecture, I must think about function all the time.

Barcelona is a beautiful city. I love the buildings and the architecture and always enjoy being close to that. It makes sense as an art person to work in places like that, it always feels nice and creative.

I've always been a good student, made good enough grades to do well, and enjoyed a lot of different subjects. It wasn't until I went to architecture school, though, that I really loved school work.

I never called my work an 'art'. It's part of show business, the business of building entertainment.