The bones of my architecture are very much related to the structure, to the physical fact of how a building can stand up; it's also related to geometry and a certain understanding of the architecture in which there is a balance between expression and function.

I think it is important to build for people, and to deliver this message of hope: through good construction and a certain sense of progression, a better understanding of each other can be achieved.

The best is to go into a train station that I've built and buy a ticket. The guy in the ticket booth might recognize me, which is a marvelous feeling, but it might be that he doesn't and I go in like any other passenger, except that I enter with a critical eye, looking to see how it's held up.

You could say that I had become possessed, in the classical sense, by the art of the great architects of the past. And that led me to engineering.

To have the opportunity to be creative and clarify the nature of that creativity, there are definitely some long days, some 18-20 hour days with interviews or computer work, but I have a friend who is every bit as intelligent and creative as me who works at the mill.

When a writer is already stretching the bounds of reality by writing within a science fiction or fantasy setting, that writer must realize that excessive coincidence makes the fictional reality the writer is creating less 'real.'

We especially need imagination in science.

I certainly know there are people in positions of power in the business who lack imagination and, perhaps as a result of that, think of me as 'David'. But I wouldn't really want to work with those people, you know?