They were the great architects who have gone before. So they were architects like Le Corbusier, Frank Lloyd Wright. Of course, they were alive at the time that I was studying. But there were also, for me, not just buildings.

Well, I saw Mies van der Rohe and then I was introduced to Shiro Kuramata’s work and that brought me even further into this world. I’m interested in everything. I mean, Peter Zumthor is obviously very talented, he does interesting work — but I don’t study my contemporaries in architecture and design so much.

Well, my mom had me at 22 and my sister at 24. When I think about her trying to raise these two young girls in Manhattan, having grown up in an incredibly conservative family and her having a more progressive calling for a more liberal life… It was my mother’s bravery, and my mother’s pursuit of her creative life that made it possible for me to have the one I currently have.

No. Although I have to qualify that. Though he was, by jazz standards, a very square composer, he was, by musical theater standards, a not square composer, and he taught me to be less square. I tend to be square.

Then you have the clients. The care and feeding of clients is really one of the main obstacles, because you always have a client with some preconceived idea of what a house looks like, and all you want him to do is leave a check and go to Europe for a couple of years. Or leave two checks. But alas, life isn’t simple. If it were, more people would be better architects.

I don’t know. I know the ones that are the greatest triumphs, like the Dumbarton Oaks Museum in Washington D.C. that I worked on with the owners. It was a real collaboration and there was no budget, no money involved. It was just, “If we like that better, we’ll do it that way.” So I had total freedom and it was a simple project to build a little museum, and the owner and I worked together and it was pure delight from beginning to end and it came out very well.