In L.A. when I started doing my architecture, the first few buildings like the Danziger building got a lot of criticism from the guys I grew up with in architecture without naming them. I mean they were friends. The ones who are alive are still my friend. But they didn’t understand what I was doing, and it was just a little box so I couldn’t understand why there was so much feeling about it. And I didn’t know how to talk to them about it. I didn’t — I couldn’t get that kind of wrap that justified one thing or another. And the artists were making things. It was more hands-on. They were, you know, Larry Bell was working with the glass and I spent a lot of time in his studio with him talking to him. And he would take breaks on the guitar and sing. He’d make up funny songs. And Billy Al [Bengston] was doing some slick paintings. And there was no off-putting discussion. I mean it was pure. And I liked being with them. And I liked emulating them. If felt right for me.