I had spent my junior year abroad in Denmark, and in an architecture studies program, different school. Yale doesn’t have a junior year abroad. In fact, you have to tell them that you’re going abroad to study something they don’t teach, which is, they didn’t teach Danish, so I could — because I love going into a culture, if I like the architecture. And I love Scandinavian design. So boom, I went to Denmark. And one of the very first projects, we were all given different segments of Copenhagen to study. I was given this area called Norbrow, which included this enormous park, probably half the size of Central Park, that was also a cemetery. Because in Europe spaces are so tight that you, you have multiple uses. So your cemeteries are habitable, I mean, they’re parks. People are walking through, people are strolling through. And I think it was very interesting. And then, as I went through Europe that summer, I went to Père Lachaise in France. And it was just one of those things. So when I came back to Yale — I don’t know how this conversation came up, but we all — there were a few of us that thought a course as our senior seminar that focused on the architecture of death essentially would be really interesting. And what does that mean? It’s like, God, at the time the reporters had a heyday with it. It’s like morbid curiosity. It’s more like how humanity deals with mortality in the built form.