I feel particularly connected with Grand Central, not only because it was the gateway that I came through when I commuted with my dad into the city when I was young, but I was also there when it was being renovated—and that kind of represented the point in my life when I started coming to New York on a regular basis. It was a several year process, and a huge transformation from how gritty it was, but the biggest impact was the ceiling of Grand Central, which is beautiful and has that whole astrology theme to it. Now it has all the stars and it's very beautiful—but back then it was black. All of the stone was jet black, and as they started to clean, this painting, this beautiful green ceiling emerged and the space became a lot brighter. It was a real renaissance for this building—and I got to be part of that. They left one little corner of Grand Central ceiling the color that it used to be from cigarette smoke and the coal and the brakedust. Grand Central is just this wonderful space. I mean, my parents are architects, I work in architecture—buildings are a big, big deal for me. And having a space that is both public, but also can feel personal… It's sort of this emblem of what New York is as a gateway, as a port, almost like the Statue of Liberty. It's a really beautiful symbol of "Hey, welcome to New York! Isn't this an awesome building?" The food market they have there is fantastic, the information booth is great—I consider myself a born-and-bred New Yorker and I still go to the information booth all the time to ask "Where's the Whitney? I've forgotten." It's for every day New Yorkers, or tourists, it's everyone's building.