I have always been fascinated by the idea of creating a complete and immersive environment through the use of a single material. Genesis is an exploration of this and a taste of the essence and ambition of my work. Windows, doors, structure and seating fuse – like a giant piece of architectural furniture — expressed as a series of timber frames that work together and through compression, provide the overall structure.Q. You’ve designed homes for both artists and collectors, which is quite a collaborative process. Do you enjoy such collaborations? Can you describe the process?

I often collaborate with artists, collectors and curators — whether on the design of exhibition spaces, their homes or by including artists in the core design team. The driver is always the cultural and creative discourse that extends far beyond the buildings, themselves. I believe that this broad cultural base generates work that is socially dynamic and more absorbing.Q. What traditional architectural materials do you particularly enjoy working with (i.e. glass, bronze, wood)? What new materials?

I pay great attention to materials and my work is often distinguished by its eclectic palette. I very much enjoy working with wood – Genesis is a good example of this —and we are also exploring the use of bronze on the façade of the Smithsonian’s National Museum of African American History and Culture in Washington — a historical reference to African American craftsmanship. Materials can be one of the most emotive tools. New materials are equally as powerful as traditional materials. It is often the juxtaposition that offers a unique perspective on composition and materiality.Q. Tell us a bit about the National Museum of African-American History and Culture.

This project is extraordinary on many levels and I feel honored to be working on it. Like much of my work, our ambition is to create a widely democratic and inviting space for Washington. I see the idea of making a museum as about making a public space, not just making a public building.

The Museum of Contemporary Art in Denver is unique in its organizing principles and also in its use of materials.

MCA Denver was not only my first American project but also my first major museum project. It has great significance for me. I had long been invested in the art world – through collaborations and having many artists as clients — and this was an opportunity to become further involved in that dialogue. To build a facility that would contribute to the discourse and explore the typology, was extremely compelling.

I wanted to continue the trajectory of the discourse on what a museum could and should be and to establish a kind of co-authoring relationship with the art. There are a series of spaces that are crafted for different art practices and we tried to encourage a sense of intimacy with the art rather than the feeling of trawling a giant archive. There is also the relationship with the city, through the roof terrace, view corridors and public spaces.

The building is also like a mini-version of the city. You never go from one exhibition space to another: You always come out into a kind of street and then you meander into another exhibition space. The way in which you are seeing art is almost like being in a little village or little town.Q. Your work is modern, yet it draws from a variety of influences. Can you discuss some of these influences, such as traditional African architecture and craft?

I draw inspiration from many sources. I am a British-Ghanian architect and I borrow much from this heritage. I was educated in the UK – so my practice has also been informed by this training. Every project follows a unique conception and sometimes the influences can be quite literal – or alternatively the connections can be less linear. The Smithsonian project is rich in literal references – such as the Yoruba sculpture, the traditional African American bronze craftsmanship and the idea of the porch. The Moscow School of Management, however, was less directly inspired. There were various [influences] — from my research project in Africa to Russian art history.