A few years later, Becker began studying industrial design at California College of the Arts, soon switching to architecture. Despite earning both his bachelor’s and master’s degrees in Architecture, he hadn’t planned to become a practicing architect. Instead, he saw the discipline as a chance to feed his polymath tendencies: “[Architecture was] a more holistic way to look at multiple design fields at once,” he explains, “to test the waters of multiple types of design practice.” He recognized that the ability to communicate ideas, verbally and graphically, is integral to good design across disciplines. Becker found that by studying architecture he was not only becoming fluent in different design languages—unsurprisingly, he had a sideline co-founding a boutique graphic design firm while in school—but that he was increasingly fascinated by the concepts that drove the designs. “I was finding a way to focus on the conceptual idea, my ideas and the ideas of others. I’m interested in the experimental practitioners that never built buildings and the conceptual projects that forced you to consider what the role of architecture is. [Projects] to stimulate the imagination,” he says, before lifting another of his prized objects from its shelf: a small, Soviet-era globe sitting atop a tiny radio; you rotate the world to tune stations.