Everything man is doing in architecture is to try to go against nature. Of course we have to understand nature to know how far we have to go against nature. The secret, I think, of the future is not doing too much. All architects have the tendency to do too much.
But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.
Nothing is as dangerous in architecture as dealing with separated problems. If we split life into separated problems we split the possibilities to make good building art.
In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.
Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
I'm often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That's impossible. And today nobody expects architects to have these grand visions any more.
In any architecture, there is an equity between the pragmatic function and the symbolic function.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.
After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.
After my schooling, I was not thrilled by the idea of treading the usual doctor-engineer line. I wanted to pursue something artistic, and I was good at drawing. The options before me were architecture, fashion, and interior designing.
One of my favorite vacation places is Miami, because of the people, the water and the beach - of course - and the architecture on Miami Beach is so wonderful.
The thing I love about Rome is that is has so many layers. In it, you can follow anything that interests you: town planning, architecture, churches or culture. It's a city rich in antiquity and early Christian treasures, and just endlessly fascinating. There's nowhere else like it.
Doctrines provide an architecture for both Republican and Democrat presidents to carry out policies.
Georgian architecture respected the scale of both the individual and the community.
The building of the architecture of a novel - the craft of it - is something I never tire of.
The real architecture happens within the works themselves, and that was done by the composer. That's where the real skill is. In putting together a program, you're more a curator, but that's important as well. And then the interpreting of it is where our big job is.
The intellectual architecture means focusing on doing great work instead of focusing on agency politics.
I'm not a religious person. But, when I look at a beautiful cathedral, what brings awe, what induces awe is the idea that architecture, you know, a beautiful cathedral, a beautiful building.
I think about architecture all the time. That's the problem. But I've always been like that. I dream it sometimes.
Art is very tricky because it's what you do for yourself. It's much harder for me to make those works than the monuments or the architecture.
The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.
I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.
I think I went to Italy initially for the art, architecture, food and history, but I stayed there because of the people in Cortona.
Prose is architecture, not interior decoration, and the Baroque is over.
But I absolutely believe that architecture is a social activity that has to do with some sort of communication or places of interaction, and that to change the environment is to change behaviour.
The speed of change makes you wonder what will become of architecture.
Architecture is a art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being.
I love building spaces: architecture, furniture, all of it, probably more than fashion. The development procedure is more tactile. It's about space and form and it's something you can share with other people.
When I went to school at Emerson, I was completely charmed living there and loved the architecture of the Back Bay.
The general public, formerly profoundly indifferent to everything to do with building, has been shaken out of its torpor; personal interest in architecture as something that concerns every one of us in our daily lives has been very widely aroused; and the broad line of its future development are already clearly discernible.
I've spent a lot of very happy times in Edinburgh as a result of playing virtually every festival since 1996. It's also a beautiful city in its own right, is walkable, within sight of the sea and mountains - and was too far north for the Luftwaffe to have done any damage, hence the spectacularly beautiful architecture.
I find the aristocratic parts of London so unattractive and angular; the architecture is so white and gated. But in New York, it's different - even uptown it's really grand, and there's no real segregation there. It's all mixed up.
I think architecture has to be a gift.
Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.