Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity.
Every time a student walks past a really urgent, expressive piece of architecture that belongs to his college, it can help reassure him that he does have that mind, does have that soul.
Chroniclers of the role of paper in history are given to extravagant pronouncements: Architecture would not have been possible without paper. Without paper, there would have been no Renaissance. If there had been no paper, the Industrial Revolution would not have been possible. None of these statements is true.
In the United States alone, 450 billion square feet of glass facade is produced every year. What if we could take this chance to use the glass to harness solar energy and allow the architecture to respond to the light and heat of the sun, to create photosynthesis and generate solar energy?
It seems a fantastic paradox, but it is nevertheless a most important truth, that no architecture can be truly noble which is not imperfect.
In 1996, I took advantage of some favourable circumstances to propose to the state of the Ticino Canton the foundation of the Academy of Architecture and, with it, an Italian-speaking university in Switzerland.
I would have liked maybe to be in architecture or painting, something connected to the fine arts.
The original Heart logo was made back in the real early '70s by Mike Fisher, who I used to be in a relationship with. He was first our manager and then our soundman. When I met him, he was in design school for architecture, so he was always drawing.
Of all the lessons most relevant to architecture today, Japanese flexibility is the greatest.
I see music as fluid architecture.
The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide, which implied that the only pleasure you can get from Folly architecture is by calling the architect mad, and by laughing at the architecture.
Opera, next to Gothic architecture, is one of the strangest inventions of Western man. It could not have been foreseen by any logical process.
Downtown Toronto is a very good place to talk about the neutrality of modernist architecture. I'm sure this kind of box-building was interesting in the Twenties, Thirties and Forties, but I think it's absolutely ridiculous to build like this in 2013.
The fossil fuel industry has taken control of, and powered up, architecture and methods originally built by the tobacco industry and others to attack and deny science.
Buildings in modern cities have lost their metaphoric aspect. Much contemporary architecture is very fragmented and busy on the outside. It's like a skin or a skull, but you don't know what's inside.
I think in America there's this free flow between fashion, art, architecture, music and design. In Europe, it's more segregated between those different disciplines, I think.
If architecture is frozen music then music must be liquid architecture.
I'm drawn to furniture design as complete architecture on a minor scale.
Opera should be a place for art forms to meet. I've worked a lot with Peter Gabriel; his music isn't operatic, but he creates big, popular gatherings to which architecture, dance, and music are all invited.
I haven't really got a green thumb, but I love gardens and their architecture.
