If it weren't for greed, intolerance, hate, passion and murder, you would have no works of art, no great buildings, no medical science, no Mozart, no Van Gough, no Muppets and no Louis Armstrong.
Opportunities are like bricks, pile, fix them properly and you don't know when a building stands tall.
The yard was a little centre of regeneration. Here, with keen edges and smooth curves, were forms in the exact likeness of those he had seen abraded and time-eaten on the walls. These were the ideas in modern prose which the lichened colleges presented in old poetry. Even some of those antiques might have been called prose when they were new. They had done nothing but wait, and had become poetical. How easy to the smallest building; how impossible to most men.
Tall buildings have always intimidated me, but I somehow feel comforted, by an even taller tree.
The only way a man could defy time was to leave behind buildings that would not die.
The ultimate goal of the educational system is to shift to the individual the burden of pursing his own education. This will not be a widely shared pursuit until we get over our odd conviction that education is what goes on in school buildings and nowhere else.
Performing arts buildings are complex. The acoustics, the sight lines and all that have to just be perfect. So you begin with just making these things sublime as musical instruments. And if you fail there, you have failed it all.
Every time I've flown an aircraft, or visited a steelworks, or watched a panel-beater at work, I've learned something new that can be applied to buildings.
The utilization of flat roofs as 'grounds' offers us a means of re-acclimatizing nature amidst the stony deserts of our great towns; for the plots from which she has been evicted to make room for buildings can be given back to her up aloft.
You have to blast to build in Manhattan. And the buildings went up in Manhattan because of the power of that bedrock. Once you dig that foundation - and they dig with dynamite - and once you dynamite out and you secure that foundation, that building isn't going anywhere.
Architects have to become designers of eco-systems. Not just designers of beautiful facades or beautiful sculptures, but systems of economy and ecology, where we channel the flow not only of people, but also the flow of resources through our cities and buildings.
I always think of buildings in their settings, but so do other architects.
We shape our buildings; thereafter they shape us.
We require from buildings two kinds of goodness: first, the doing their practical duty well: then that they be graceful and pleasing in doing it.
In cities like Athens, poor houses lined narrow and tortuous streets in spite of luxurious public buildings.
Terrorist attacks can shake the foundations of our biggest buildings, but they cannot touch the foundation of America. These acts shatter steel, but they cannot dent the steel of American resolve.
There is a backlash against me and everyone who has done buildings that have movement and feeling.
I've seen beautiful art on the sides of buildings. I've seen beautiful art in museums. I've seen beautiful art in galleries. Beautiful art is everywhere.
It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.
When I was working in my first job engineering construction, what I liked the most was working with architects and making buildings that had this creative side coming from the architect and that were making them a big success.