I have no requirements for a style of architecture.
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.
The dialogue of architecture has been centered too long around the idea of truth.
I don't believe in morality in architecture.
I call architecture frozen music.
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.
Architecture should speak of its time and place, but yearn for timelessness.
I was a student at Columbia College, actually, in the Architecture school. Paul would drive in from Queens, showing me these new songs. I can't remember us working it out.
Georgian architecture respected the scale of both the individual and the community.
Of all the lessons most relevant to architecture today, Japanese flexibility is the greatest.
The logic of Palladian architecture presented an aesthetic formula which could be applied universally.
The English light is so very subtle, so very soft and misty, that the architecture responded with great delicacy of detail.
The Egyptian contribution to architecture was more concerned with remembering the dead than the living.
French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.
Victorian architecture in the United States was copied straight from England.