The singular point of beautiful objects, and people, is that they are experienced not as parts, or ratios between cheekbones and chin, but as wholes. The experience of beauty is a perception, but it is one that mixes up various other sensations and makes them converge in a particular way.

The cell is a city of production centres, each part working away like mad, and it's co-ordinated. Six trillion cells in a body - you can't help but be moved.

It's a mark of any icon that it should be open to iconoclasm.

If you look at any leaf on any tree branch, it's similar to but not exactly a repetition of the previous branch. So the new science of complexity or showing how an architecture can be produced just as quickly, cheaply and efficiently by using computer production methods to get the slight variation, the self-similarity.

The rule seems to be that there are no absolutes, that what is rare is prized. Thus, in times of relative affluence, thin models become dominant.

I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.

A sign to me is a one-liner, a symbol is very complex and my house is a series of symbols.