Larry wanted us to reposition the tower. We wouldn't, and won't. He's been holding back our fees. We want to get paid. And that's it. It'll get solved and we'll carry on with planning Ground Zero.

Well, I think one doesn't really have to invent this memorial space, because it is already there. And it is speaking with a voice and, you know, 4 million of us came to see the site.

And you have to remember that I came to America as an immigrant. You know, on a ship, through the Statue of Liberty. And I saw that skyline, not just as a representation of steel and concrete and glass, but as really the substance of the American Dream.

The truth is, the way you write music, it's a code. It has to be very precise. It's scientific, but ultimately it also depends on interpretation. It's very similar to how you grow a master plan: it's an objective document, but at the same time it is a lyrical document which allows through interpretation to become a harmonious work of art.

Architecture is not just for the moment, it is not just for the next fashion magazine.

I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.

It's about how to bring together the seemingly contradictory aspects of the memorial, which is about a tragedy and how it changed the world, but also about creating a vital and beautiful city of the 21st century.