New York was a place I wanted to live and work all along. If I wasn't going to live in Israel, I had to live in New York.

I pushed the process forward by saying, 'We should do this, this, and this right now. Please find the budget for me to find a structural engineer, a mechanical engineer, a civil engineer, so we can do the preliminary work.

I really appreciate artists of the 20th century, and I can see a lot of their influence on my work, but to suggest that my design only fits within an 'ism' kind of bothers me.

When I was in the Army, the unit I served in, you could never stop. It was a volunteer unit, and there was a fairly high rate of attrition. The people who stayed through are the people who were either great at it or the people who just didn't know how to stop. And I fell into that second category.

There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.

As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.

For two years nobody talked about anything other than the name arrangement. There was no fund-raising and no progress being made on construction and design.