The greatest satisfaction, I think, is when a building opens and the public possesses it and you cut the umbilical cord and you see it taking on its own life. There’s no greater satisfaction.

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.

I'm completely taken and impressed by the planning authority of Singapore and its Urban Redevelopment Authority (URA). It's the most cutting-edge agency in the world. They have very effective guidelines for development, and they review design as it evolves.

I think the general public's response to my projects is very strong. You can be an intellectual and say that popularity detracts from architectural quality. On the other hand, you can see in the public's identification something very positive.

Architecture should be rooted in the past, and yet be part of our own time and forward looking.

I think you need to, as an architect, understand the essence of a place and create a building that feels like it resonates with the culture of a place. So my buildings in India or in Kansas City or in Arkansas or in Singapore, they come out different because the places are so different.

This is the contradictory desire in our utopia. We want to live in a small community with which we can identify and yet we want all the facilities of the city of millions of people. We want to have very intense urban experiences and yet we want the open space right next to us.