Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.

For most of the nineteen-seventies, the official route map of the New York City subway system was a beautiful thing.

New York remains what it has always been : a city of ebb and flow, a city of constant shifts of population and economics, a city of virtually no rest. It is harsh, dirty, and dangerous, it is whimsical and fanciful, it is beautiful and soaring - it is not one or another of these things but all of them, all at once, and to fail to accept this paradox is to deny the reality of city existence.

Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.

I don't usually go in for reviews of buildings that aren't yet built, since you can tell only so much from drawings and plans, and, besides, has there ever been a building that didn't look great as a model?

Buildings don't exist to be pinned, like brooches, on the front of bigger structures to which they bear only the most distant of relationships.

I think it's necessary to evaluate a skyscraper at multiple scales, since that's how we experience it: from right next to it on the street to from across the river, as well as at all kinds of points in between. It's important to think of it as an element in a larger skyline, but also as an element in an immediate streetscape.