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.

A noble space, unlike any other of our time, for it is both strong and delicate. It seems to call at once for a Boeing 747 and for a string quartet.

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.

Infrastructure creates the form of a city and enables life to go on in a city, in a certain way.

The taste of people with large bank accounts tends not to be on the cutting edge.

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.

On New York subways in the 1980s: Riding on the IRT is usually a matter of serving time in one of the city's most squalid environments-noisy, smelly, crowded and overrun with a ceaseless supply of graffiti.