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.

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.

The bias among architecture critics isn't against skyscrapers per se, but against the way in which their design is so heavily dictated by economic considerations - the way in which skyscrapers are real estate before they are architecture.

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.

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?

We identify New York with the great bridges and tunnels and roadways and subway system and so forth.

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.