A suburban mall turned vertical.

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.

Architecture begins to matter when it brings delight and sadness and perplexity and awe along with a roof over our heads.

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.

Los Angeles, Houston, Denver, Atlanta: those are all cities that really didn't get big, didn't hit their stride until the 20th century.

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 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.