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.

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.

New York grew up before the automobile. And even though it's full of cars, its shape and form didn't get created around the automobile.

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.

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 try to do everything from thinking about big issues like how a building fits into the larger stream of architectural history to practical issues such as how it feels to navigate your way through its interior.

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?