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.

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.

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

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.

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.

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

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.