I always want to encourage young artists. As the budgets get smaller, that might provide an opening for younger artists and more experimentation. Budgets had gotten quite large for art, as they had for architecture. I'm not going to cut back. The minute someone walks through my door, I go, "That's my thing and you got to let me do it."

When you're 20, you think the whole world is talented, but whenyou get older, you realize the opposite is true.

After the motorcycle trips I take for one or two weeks, I have trouble getting back into a car, because I feel claustrophobic with all of that metal around me, and I can't see anything. I feel seriously dangerous in a car after riding on a bike, because your field of vision is so closed in. And then I think about all these little bourgeois people driving around in their cars - it's actually hideous. It cramps you on the head, it cramps you on the side, it puts you in a box on wheels... It's a terrible experience. Motorcycles are about opening the field of vision.

People's first homes are always disasters. It's like the first time you have sex. It's never as good as later on. It always gets better.

Throughout history, from Abyssinians and Greeks onward, artists, sculptors, and architects have worked together. I find this post - World War II thing, this segmentation of the arts, so lame. It's the laming of the arts.

I like my clients. All of my clients say, "Peter. You're talented. But, your best virtue is your discretion." They really don't want to be talked about.

I loathe when architects only analyze architecture in intellectual, nonvisual ways. I really love direct response, and that's very pop. I don't want to discuss abstract transparencies with a bunch of kooks.