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.

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.

The older I get, the less I negotiate. When you first start out, it's 90 percent negotiation and 10 percent suggestion. When you get to a certain point, those figures reverse.

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.

When you design someone's house, it's actually painful. I never say, "This house will be a total reflection of you and any defects in it will make you look defective." But people do expect their homes to be reflections of themselves. So what I say is, "Just pretend this is your eighth home. By then you won't care."

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.

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.