Nobody should be anything, but because I once had a different profession and I'm interested in writing, I took it upon me.

The great problem of the concert hall is that the shoebox is the ideal shape for acoustics but that no architect worth their names wants to build a shoebox.

When air conditioning, escalators, and advertising appeared, shopping expanded its scale, but also limited its spontaneity. And it became much more predictable, almost scientific. What had once been the most surprising became the most manipulated.

Sustainability has become an ornament.

Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.

One cannot completely avoid this landmark character with large buildings such as these. But the city itself is also gigantic.

The Grid makes the history of architecture and all previous lessons of urbanism irrelevant. It forces Manhattan's builders to develop a new system of formal values, to invent strategies for the distinction of one block from another. The Grid's two-dimensional discipline also creates undreamt-of freedom for three-dimensional anarchy. The Grid defines a new balance between control and de-control in which the city can be at the same time ordered and fluid, a metropolis of rigid chaos.