Let's put it this way: One can be happy or unhappy in a building. But some buildings make us more depressed than others.

The Metropolis strives to reach a mythical point where the world is completely fabricated by man, so that it absolutely coincides with his desires.

The work in S, M, L, XL was almost suicidal. It required so much effort that our office almost went bankrupt.

Why I talked about political correctness: the colonial is now such a major taboo that any achievement of the colonial period, or any generosity implied in colonialism, is again fundamentally neglected or fundamentally not recognised. That's crazy, because history is a series of layers, and you cannot say, "This layer I support and this layer I cancel." History is history and you cannot retrospectively manipulate it.

Talk about beauty and you get boring answers, but talk about ugliness and things get interesting.

A building has at least two lives - the one imagined by its maker and the life it lives afterward - and they are never the same.

But now sustainability is such a political category that it's getting more and more difficult to think about it in a serious way. Sustainability has become an ornament.