A well-designed home has to be very comfortable. I can't stand the aesthetes, the minimal thing. I can't live that way. My home has to be filled with stuff - mostly paintings, sculpture, my fish lamps, cardboard furniture, lots of books.
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I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.
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The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
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I work from the inside out.
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I would like to make a building as intellectually driven as it is sculptural and as positive as it would be acceptable to hope.
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I don't know how to overcome this perception that I'm extravagant.
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You have freedom, so you have to make choices - and at the point when I make a choice, the building starts to look like a Frank Gehry building. It's a signature.
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The fact is I'm an opportunist. I'll take materials around me, materials on my table, and work with them as I'm searching for an idea that works.
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I think people care. If not, why do so many people spend money going on vacations to see architecture? They go to the Parthenon, to Chartres, to the Sydney Opera House. They go to Bilbao... Something compels them, and yet we live surrounded by everything but great architecture.