The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
Performing arts buildings are complex. The acoustics, the sight lines and all that have to just be perfect. So you begin with just making these things sublime as musical instruments. And if you fail there, you have failed it all.
I don't do sports, and my idea of hell is being dragged around ruins/museums/famous buildings, so I guess I'm a beach bum.
We can appreciate but not really understand the medieval town. We cannot comprehend its compactness, the contiguity of all its buildings as a single uninterrupted whole.
I don't mind being a symbol but I don't want to become a monument. There are monuments all over the Parliament Buildings and I've seen what the pigeons do to them.
I decided to finish at Oxford because I looked up at the top of the buildings - the gargoyles and spires - and decided to stay.
In New York, you have thousands of buildings that have never been renovated, that have horrible designs, that are really cramped and terrible.
Los Angeles is a city of few hard targets. Its iconic buildings are private spaces, mostly residential, visible by invitation only or in the pages of a Taschen book. Its central industry is as mirage-like as the projection of light on a screen.
A painter, a sculptor, a writer, they can express freely. They don't affect society as a whole. We build buildings that have a purpose, that stay there for hundreds of years or decades.