The whole can be greater than the sum of it's parts, that we all have something to put in the pie to make it better, and that the collaborative interaction works.
Let the experience begin!
We live and work in boxes. People don't even notice that. Most of what's around us is banal. We live with it. We accept it as inevitable. People say, "This is the world the way it is, and don't bother me."
There's a drive in us to express ourselves in some way or form. We pick up whatever material is available. It's primitive. Kids see sand on the beach, build something and show their parents: "Look what I did, Mama." It's necessary to us.
I like the idea of collaboration - it pushes you. It's a richer experience.
Architecture has always been a very idealistic profession. It's about making the world a better place and it works over the generations because people go on vacation and they look for it.
I would like to make a building as intellectually driven as it is sculptural and as positive as it would be acceptable to hope.
The architect Borromini's Quattro Fontane, a little church in Rome, is one of the most beautiful rooms in history.
Everybody's an artist. Unfortunately we don't treat them as such.
We should celebrate variety rather than conformity and allow people to express themselves. That we don't is more of our denial.
We live and work in boxes. People don't even notice that.
I love working. I don't know what the word vacation means.
One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
Those who say only artists and architects can create are the ones who are elitist.
I think you've got to accept that certain things are in process that you can't change, that you can't overwhelm. The chaos of our cities, the randomness of our lives, the unpredictability of where you're going to be in ten years from now - all of those things are weighing on us, and yet there is a certain glimmer of control. If you act a certain way, and talk a certain way, you're going to draw certain forces to you.
I don't know whose box I'm in, and I don't really care.
For me, every day is a new thing. 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. If I knew where I was going I wouldn't do it.
As much as we pretend otherwise, we want what's comfortable, and we're afraid of the different. We're afraid of change.
An architect is given a program, budget, place, and schedule. Sometimes the end product rises to art - or at least people call it that.
I didn't have any interest in doing rich people's homes. I still don't.
For me, every day is a new thing.
We have always created - music, literature, art, dance. The art around us - or lack of it - may be a measure of how we're doing as individuals and as a civilization, so maybe we should be worried.
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.
You've got to like the people you work with.
