Architecture should speak of its time and place, but yearn for timelessness.
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.
If I knew where I was going, I wouldn't do it. When I can predict or plan it, I don't do it.
The best advice I've received is to be yourself. The best artists do that.
When I was a kid, my father didn't really have much hope for me. He thought I was a dreamer; he didn't think I would amount to anything. My mother also.
Green issues have been used as a marketing tool. Sometimes these green claims are completely meaningless.
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.
Some people may say my curved panels look like sails. Well, I am a sailor, so I guess I probably do use that metaphor in my work - though not consciously.
I make a model of the site. There are some obvious things: where the entrance should be, where the cars have to go in. You start to get the scale of it. You understand the client's needs, and what the client is hoping for and yearning for.
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.
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.
There is a backlash against me and everyone who has done buildings that have movement and feeling.
You've got to bumble forward into the unknown.
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.
I was in Peru and visited a building near Lima built by the Incas. It was low in height, with no windows at all, but all the way in the back there was air movement. And I couldn't figure out how they'd done it; it was incredible.
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