It's happened time and time again, but the committee has always decided against it-the work was too conservative or didn't fit within the budget; there are millions of different reasons.
I've been making bronze sculptures for a long time. My sculptures are wholly unsuccessful and uncommercial. No one is even the remotest bit interested in them. So it's almost like my hobby.
I have Vie Luxe candles in every room. In 2006 I spent the month of August in Sardinia, and the scent reminds me of the wonderful time we had.
I was born during the war and grew up in a time of rationing. We didn't have anything. It's influenced the way I look at the world.
It is extremely difficult to say how long the process actually took to finally achieve my fragrance, Boudoir, because there was a lot of time waiting around for other people.
After I was 70, I realized that, 'Okay, I would like to have another 50 years, and I probably could.' But part of me is saying, 'Maybe I'm not going to have that much time.'
I think that the training of architects allows you to see what will happen ten years ahead of time, or twenty. It's not guessing, it's not intuitive, it's based on research - and we may be wrong.
The last couple relationships I had were long distance. It's not like I can make much of an effort to travel and see anybody. The guy had to do all the work, unfortunately.
I definitely spend the most money on shoes, partly because vintage footwear can be a little funky - in a bad way. I like to keep things pretty simple up top and then go weird with the shoes.
I think money is due for some sort of collapse. People are going to realize that money has a half-life, like radioactive elements.
On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich.
I lost my daughter at 21. I had to give her up because I was broke, no place to take her, no money to take her. That was very traumatic.
I don't look at what people do with their homes in terms of money, but the social and personal value of what they're trying to do and achieve.
I'm always glad when people come together to help each other - whether they're raising money for somebody in a bad situation or making a creative piece like a song.
When I'm off the clock, I usually play video games - or do something nature-y so I can contribute to Mother Nature.
Of course, there will always be those who look only at technique, who ask 'how', while others of a more curious nature will ask 'why'. Personally, I have always preferred inspiration to information.
For Debussy the musician and the man I have had profound admiration, but by nature I'm different from him. I think I have always personally followed a direction opposed to that of the symbolism of Debussy.
The nature of my work is my subjectivity meshed with other people's subjectivity. So there's a correspondence with that... Even if you write about me, it will reflect on you; everything is a kind of weird collaboration.
'Entity' is not about science. The process behind it may dictate the nature of the piece, but it's not like a dance about Einstein where I'm trying to convert his ideas into movement and communicate that to an audience.
I'm not a scientist. What I find interesting about my work is how, as a designer, I sit between science and the consumer and can see both a need and a solution.
'The Simpsons' obviously is a huge success, and Fox has nothing to do with its success, with its creative success, and as a result they don't really like the show. They don't like 'The Simpsons' at Fox.
