There is no modern prototype for a campus. You have to have a completely different model which has to do with transparency and exposing social connectivity and breaking down the Balkanization that happens departmentally.
After a while I thought it didn't make any sense to use a pick. It's kind of like typing with one finger on each hand instead of using all your fingers.
If you play jazz, then you play with your fingers. If you're playing rock, you use a pick. There's really no rhyme or reason to that other than that's just the way it has been.
The belief that we are what the media says we are, what people perceive we are, is soon to be what we think we are. We are treated based on this warped perception. It is hard to get away from it.
One of the things I thought a lot about was how can we get the views, for instance, the main plaza, you look up to Telegraph Hill from there and therefore it would be a disaster to close that view off.
The Eisenhower Memorial competition and project have stirred a remarkable polemic, the center of which is not President Eisenhower or Washington, D.C. but Mr. Gehry and the values he promulgates.
The first thing that an architect must do is to sense that every building you build is a world of its own, and that this world of its own serves an institution.
Alas, the world has never known a sound social fabric, a fabric sound and clean to the core and kindly. For it has ever turned its back on Man.
I'm a little more measured. That sense of urgency I thought accompanied things - it can take a little longer. You have to take the long view.
I do very few standards. Hardly any. Other people's tunes that I do are usually obscure tunes, for the most part, although I do a couple of Duke Ellington tunes that are well known.
Homer Simpson is one of my favorite people, though he's not real. He represents the American who's filled with this 'affluenza.' He's constantly exposed to consumption and a sense of bigness, which is a part of being an American.
I'm an expert on surfing the channels, so I'm always able to find something strange. Or I watch C-Span. I can watch a conference on oceanography, or whatever, for hours.
Being the gateway to a large city, St. Louis, I had felt from the very beginning that somehow this building should symbolize this sense of being a gateway.
Because, if we understand how a building is to be produced and we find a way that it can be more simply produced, then obviously we are contributing to building better buildings more easily.
I saw Al Foster with Miles Davis the other week. It was beautiful. But, the whole thing was, Al Foster played as well as everybody else, but all of them were quite brilliant under Miles Davis' direction.
I don't like drum solos, to be honest with you, but if anybody ever told me he didn't like Buddy Rich I'd right away say go and see him, at least the once.
I love people, and I love to be with people and to make music with people, but my natural state is to revert back to being by myself in my house, which is cool because that's where I practice and write and listen and study.
I suppose and I hope that the young guys who are out there losing their lives at least feel the same way I did. I shouldn't think about this very much because I'm almost weeping when I think about it.
There is one timeless way of building. It is a thousand years old, and the same today as it has ever been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who...
All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn't spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.
I have always worked a bit with fashion people. I worked with Issey Miyake for a while, then Dolce & Gabbana; now we're working with Valentino. It's fine. The fashion world is a fairly weird world, but there are good people in it. It's weird because ...
