I strive for an architecture from which nothing can be taken away.
One of my favorite vacation places is Miami, because of the people, the water and the beach – of course – and the architecture on Miami Beach is so wonderful.
I don’t find Hollywood interesting, so I’m thinking of studying architecture instead.
What has happened to architecture since the second world war that the only passers-by who can contemplate it without pain are those equipped with a white stick and a dog?
I studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.
My mother studied English and drama at the University of Pennsylvania, where my father studied architecture. She was a great influence in all sorts of ways, a wicked wit.
I truly believe that the great heroes that create the history of architecture are people who take risks and write to tell about it.
I wanted to be a pilot, but I was always drawing bodies. When I realised I wanted to pursue something creative, my parents pushed me towards architecture.
When I was in architecture school at Princeton, the worst thing you could say about someone was that they were eclectic.
In L.A., cinema and television might be seen as more interesting places for architecture than ever before.
Architecture has curled up in a ball and it’s about itself. It has found itself either as a freakshow, where you’re not sure if it’s good or bad but at least it’s interesting, or at the behest of forces of commerce.
Princeton University’s campus environment presents unique challenges and opportunities for architecture to act as a social condenser.
Theater publicly reveals the human condition through appealing to both intellect and emotion. Architecture, whether lowly or exalted, can do the same.
Architecture has a strong link with the movies in terms of time progression, sequencing, framing, all of that.
I do believe architecture, and all art, should be content-driven. It should have something to say beyond the sensational.
I went into architecture a little as ‘Peck’s Bad Boy.’ It allowed me to be a critic in a socially condoned way.
I had it drummed into me from an early age that personalizing everything was not a good thing. Besides, I don’t think that kind of commodity-driven system makes for the most productive architecture.
I think New Orleans is such a beautiful city. It looks like a fairytale when you walk through the French Quarter or the Garden District. There is such a lush sense of color, style, architecture – and the people themselves.
A building that has great environmental responsibility is a political animal in a way because it becomes promotional of a cause. I think that kind of advocacy through architecture is really good.
The general public will almost always stand behind the traditionalists. In the public eye, architecture is about comfort, about shelter, about bricks and mortar.
I never talked about architecture with my father, which I regret.
Some people think architecture is about the genius sketch; I don’t. Great architecture is a collaboration among a lot of people over a long period of time.
Architecture was the last of the major professions to devise a formal ‘cursus honorum’ before its practice could be undertaken.
My mother took me to Venice one time and showed me all the houses where famous composers used to live. It gave me a fascination for music and the city, but also for architecture. It was a valuable lesson.
There is a profound ethic to architecture which is different from the other arts.
