By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.
Architecture to me is whole. I cannot say I only care about this 25% and the other 75% I let go... it's just I want to work the way I want to work. In my shop, you can order certain things and other things you cannot. They are not available.
Architecture is exposed to life. If its body is sensitive enough, it can assume a quality that bears witness to past life.
In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings and speak its own language.
If you look at the Earth without architecture, it's sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether it's a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings.
There is still a real need for good quality architecture, not paper architecture, but the real stuff.
Architecture has its place in the concrete world. This is where it exists. This is where it makes its statement.
All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.
Concrete you can mold, you can press it into - after all, you haven't any straight lines in your body. Why should we have straight lines in our architecture? You'd be surprised when you go into a room that has no straight line - how marvelous it is that you can feel the walls talking back to you, as it were.
The future of architecture is culture.
There's a technicality to designing and wearing hats. A hat is balancing the proportions of your face; it's like architecture or mathematics.
In Rome, I particularly love the history, churches, sculptures and architecture and the fact that you can walk along a tiny cobbled street and turn the corner to find the Trevi Fountain. London is evocative of other eras and full of history.
I acquired an admiration for Japanese culture, art, and architecture, and learned of the existence of the game of GO, which I still play.
In Dublin, we open The Dock, our new multidisciplinary innovation R&D and incubation hub where all elements of our innovation architecture come to life. The Dock is a launch pad for our more than 200 researchers to innovate with clients and acquisition partners with a particular focus on artificial intelligence.
We are always looking ahead to anticipate what next, and our unique innovation architecture enables us to take an innovation-led approach to help our clients invent the future.
I want to abolish time, especially in the contemplation of architecture.
I have a background in technology, design, architecture, arts and sciences. I see myself as a multi-dimensional person.
Att our MIT lab, there are people from diverse backgrounds like architecture, psychology, and philosophy, giving a holistic touch to the creation of any technology we may have in mind.
I worked out a rather deep-dish theory defining the theater as a form of architecture rather than a form of literature.
My husband John's and my breaks are often very culture heavy. He cannot pass a museum without venturing inside, so we tend to see a lot of architecture and so-called places of interest.
On inspection, Gaudi's architecture isn't whimsical at all.
Tel Aviv is new, built on the sand dunes north of Jaffa in the 1890s, about the same time Miami was founded. The cities bear a resemblance in size, site, climate, and architecture, which ranges from the bland to the fancifully bland.
If architecture is frozen music then music must be liquid architecture.
I try to shut out ideas about why you should do things. Trying to do good architecture and really designing a career? There's some attention to be paid to that, but I don't think it's everything.
I would say that to put architecture in the chain of history, to be able to interpret and understand why we are where we are, is quite crucial.
Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.
Telco cloud and virtualization remain a clear priority for us, and we became the first vendor to supply a commercial telco cloud solution compliant with ETSI Architecture for end-to-end voice-over-LTE services.
Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.
Not many architects have the luxury to reject significant things.
Escape from the architecture ghetto is one of the major drivers and has been from the very beginning.
People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.
The intellectual force of the West is still dominant, but other cultures are getting stronger. I expect that we will develop a new way of thinking in architecture and urban planning, and that less will be based on our models.
What is now called 'green architecture' is an opportunistic caricature of a much deeper consideration of the issues related to sustainability that architecture has been engaged with for many years. It was one of the first professions that was deeply concerned with these issues and that had an intellectual response to them.
Infrastructure is much more important than architecture.
Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.
There's nothing Dutch about my architecture.
In architecture you should live for 150 years, because you have to learn in the first 75 years.
In a way I spend my entire life stealing from everything - from the past, from cities I love, from where I grew up - grabbing things, taking not only from architecture but from Italy, art, writing, poetry, music.
There is something about giving everything to your profession. In Italian, an obsession is not necessarily negative. It's the art of putting all your energy into one thing; it's the art of transforming even what you eat for lunch into architecture.
Architecture is a very dangerous job. If a writer makes a bad book, eh, people don't read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.
I came to architecture from building. Because my father was a builder, everybody was - and is - a builder in my family.
You have to accept as an architect to be exposed to criticism. Architecture should not rely on full harmony.
London is one of the most civilised places in the world for the procedure of making architecture and urban design.
An important work of architecture will create polemics.
Rome has not seen a modern building in more than half a century. It is a city frozen in time.
Any work of architecture that has with it some discussion, some polemic, I think is good. It shows that people are interested, people are involved.
My passion and great enjoyment for architecture, and the reason the older I get the more I enjoy it, is because I believe we - architects - can effect the quality of life of the people.
I believe very strongly, and have fought since many years ago - at least over 30 years ago - to get architecture not just within schools, but architecture talked about under history, geography, science, technology, art.
Form follows profit is the aesthetic principle of our times.