In art the hand can never execute anything higher than the heart can imagine.

No great artist ever sees things as they really are. If he did he would cease to be an artist.

The aim of art is to represent not the outward appearance of things but their inward significance.

There is a powerful need for symbolism and that means the architecture must have something that appeals to the human heart. There is a powerful need for symbolism and that means the architecture must have something that appeals to the human heart.

I like things that are kind of eclectic when one thing doesn't go with another. That's why I love Rome. The town itself is that way. It's where Fascist architecture meets classic Renaissance where the ancient bangs up against the contemporary. It has a touch of everything. That's my style and that's what my work is about.

The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide which implied that the only pleasure you can get from Folly architecture is by calling the architect mad and by laughing at the architecture.

Information and inspiration are everywhere... history art architecture everything an illustrator needs. Europe is after all the land that has generated most of the enduring myths and legends of Western culture.

I love a lot of things and I'm pretty much obsessive about most things I do whether it be gardening or architecture or music. I'd be an obsessive hairdresser.

You might say that when you step inside you're entering a honorific space but that's something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us.

Does it follow that the house has nothing in common with art and is architecture not to be included in the arts? Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art.

If you're into architecture and you're from the West everything is hors d'oeuvres for working to rebuild the Temple. Ultimately you're led there. You can't escape it.

I studied architecture in New York. So really I was very moved like everyone else to try to contribute something that has that resonance and profundity of it means to all of us.

I could be happy doing something like architecture. It would involve another couple of years of graduate school but that's what I studied in college. That's what I always wanted to do.

If architecture had nothing to do with art it would be astonishingly easy to build houses but the architect's task - his most difficult task - is always that of selecting.

Trying to describe something musical is like dancing to architecture it's really difficult.

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.

I'd like to do a lot of things - whether in design or architecture or business.

It's my goal to make a building as immaterial as possible. Architecture is a very material thing. It takes a lot of resources so why not eliminate what you don't need as long as you're able to achieve the same result?

I strive for an architecture from which nothing can be taken away.

The building of the architecture of a novel - the craft of it - is something I never tire of.

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.

The British political system and the whole clapped out Westminster architecture and the language that we use about politics it's completely unsustainable. You either decide to be part of that transition to do something different. Or you cling to old certainties.

In my early 20s I was so miserable doing construction I wanted something that paid money. I liked nice stuff. I liked cars and architecture and things that cost money. I wanted to not swing a hammer and make money... and not do stuff that was dirty. I attempted to get into comedy. I started to do stand-up but I wasn't very good at it.

I left science then I went into art but I approach things very analytically. I choose to pursue both art and architecture as completely separate fields rather than merging them.