I was a student at Columbia College, actually, in the Architecture school. Paul would drive in from Queens, showing me these new songs. I can't remember us working it out.

We'd go to the fraternity house. It was a good place to practice. But we really wanted the kids to overhear us. And whoever heard us would go nuts over it.

Records became much cruder in the last 20 years. Let's put it that way.

Records have images. There are wet records and dry records. And big records.

Paul is a very creative artist but I'm more that thorough, meticulous, disciplined nut.

I was a student at Columbia College, actually, in the Architecture school. Paul would drive in from Queens, showing me these new songs. I can't remember us working it out.

Rodgers and Hammerstein didn't mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.

I like working solo and it was a lot of fun joking around with the audience, saying things. I'm only just learning how to do certain things.

I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.

I teach well. I used to really like teaching a lot. I enjoyed it a lot and I was good at it.

Paul has more, I think, of a feel for the stage. Whereas I have it more for the notes themselves. I love record making and mixing, arranging, producing. That I love. I love to make beautiful things, but I don't like to perform.

After all these years, I'm finally into soccer. The World Cup is on, and my band is an international group - they're all around me, cheering in the hotel bars.

We human beings are tuned such that we crave great melody and great lyrics. And if somebody writes a great song, it's timeless that we as humans are going to feel something for that and there's going to be a real appreciation.

I'm the kind of person who can hear that stuff. If you sing along to the radio and you're not going to sing unison with the melody, but find the harmony, I find that pretty easy to do.

Paul's the writer. Yeah, I wrote a little of that stuff, but that's just technically true. In spirit, and in essence of the truth, it doesn't matter. So I don't know, maybe I'm being foolish for not being technical. Yeah, I wrote a certain portion of the things.

When Paul and I were first friends, starting in the sixth grade and seventh grade, we would sing a little together and we would make up radio shows and become disc jockeys on our home wire recorder. And then came rock and roll.

So it's mix and match. Hold your line when you really feel something you're saying is wonderful and you really want to get this point across and prove it to your partner by just throwing it into the tape and letting it speak for itself.

I did have a lucky thing going on there in my throat.

Everything worth doing starts with being scared.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

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 organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

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.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

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.

The dialogue of architecture has been centered too long around the idea of truth.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

Victorian architecture in the United States was copied straight from England.

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.

Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.

Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.

We are stymied by regulations, limited choice and the threat of litigation. Neither consultants nor industry itself provide research which takes architecture forward.

If you examine this, I think that you will find that it's the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.

I don't believe in morality in architecture.

If a building becomes architecture, then it is art.

The American attitude towards efficiency and execution should always underlie architecture.