I quit college. I was studying architecture for about a year.

There's so much fear involved in trying to do something you don't know how to do that drugs and alcohol can become a big part of your life if you have an addictive personality or are very unsure, which most songwriters are.

You're going to have more rejection than acceptance.

I've written songs sober and I've written songs high.

If we didn't get the record, we didn't exist.

Probably most successful songwriters have an innate songwriting ability.

One other thing, if it's possible, as songwriters, you should also develop yourself as record producers.

A guitar riff played on a piano doesn't come close to the purity of it being played on a guitar but I faked it enough to get by.

If I waited for inspiration every time I sat down to write a song I probably would be a plumber today.

I know at the beginning of our careers, my wife and I were gut wrenchingly competitive.

You've got to really be able to accept the rejection.

I quit college. I was studying architecture for about a year.

We lived, ate, and breathed pop songs.

You can get stale writing with each other for a while.

We became the songs we wrote.

If we were the team that won out, then life was good and we felt that we were worth something.

You have certain writing tools but generally creating something from nothing makes one quite mad and Cynthia and I are quite mad you know.

I also used to work in the Catskill Mountains as a bus boy, and I performed in talent shows.

I get a different kind of lyric from someone else that might make me go in a different musical direction.

I looked through our catalog year by year, and I saw that there were pockets of time when we wrote some terrific songs. Then all of a sudden, we'd go for another two or three months and there weren't great songs.

It's very hard to teach someone how to write a song if to begin with there's no creative crop to harvest.

We've written something like 900 songs in all.

I think that most writers who wait until they're inspired to write are just waiting for the fear to subside.

You have to be very brave in that first writing session.

It's amazing how a competitive nature can turn a negative into something positive.

It's very important, at least for me and for Cynthia, to get outside input.

The real danger of writing a great song when you're on something is that it might get you thinking that the only way to repeat that is by only writing when you're high.

Cynthia's lyrics always expressed the feelings people felt but they couldn't express themselves.

I think if one wants to be in a continual state of insanity one should stay married to that writing partner.

A guitar riff played on a piano doesnt come close to the purity of it being played on a guitar but I faked it enough to get by.

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.