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.

It's about how to bring together the seemingly contradictory aspects of the memorial, which is about a tragedy and how it changed the world, but also about creating a vital and beautiful city of the 21st century.

I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.

We all came to see that site. We all walked around it. It is already sacred.

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.

It's a project that touched me as an immigrant and as a New Yorker.

And then, build a bustling wonderful city of the 21st century, with a restoration of a spectacular skyline, which Manhattan, of course, needs. So, that is really the design as a whole.

I'm not Candide, nor Dr Pangloss, but we know that faith moves mountains.

I don't get to sleep when I'm in New York. Really. I'm living on adrenaline.

Well, I didn't want to have the reminder sort of in the sky, so that people would forever look at it. I wanted to have - really to create a city from the bottom up. From that foundation, which held, from the democratic power of what the site really is.

And of course I like Berlin a lot. It's such an interesting city.

There are more people living in Lower Manhattan now than before the terrorist attacks. That's faith for you. There's such a strong spirit here.

And it is very moving because one has to see the site not as just another site of development but it is a very special site. It is a site that souls and hearts of all Americans.

It's a fantastic responsibility and a wonderful moment.

Larry wanted us to reposition the tower. We wouldn't, and won't. He's been holding back our fees. We want to get paid. And that's it. It'll get solved and we'll carry on with planning Ground Zero.

And you have to remember that I came to America as an immigrant. You know, on a ship, through the Statue of Liberty. And I saw that skyline, not just as a representation of steel and concrete and glass, but as really the substance of the American Dream.

We will work with everybody for the good of New York.

Only through acknowledgment of the erasure and void of Jewish life can the history of Berlin and Europe have a human future.

The Spiral Gallery may happen, too. It is not dependent on government funding.

To provide meaningful architecture is not to parody history but to articulate it.

Cities are the greatest creations of humanity.

Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built.

When you're a kid with artistic yearnings brought up in the Bronx, you don't get fed up too easily.

Life it is not just a series of calculations and a sum total of statistics, it's about experience, it's about participation, it is something more complex and more interesting than what is obvious.

There will be a competition for the memorial. And then it can be developed with trees, with planting. It can become a very beautiful place protected from the streets, because it is below. And it can be something very moving and very private.

Well, I think one doesn't really have to invent this memorial space, because it is already there. And it is speaking with a voice and, you know, 4 million of us came to see the site.

The foreign press seems obsessed with the Freedom Tower, as if it was the only thing going on here. In fact, we're trying to keep a huge juggling act in balance, with the tower as just one of the many balls in play.

Architecture is not based on concrete and steel, and the elements of the soil. It's based on wonder.

We live in a time of renaissance ... cities are coming back to life, after a long neglect.

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.