Japanese architecture is very much copied in this country and in Europe.

In other words, I have no truck for anyone who goes out and does an eclectic building.

We build buildings which are terribly restless. And buildings don't go anywhere. They shouldn't be restless.

I want to do very useful buildings and I would like to find a method of producing these buildings through our technology because I think that this is the only way that we will gain wonderful environment easily in the future.

If you look at the buildings, you'll find that one part looks as if it was designed by one man, and you go around and look at another facade and it looks as if it was designed by another man, you see.

And a building must be like a human being. It must have a wholeness about it, something that is very important.

And I think that the environment is one very strong way to counterbalance the chaotic nature of our life.

Because, if we understand how a building is to be produced and we find a way that it can be more simply produced, then obviously we are contributing to building better buildings more easily.

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.

The World Trade Center is a living symbol of man's dedication to world peace... a representation of man's belief in humanity, his need for individual dignity, his beliefs in the cooperation of men, and, through cooperation, his ability to find greatness.

And I feel that we in our society should not be held by any such myth; that we should do everything we can to gain a delight and joy in our society with all the available parts of the palette.

And sometimes I'm criticized. But I think that if those who criticize us will look at the reason why the shape is this, well then, I think that they would not object so strenuously.

And exciting buildings are fine periodically.

So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.

In this tour around the world I was not interested in contemporary buildings because I had seen contemporary buildings actually until they came out of my ears in a sense.

The view outside was much more important than the exhibits.

In other words, each piece of the building must look as though it was designed for that particular building.

I believe that we must understand the economy of the situation.

If you have white walls, human beings look better in a room than if you have red walls.

Being the gateway to a large city, St. Louis, I had felt from the very beginning that somehow this building should symbolize this sense of being a gateway.

I can't do everything obviously although sometimes I know that all of us wish that we could.

And I like the idea of change. Because I don't see why we should hang a painting on the wall and then just not think of it anymore because it's there like a piece of furniture.

I feel this is very important for us to have serene buildings because our civilization is chaotic as it is, you see; our whole machine age has brought about a chaos that has to be somehow counterbalanced, I think.

The Wayne Education Building was the first classroom building that we have done on the Wayne campus.

Let's talk about the Gas Company because this is my favorite job.

Japanese architecture is very much copied in this country and in Europe.

I have been criticized rather strenuously by painters and sculptors for not incorporating their work in our buildings.

But now I know that it is very important that all buildings should be consistent, that this is the quality of the Gothic cathedral, for instance, that we like.

We build buildings which are terribly restless. And buildings dont go anywhere. They shouldnt be restless.

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.