When air conditioning, escalators, and advertising appeared, shopping expanded its scale, but also limited its spontaneity. And it became much more predictable, almost scientific. What had once been the most surprising became the most manipulated.

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 areas of consensus shift unbelievably fast; the bubbles of certainty are constantly exploding.

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.

If you have this reputation you can sit back and endure it, or you can try to do things with it.

We say we want to create beauty, identity, quality, singularity. And yet, maybe in truth these cities that we have are desired. Maybe their very characterlessness provides the best context for living.

Each building has to be beautiful, but cheap and fast, but it lasts forever. That is already an incredible battery of seemingly contradictory demands. So yes, I'm definitely perhaps contradictory person, but I operate in very contradictory times.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

Escape from the architecture ghetto is one of the major drivers and has been from the very beginning.

When shopping was still connected to the street it was also an intensification and articulation of the street. Now it has become utterly independent - contained, controlled, surveyed.

The luxury of our position now is that we can almost assemble any team to address any issue.

We felt it was very important for an entity like CCTV to make its presence felt... To generate a space and to define a space, that is the main thing.

The work in S, M, L, XL was almost suicidal. It required so much effort that our office almost went bankrupt.

The great problem of the concert hall is that the shoebox is the ideal shape for acoustics but that no architect worth their names wants to build a shoebox.

But now sustainability is such a political category that it's getting more and more difficult to think about it in a serious way. Sustainability has become an ornament.

I think one of the important evolutions is that we no longer feel compulsively the need to argue, or to justify things on a kind of rational level. We are much more willing to admit that certain things are completely instinctive and others are really intellectual.

It is not possible to live in this age if you don't have a sense of many contradictory forces.

It's a weird city because the uglier the weather, the more beautiful the city. And the uglier the buildings, the more coherent the city.

I'd say that my profession ends where architectural thinking ends - architectural thinking in terms of thinking about programs and organizational structure. These abstractions play a role in many other disciplines, and those disciplines are now defining their 'architectures' as well.

Our office acts like a kind of educational establishment and we are very careful who we educate.

One of our theories is that one can offset this excessive compulsion toward the spectacular with a return to simplicity.

When air conditioning, escalators, and advertising appeared, shopping expanded its scale, but also limited its spontaneity. And it became much more predictable, almost scientific. What had once been the most surprising became the most manipulated.

Not many architects have the luxury to reject significant things.

Prada is extremely directed in terms of communicating what they like and what they don't like. That is actually extremely pleasant because it clarifies very easily what you can do and what you need to do.

We live in an almost perfect stillness and work with incredible urgency.

The intellectual force of the West is still dominant, but other cultures are getting stronger. I expect that we will develop a new way of thinking in architecture and urban planning, and that less will be based on our models.

Designs are increasingly winning competitions because they are literally green, and because somewhere they feature a small windmill.

Influence is a very unpleasant subject and I deal with it in a maybe irresponsible way, which is to really ignore it. It would be a nightmare if we started to really think about it; it would tie our hands, it would tie everyone else's hands.

A building has at least two lives - the one imagined by its maker and the life it lives afterward - and they are never the same.

Architects work in two ways. One is to respond precisely to a client's needs or demands. Another is to look at what the client asks and reinterpret it.

I am incredibly bad at predicting the future; I am only smart enough to observe the present and listen to my intuition about tendencies.

Infrastructure is much more important than architecture.

That has been my entire life story, running against the current and running with the current. Sometimes running with the current is underestimated.

The acceptance of certain realities doesn't preclude idealism. It can lead to certain breakthroughs.

What is now called 'green architecture' is an opportunistic caricature of a much deeper consideration of the issues related to sustainability that architecture has been engaged with for many years. It was one of the first professions that was deeply concerned with these issues and that had an intellectual response to them.

Designs are increasingly winning competitions because they are literally green and because somewhere they feature a small windmill.

You need to look at inequality as a typical condition of modern society.

Manhattan has generated a shameless architecture that has been loved in direct proportion to its defiant lack of self-hatred, has been respected exactly to the degree that it went too far.

The Metropolis strives to reach a mythical point where the world is completely fabricated by man, so that it absolutely coincides with his desires.

There is no such thing as a Mass Mind. The Mass Audience is made up of individuals, and good advertising is written always from one person to another. When it is aimed at millions it rarely moves anyone.

Religious advertising is undergoing a dramatic conversion.

In our factory, we make lipstick. In our advertising, we sell hope.

The simplest definition of advertising, and one that will probably meet the test of critical examination, is that advertising is selling in print.

In advertising, not to be different is virtual suicide.

It is not the purpose of the ad or commercial to make the reader or listener say, 'My what a clever ad.' It is the purpose of advertising to make the reader say, 'I believe I'll buy one when I'm shopping tomorrow'.

Young people are threatened... by the evil use of advertising techniques that stimulate the natural inclination to avoid hard work by promising the immediate satisfaction of every desire.

I saw a subliminal advertising executive, but only for a second.

I have learned that trying to guess what the boss or the client wants is the most debilitating of all influences in the creation of good advertising.

Advertising is totally unnecessary. Unless you hope to make money.