Pardon all but thy selfe. [Pardon all but thyself. ]
Journalists seem mostly interested in what brand of shoes I wear.
Why I talked about political correctness: the colonial is now such a major taboo that any achievement of the colonial period, or any generosity implied in colonialism, is again fundamentally neglected or fundamentally not recognised. That's crazy, because history is a series of layers, and you cannot say, "This layer I support and this layer I cancel. " History is history and you cannot retrospectively manipulate it.
The Grid makes the history of architecture and all previous lessons of urbanism irrelevant. It forces Manhattan's builders to develop a new system of formal values, to invent strategies for the distinction of one block from another. The Grid's two-dimensional discipline also creates undreamt-of freedom for three-dimensional anarchy. The Grid defines a new balance between control and de-control in which the city can be at the same time ordered and fluid, a metropolis of rigid chaos.
Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.
There is no plateau of resting or stabilising. Once you are interested in how things evolve, you have a kind of never-ending perspective, because it means you are interested in articulating the evolution, and therefore the potential change, the potential redefinition.
Most old cities are now sclerotic machines that dispense known qualities in ever-greater quantities, instead of laboratories of the uncertain. Only the skyscraper offers business the wide-open spaces of a man-made Wild West, a frontier in the sky.
The Sandinista revolution was without any question a popular insurrection.
The truly successful person inspires others to do more than they have thought possible for themselves.
I think [Newt] Gingrich who`s been the - among the truth tellers to [Donald] Trump, I think, in public, take a listen.
A critic should always strive to recapture the sense of wonder and surprise with which he first beheld a now-familiar work of art.