'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.

I could be happy doing something like architecture. It would involve another couple of years of graduate school, but that's what I studied in college. That's what I always wanted to do.

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.

Color in certain places has the great value of making the outlines and structural planes seem more energetic.

Istanbul is inspiring because it has its own code of architecture, literature, poetry, music.

I attended classes and taught classes, in Food Anthropology at Pace University, with an anthropology professor. You can trace history by the architecture and food of a place. Food is one of those things that transcends and stays in the culture.

One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.

What if we treat the high-rise like a mountain, or we have gardens in the sky, or waterfalls? I think that's the most challenging thing I want to try in my architecture.

Unesco can rightly be claimed as one of Britain's greatest contributions to that global architecture of peace, and for Penny Mordaunt to be willing to destroy that legacy by withdrawing Britain's membership is nothing but historical and cultural vandalism.

I would like to use architecture to create bonds between people who live in cities, and even use it to recover the communities that used to exist in every single city.

I would hope that the Government would still support those small, struggling independent theatre companies and also maybe look to the built architecture of the theaters because we can't let them get into disrepair. They are part of the fabric of the country.

Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.

It was nice to finish up Stanford. I think I always felt that I would be there for four years and graduate, and definitely didn't want to leave early. A degree was definitely a plus, and I was having a lot of fun in school. But after football, you know, I don't know. I really did enjoy studying architecture; it was a blast.

There's no architect who doesn't want to build a library - and I am no different. With so much scrutiny now attached to reading - because of technology and how we approach it as a social activity - that is a very exciting area in architecture.

When you found a company, you have the original vision, you make all the original decisions, you know every employee, you kind of know every aspect of the product architecture and its limitations.

Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward Heaven from the hands of a million workers like the crystal symbol of a new faith.

Throughout the ages it has always been possible to point to good and bad architecture.

Each new situation requires a new architecture.

In Rome, I particularly love the history, churches, sculptures and architecture and the fact that you can walk along a tiny cobbled street and turn the corner to find the Trevi Fountain. London is evocative of other eras and full of history.

I like to play with architecture! It's my favorite game.