“Every creative act draws on the past whether it pretends to or not. It draws on what it knows. There’s no such thing, really, as a creative act in a vacuum.”

The art of decoration requires the most sophisticated and self-indulgent skills. Its aim has always been to sate the senses as gloriously as possible… ornament is not only a source of sensuous pleasure

the search for the ultimate skyscraper goes on. … At worst, overbuilding will make urban life unbearable. At best, we will go out in a blaze of style.

No matter what an architect may be at home, he becomes a monumentalist when he comes to Washington.

Real estate is the closest thing to the proverbial pot of gold.

And infrastructure, on its already tenuous livability, overrides any aesthetic. … Art becomes worthless in a city brutalized by overdevelopment.

I have a feeling that picking up will go on long after ways have been found to circumvent death and taxes.

Washington is an endless series of mock palaces clearly built for clerks.

We want and deserve tin-can architecture in a tinhorn culture. And we will probably be judged not by the monuments we build but by those we have destroyed

Clutter in its highest and most organized form is called collecting.

Really living without clutter takes an iron will … This involves eternal watchfulness and that oldest and most relentless of the housewife’s occupations, picking up.

It supplies a necessary kind of magic to people and places that lack it. More than just a dread of empty spaces has led to the urge to decorate; it is the fear of empty selves.

What counts more than style is whether architecture improves our experience of the built world; whether it makes us wonder why we never noticed places in quite this way before.

The building is a national tragedy – a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

In the end, these unavoidable conflicts provide architecture’s essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.

Until the first blow fell, no one was convinced that Penn Station really would be demolished, or that New York would permit this monumental act of vandalism against one of the largest and finest landmarks of its age of Roman elegance

The gamble of triumph or tragedy at this scale – and ultimately it is a gamble – demands an extraordinary payoff. The trade center towers could be the start of a new skyscraper age or the biggest tombstones in the world.

My solution to the problem of unleashing creativity is always to set up a target.

I consider it my job to nurture the creativity of the people I work with because at Sony we know that a terrific idea is more likely to happen in an open, free and trusting atmosphere than when everything is calculated.

(Japanese Government believes that if you have a big laboratory with all the latest equipment and good funding it will automatically lead to creativity. It doesn’t work that way.

Curiosity is the key to creativity.

My solution to the problem of unleashing creativity is always to set up a target.

Art is endless like a river flowing, passing, yet remaining.

But I love stand-up, and it’s where I came from creatively, so it’s something I never want to walk away from.

Creativity is suspended between memory and forgetting.