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.
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.
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.
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 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.
Miami Beach is a completely interesting hybrid because it is, on the one hand, a resort and, on the other hand, a real city. This condition of city and water on two sides I think is really amazing. And in the heart of that city, it has put an enormous convention center, an enormous physical presence.
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.
As an architect, I always have mixed feelings. On the one hand, your fingers are itching. As a human being, you are happy to participate in the indolence.
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.
