To work in architecture you are so much involved with society, with politics, with bureaucrats. It's a very complicated process to do large projects. You start to see the society, how it functions, how it works. Then you have a lot of criticism about how it works.
Warhol came from an ordinary family and he had a profound understanding about capitalism and material culture. He was probably one of the few Western artists - or artists from the United States - that could be considered a true product of his time and brought out that kind of spirit of the culture.
China partially wants to become part of the world. By hosting the Olympics and the Expo, they made a big effort to tell people: Look, we are the same. They want to be accepted by the international community.
All the rich people collect traditional Chinese art. So it's very natural for Chinese families to still see art as the highest human performance and send their children to this field.
New York was not a romantic city at [80th]. Nobody knows who you are and you don't have to care about anybody else. It's a very cold city, I should say.
As a human being, member of society, you must clearly state your mind. It's a responsibility. It is the way you identify yourself otherwise you don't know who you are and why you are here.
A historical property has morals and ethics of the society that created it and it can be revived. What I mean is that we can discover new possibilities from the process of dismantling, transforming, and recreating.