I don't paint things. I only paint the difference between things.

You might say that when you step inside you're entering a honorific space but that's something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us.

The architecture of a story can be a little bit different if it's a true story.

The British political system and the whole clapped out Westminster architecture and the language that we use about politics it's completely unsustainable. You either decide to be part of that transition to do something different. Or you cling to old certainties.

No architect troubled to design houses that suited people who were to live in them because that would have meant building a whole range of different houses. It was far cheaper and above all timesaving to make them identical.

I try to give people a different way of looking at their surroundings. That's art to me.

With Stacy it was interesting because you know he was within all this chaos all these different lives that were so broken and so much anger and so much frustration and their skating came out of that their different styles came out of that.

Successful prime-time television of any genre produces some kind of emotional reaction in the viewers. There are a lot of different emotions to tap into. The emotion of the reward of discovery the feeling of righteous anger the feelings of pathos and sadness or sentimentality of being moved by something.

Whoever incites anger has a strong insurance against indifference.

Our second phase was to develop a school curriculum that teaches tolerance respect for differences conflict resolution anger management and other attributes of peace.