Architects love to rethink a project - that's what we do. If something is successful, like a house or a kettle, in this case, it's a great compliment when someone wants another one.

In America, writers are afforded the freedom to express themselves in unlimited manners. Creative liberty is a privilege.

I learned in architecture that you have to have a real plan. You have to have a client, they have to have distribution, start-up money, and have a vision of where it's going to go. All this has to be settled before you start, or else your work is just a story.

I have architects write to me and ask me: How do you - and what do you do to - design the magic thing? I answer that very carefully. It's not necessarily about what you do, but the clients you do it for. You should write to Target, not me.

The design of the building addresses the public nature of both the urban context and the internal program. In order to reinforce the building's associative or mimetic qualities, the facades are organized in a classical three-part division of base, middle or body, and attic or head.

Architectural and product designs have a narrative capacity - you can start to tell a story about them and imagine a lot of things.

My favorite project is always the next one.

The Alessi relationship and the Target one has broadened the role of architects in society and broadened the concept that design belongs to everyone.

I don't believe in morality in architecture.

I have no requirements for a style of architecture.

In any architecture, there is an equity between the pragmatic function and the symbolic function.

If I have a style, I am not aware of it.

It was always my goal to 'up the ante' on good design and rye devoted much of my career to this