Inherent in architecture, it involves everything in life so that there is absolutely no end to it. By the time you're seventy or eighty, you're still beginning. So, that's the kind of life I've preferred to being the expert at forty and dead, you know.
Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.
Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence.
Being interested in other fields and meeting experts outside entertainment - whether it's a two-hour conversation with John Nash that turns into 'A Beautiful Mind' or talking to people in architecture or fashion, CIA directors or Nobel laureates - has given me a better sense of which ideas feel authentic and new.
I got a New York designer to build my dream store here, which is a little bit of Florence in New York. It's like the Duomo on Madison. I got inspired by Santa Maria Novella and all the Renaissance architecture.
I think New Orleans is such a beautiful city. It looks like a fairytale when you walk through the French Quarter or the Garden District. There is such a lush sense of color, style, architecture - and the people themselves.