And a building must be like a human being. It must have a wholeness about it, something that is very important.
We build buildings which are terribly restless. And buildings don't go anywhere. They shouldn't be restless.
If you look at the buildings, you'll find that one part looks as if it was designed by one man, and you go around and look at another facade and it looks as if it was designed by another man, you see.
So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.
Because, if we understand how a building is to be produced and we find a way that it can be more simply produced, then obviously we are contributing to building better buildings more easily.
In other words, each piece of the building must look as though it was designed for that particular building.
Being the gateway to a large city, St. Louis, I had felt from the very beginning that somehow this building should symbolize this sense of being a gateway.
I have been criticized rather strenuously by painters and sculptors for not incorporating their work in our buildings.
In this tour around the world I was not interested in contemporary buildings because I had seen contemporary buildings actually until they came out of my ears in a sense.
And exciting buildings are fine periodically.