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However, the moral center of New York City, I believe, is the New York City Ballet.

For a production that suggests a mysterious dreamscape, I have a particular affection for the Vivian Beaumont Theater. It is the largest dramatic space available in New York City in terms of plays, although musicals have been done there very successfully as well.

It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.

Buildings are forms of performances.

I believe in the city as a natural human environment, but we must humanize it. It's art that will re-define public space in the 21st Century. We can make our cities diverse, inspirational places by putting art, dance and performance in all its forms into the matrix of street life.

At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.

The building art is man's spatial dialogue with his environment and demonstrates how he asserts himself therein and how he masters it.

The two elements the traveler first captures in the big city are extra human architecture and furious rhythm. Geometry and anguish.

Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.

The key to truly rebuilding our central city on a vital and sustainable foundation is people.