We are searching for some kind of harmony between two intangibles: a form which we have not yet designed and a context which we cannot properly describe.

It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form, as the trees and hills, and as our faces are.

I mean, making simulations of what you're going to build is tremendously useful if you can get feedback from them that will tell you where you've gone wrong and what you can do about it.

Images in the 20th century had a unique power where image became divorced from reality, and often more important than reality. Buildings were judged more by the way they looked in magazines than by the satisfaction people felt when using them.

The structure of life I have described in buildings - the structure which I believe to be objective - is deeply and inextricably connected with the human person, and with the innermost nature of human feeling.

There is a myth, sometimes widespread, that a person need only do inner work...that a man is entirely responsible for his own problems; and that to cure himself, he need only change himself....The fact is, a person is so formed by his surroundings, that his state of harmony depends entirely on his harmony with his surroundings.

Most of the wonderful places in the world were not made by architects but by the people.