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.

It is a common experience that attempts to solve just one piece of a problem first, then others, and so on, lead to endless involutions. You no sooner solve one aspect of a thing, than another point is out of point. And when you correct that one, something else goes wrong. You go round and round in circles, unable to produce a form that is thoroughly right.

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.

Complexity is one of the great problems in environmental design.

Drawings help people to work out intricate relationships between parts.

All matter/space has some degree of "self" in it, and this self, or anyway some aspect of the personal, is something which infuses all matter/space and everything we know as matter but now think to be mechanical.

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.