When cities were first founded, an old Egyptian scribe tells us, the mission of the founder was to 'put gods in their shrines.' The task of the coming city is not essentially different: its mission is to put the highest concerns of man at the center of all his activities.

Because of their origin and purpose, the meanings of art are of a different order from the operational meanings of science and technics: they relate, not to external means and consequences, but to internal transformations, and unless it produce these internal transformations the work of art is either perfunctory or dead.

A multitude of uniform, unidentifiable houses, lined up inflexibly, at uniform distances, on uniform roads, in a treeless communal waste, inhabited by people of the same class, the same income, the same age group, witnessing the same television performances, eating the same tasteless prefabricated foods, from the same freezers, conforming in every outward and inward respect to the common mold.

When vitality runs high, death takes men by surprise. But if they close their eyes to this possibility, what they gain in peace they lose in sensibility and significance.

Before modern man can gain control over the forces that now threaten his very existence, he must resume possession of himself. This sets the chief mission for the city of the future: that of creating a visible regional and civic structure, designed to make man at home with his deeper self and his larger world, attached to images of human nature and love.

Life is the only art that we are required to practice without preparation, and without being allowed the preliminary trials, the failures and botches, that are essential for the training...

The earth is the Lord's fullness thereof: this is no longer a hollow dictum of religion, but a directive for economic action toward human brotherhood.