Order and creativity are complementary.

The city is a fact in nature, like a cave, a run of mackerel or an ant-heap. But it is also a conscious work of art, and it holds within its communal framework many simpler and more personal forms of art. Mind takes form in the city; and in turn, urban forms condition mind.

Stieglitz conceived, though he never carried out, a series of photographs of the heads of stallions and mares, of bulls and cows, in the act of mating, hoping to catch in the brute an essential quality that would symbolize the probably unattainable photograph of a passionate human mating.

The ultimate gift of conscious life is a sense of the mystery that encompasses it.

In the name of economy a thousand wasteful devices would be invented; and in the name of efficiency new forms of mechanical time-wasting would be devised: both processes gained speed through the nineteenth century and have come close to the limit of extravagant futility in our own time. But labor-saving devices could only achieve their end-that of freeing mankind for higher functions-if the standard of living remained stable. The dogma of increasing wants nullified every real economy and set the community in a collective squirrel-cage.

The cities and mansions that people dream of are those in which they finally live.

Faith in the creative process, in the dynamics of emergence, in the values and purposes that transcend past achievements and past forms, is the precondition of all further growth.