I was attracted by the curve — the liberated, sensual curve suggested by the possibilities of new technology yet so often recalled in venerable old baroque churches.

I pick up my pen. It flows. A building appears. There it is. There is nothing more to say.

I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.

It is not with architecture that one can disseminate any political ideology.

My ambition has always been to reduce a building's support to a minimum. The more we diminish supporting structures, the more audacious and important the architecture is. That has been my life's work.

In architecture it isn't enough to just have the right building that works well. It can also be beautiful. It can also be different. It can create surprise. And surprise is the main thing in a work of art. [] I like and respect Brasí­lia very much. It is a simple city, a rational one. I always defend the urban design of Brasí­lia

It was the drawing that led me to architecture, the search for light and astonishing forms.