I grew up in a craftsman's home, where things were done with our own hands. I did cabinetmaking for four years and I hated it.

You feel a certain way in a glass or concrete or limestone building. It has an effect on your skin - the same with plywood or veneer, or solid timber. Wood doesn't steal energy from your body the way glass and concrete steal heat. When it's hot, a wood house feels cooler than a concrete one, and when it's cold, the other way around.

In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings and speak its own language.

I design for the use of a building and the place and for the people who use it... the reputation for arrogance comes because when work is offered to me, I look whether I can find a genuine interest in quality.

In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.

The first 10 years of my professional life had only to do with running away from my father. He was a wonderful cabinet-maker, and me being the eldest son, I had to take over his shop, his profession and so on and so on. I tried to escape by going to art school and then going on to industrial design and then interior design.

Designing is a matter of concentration. You go deep into what you want to do. It's about intensive research, really. The concentration is warm and intimate and like the fire inside the earth - intense but not distorted. You can go to a place, really feel it in your heart. It's actually a beautiful feeling.