In a fragment of a second you can understand: Things you know, things you don’t know, things you don’t know that you don’t know, conscious, unconscious, things which in a fragrant of a second you can react to: we can all imagine why this capacity was given to us as human beings - I guess to survive. Architecture to me has the same kind of capacity. It takes longer to capture, but the essence to me is the same. I call this atmosphere. When you experience a building and it gets to you. It sticks in your memory and your feelings. I guess thats what I am trying to do.

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.

Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.

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

When I concentrate on a specific site or place for which I am going to design a building, I try to plumb its depths, its form, its history and its sensuous qualities.

The bottom line may be that my inventing buildings is, indeed, a very private kind of activity. But it's done to be shared. It is comforting and consoling. From the reactions I get I can see I'm not doing something strange.

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.