Profit and bottom line, the contemporary mantra, eliminates the very source of architectural expression.

No phenomenon can be isolated, but has repercussions through every aspect of our lives. We are learning that we are a fundamental part of nature's ecosystems.

After 1980, you never heard reference to space again. Surface, the most convincing evidence of the descent into materialism, became the focus of design. Space disappeared.

The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line.

There is little doubt that we are in the midst of a revolution of a much more profound and fundamental nature than the social and political revolutions of the last half century.

Architecture doesn't come from theory. You don't think your way through a building.

The Achilles Heel of the Americas was the lack of cultural confidence typical of new settlers.

What is the thread of western civilization that distinguished its course in history? It has to do with the preoccupation of western man with his outward command and his sense of superiority.

Part of our western outlook stems from the scientific attitude and its method of isolating the parts of a phenomenon in order to analyze them.

The heart, not the head, must be the guide.

We settled this continent without art. So it was easy for us to treat it as an imported luxury, not a necessity.

Only when inspired to go beyond consciousness by some extraordinary insight does beauty manifest unexpectedly.

Rationalism is the enemy of art, though necessary as a basis for architecture.

No amount of thought can ever reveal what comes unexpectedly.

There is a single thread of attitude, a single direction of flow, that joins our present time to its early burgeoning in Mediterranean civilization.

Roman civilization had achieved, within the bounds of its technology, relatively as great a mastery of time and space as we have achieved today.

Nowhere has specialization penetrated so deeply into the building professions as North America.

In those countries with centuries of a craft tradition behind their building methods, techniques are tightly coordinated under the direction of the architect.

Inspiration in Science may have to do with ideas, but not in Art. In art it is in the senses that are instinctively responsive to the medium of expression.

Materialism has never been so ominous as now in North America, as management takes over.

We are yet to have a conscience at all about the exploitation of human cultures.

Compared to industry in Europe or Japan, where industry was based on a craft tradition, we are sadly behind.

The innovative spirit was America's strongest attribute, transforming everything into a brave new world, but there lingered an insecurity about the arts.

The artist likes to seem totally responsible for his work. Often he begins to explain it, to make it appear as if it were a reasonable process.

Nearly all of the advances in structural and aesthetic innovation is coming from abroad.

We have today a fairly thorough knowledge of the early Greco-Roman period because our motivations are the same.

Today's developer is a poor substitute for the committed entrepreneur of the last century for whom the work of architecture represented a chance to celebrate the worth of his enterprise.

We are guilty for sending teams into foreign countries to advise them how to be like us.

Whenever we witness art in a building, we are aware of an energy contained by it.

Ancient Rome was as confident of the immutability of its world and the continual expansion and improvement of the human lot as we are today.

We find Japan a little more difficult to understand because it has proven its 20th century prowess though the ancient traditions still persist.

It is the mystery of the creative act that something other than our conscious self takes over.

The essentially unchangeable established order of things slowly disappeared and was forgotten for a while completely.

We are stymied by regulations, limited choice and the threat of litigation. Neither consultants nor industry itself provide research which takes architecture forward.

The delusion of entertainment is devoid of meaning. It may amuse us for a bit, but after the initial hit we are left with the dark feeling of desolation.

Illusion is needed to disguise the emptiness within.

We regard those other cultures, such as that of India, where many people live and believe and behave much as they did 1,000 or 2,000 years ago, as undeveloped.

Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.

I plead for conservation of human culture, which is much more fragile than nature herself. We needn't destroy other cultures with the force of our own.

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.

Western history has been a history of deed done, actions performed and results achieved.

Our settlement of land is without regard to the best use of land.

This great, though disastrous, culture can only change as we begin to stand off and see... the inveterate materialism which has become the model for cultures around the world.

Builders eventually took advantage of the look of modernism to build cheaply and carelessly.

Does an architecture to assuage the spirit have a place?

We can appreciate but not really understand the medieval town. We cannot comprehend its compactness, the contiguity of all its buildings as a single uninterrupted whole.

The Renaissance is studded by the names of the artists and architects, with their creations recorded as great historical events.

With production alone as the goal, industry in North America was dominated by the assembly line, standardization for mass consumption.

The great dream merchant Disney was a success because make-believe was what everyone seemed to need in a spiritually empty land.