It is much better to have just one idea, and if the idea is clear, then you can fight for it. That is how you can get things done.
Not yesterday, not tomorrow, only today can be given form. Only this architecture creates.
I hope you will understand that architecture has nothing to do with the inventions of forms. It is not a playground for children, young or old. Architecture is the real battleground of the spirit.
Create form out of the nature of the task with the means of our time. This is our work.
Technology is rooted in the past. It dominates the present and tends into the future. It is a real historical movement - one of the great movements which shape and represent their epoch.
Industrialization of the building trade is a question of material. Hence the demand for a new building material is the first prerequisite.
It is a hopeless endeavor to make the form and content of earlier architectural epochs usable for our time; in this, even the strongest artistic talent must fail. We see repeatedly how the outstanding builders fail to achieve an effect because their work does not serve the will of the age.
Education must lead us from the irresponsible opinion to true responsible judgment. It must lead us from chance and arbitrariness to rational clarity and intellectual order. Therefore, let us guide our students over the road of discipline from materials, through function, to creative work.
Architecture depends on facts, but its real field of activity lies in the realm of the significance.
I do not think it is an advantage to build planned packaged houses. If you prefabricate a house completely, it becomes an unnecessary restriction.
Architecture depends on its time. It is the crystallization of its inner structure, the slow unfolding of its form.
The problem of architecture has always been the same throughout time. Its authentic quality is reached through its proportions, and the proportions cost nothing. In fact, most of them are proportions among things, not the things themselves. Art is almost always a question of proportions.
We do not evaluate the result but the starting point of the creative process. Precisely, this shows whether the form was discovered by starting from life, or for its own sake. That is why I consider the creative process so essential. Life for us is the decisive factor.
In addition to the wishes of the client, the position, orientation, and size of the plot also play an important role in determining the final plan of the house. The 'where' and 'how' of the exterior then follows naturally from all of that.
We refuse to recognize problems of form, but only problems of building. Form is not the aim of our work, but only the result. Form, by itself, does not exist. Form as an aim is formalism; and that we reject.
Generally, I think my work has so much influence because of its reasonableness.
The unformed is not worse than the over-formed. The former is nothing; the latter is mere appearance. Real form presupposes real life.
It must be understood that every architecture is bound to its time and manifests itself only in vital tasks and through the materials of its age. It has never been otherwise.
You cannot save wonderful towns. You can only save wonderful towns by building new ones.
The building art is, in reality, always the spatial execution of spiritual decisions. It is bound to its times and manifests itself only in addressing vital tasks with the means of its times. A knowledge of the times, its tasks, and its means is the necessary precondition of work in the building art.
True education is concerned not only with practical goals but also with values. Our aims assure us of our material life, our values make possible our spiritual life.
Means must be subsidiary to ends and to our desire for dignity and value.
Architecture has the power to create order out of unholy confusion.
It is not architectural achievement that makes the structures of earlier times seem to us so full of significance but the circumstance that antique temples, Roman basilicas, and even the cathedrals of the Middle Ages are not the works of single personalities but creations of entire epochs.
It must be possible to solve the task of controlling nature and yet simultaneously create a new freedom.
We must understand the motives and forces of our time and analyze their structure from three points of view: the material, the functional, and the spiritual. We must make clear in what respects our epoch differs from others and in what respects it is similar.
If teaching has any purpose, it is to implant true insight and responsibility. Education must lead us from irresponsible opinion to true responsible judgement. It must lead us from chance and arbitrariness to rational clarity and intellectual order.
Where can we find greater structural clarity than in the wooden buildings of old? Where else can we find such unity of material, construction and form? here, the wisdom of whole generations is stored.
I really don't know the Chicago School. You see, I never walk. I always take taxis back and forth to work. I rarely see the city.
The tendency of our time is wholly oriented toward the secular. The efforts of the mystics will remain episodes. Despite a deepening of our conceptions of life, we will build no cathedrals.
You can use up all the slums for new development. In all the cities of the world, there are large areas of these. Also, you can avoid the spread of these silly suburban houses. Chicago has thousands of them all over the place.
Behrens had a great sense of the great form. that was his main interest; and that I certainly understood and learned from him.
Architecture is always the will of the age conceived as space - nothing else. Until this simple truth is clearly recognized, the struggle over the foundation of a new architecture confident in its aims and powerful in its impact cannot be realized; until then, it is destined to remain a chaos of uncoordinated forces.
You can teach students how to work; you can teach them technique - how to use reason; you can even give them a sense of proportions - of order. You can teach them general principles.
I think that an industrial process is not like a rubber stamp. Everything has to be put together and, as such, should have its own expression.
I discovered by working with actual glass models that the important thing is the play of reflections and not the effect of light and shadow, as in ordinary buildings.
I thought a lot and I controlled my thoughts in my work - and I controlled my work through my thoughts.
Cheese was the staple. Bread you brought from home. The Schnaps came later. At the end of the week when people got paid, that's when you got your Schnaps, lots of it, five Pfennige a shot.
Form as a goal always ends in formalism. For this striving is directed not towards an inside, but towards an outside. But only a living inside has a living outside.
Most of our designs are developed long before there is a practical possibility of carrying them out. I do that on purpose and have done it all my life. I do it when I am interested in something.
Our utilitarian structures will mature into architecture only when, through their fulfillment of function, they become carriers of the will of the age.
The building art is man's spatial dialogue with his environment and demonstrates how he asserts himself therein and how he masters it.
In 1912, when I was working in The Hague, I first saw a drawing by Louis Sullivan of one of his buildings. It interested me.
Nothing can express the aim and meaning of our work better than the profound words of St. Augustine - 'Beauty is the splendor of Truth.'