Nothing is as dangerous in architecture as dealing with separated problems. If we split life into separated problems we split the possibilities to make good building art.

We should concentrate our work not only to a separated housing problem but housing involved in our daily work and all the other functions of the city.

Our time is so specialised that we have people who know more and more or less and less.

Nothing is as dangerous in architecture as dealing with separated problems. If we split life into separated problems we split the possibilities to make good building art.

We have almost a city has probably two or three hundred committees. Every committee is dealing with just one problem and has nothing to do with the other problems.

Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.

Architecture belongs to culture, not to civilization.

Architecture is not merely national but clearly has local ties in that it is rooted in the earth.

Even the smallest daily chore can be humanized with the harmony of culture.

Every one of my buildings begins with an Italian journey.

Form must have a content, and that content must be linked with nature.

God created paper for the purpose of drawing architecture on it. Everything else is, at least for me, an abuse of paper.

Human life is a combination of tragedy and comedy. The shapes and designs that surround us are the music accompanying this tragedy and this comedy.

I do not write, I build.

I tell you, it is easier to build a grand opera or a city center than to build a personal house.

Just as it takes time for a speck of fish spawn to develop into a fully grown fish, so, too, we need time for everything that develops and crystallizes in the world of ideas. Architecture demands more of this time than other creative work.

Once I tried to make a standardization of staircases. Probably that is one of the oldest of the standardizations. Of course, we design new staircase steps every day in connection with all our houses, but a standardized step depends on the height of the buildings and on all kinds of things.

The best standardisation committee in the world is nature herself, but in nature standardisation occurs mainly in connection with the smallest possible units: cells. The result is millions of flexible combinations in which one never encounters the stereotyped.

The most difficult problems are naturally not involved in the search for forms for contemporary life. It is a question of working our way to forms behind which real human values lie.

The tubular steel chair is surely rational from technical and constructive points of view. It is light, suitable for mass production, and so on. But steel and chromium surfaces are not satisfactory from the human point of view.

The ultimate goal of the architect...is to create a paradise. Every house, every product of architecture... should be a fruit of our endeavour to build an earthly paradise for people.

The very essence of architecture consists of a variety and development reminiscent of natural organic life. This is the only true style in architecture.

We should work for simple, good, undecorated things, but things which are in harmony with the human being and organically suited to the little man in the street.

Modern architecture does not mean the use of immature new materials; the main thing is to refine materials in a more human direction.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.

The dialogue of architecture has been centered too long around the idea of truth.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

Victorian architecture in the United States was copied straight from England.

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.

Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.

Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.