I don't see that any buildings should be excluded from the term architecture, as long as they are done properly.

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.

In a way, the sense of quality has improved, the status symbol of the small things is gone, and it is acceptable to use stainless steel, even if the neighbour uses silver.

That business of relaxation, which is so terribly modern today, is all good and well, but my work interests me so much, and is so varied, that many times it seems relaxing when I go from one aspect to another.

There is always a point when one senses one's lack of skill, the doubt.

When I travel, I draw and paint sketches which is great fun. And as long as you are fully aware that it has nothing to do with actual art, I think that's all right.

Furniture manufacturing in plastics requires very costly machinery, which the Danish market is not big enough to justify. Or so they say. But show me a plastics manufacturer who dares to take on the experiment.

If a building becomes architecture, then it is art.

The primary factor is proportions.

I do not feel certain until I have confronted my initial solution with other solutions - although in fact the first solution often proves to be the right one.

And when an architect has designed a house with large windows, which is a necessity today in order to pull the daylight into these very deep houses, then curtains come to play a big role in architecture.

You will soon find that I am a bit obsessive about my work. And that is a little sad, one often feels strangely restricted, not finding time to simmer, although one actually has many interests.

People buy a chair, and they don't really care who designed it.

Architecture tends to consume everything else, it has become one's entire life.

I am going to be working on bathroom fittings for a company in the USA, and then I thought it was appropriate to simplify the fittings and, thus, lowering the cost.

That is the artistic task: To choose the best from these solutions.

I don't see that any buildings should be excluded from the term architecture, as long as they are done properly.

But inspiration? - That's when you come home from abroad and are asked: Well, have you found inspiration? - and fortunately you haven't. But the impressions sink in, of course, and may emerge later: None of us has invented the house; that was done many thousands of years ago.

If architecture had nothing to do with art, it would be astonishingly easy to build houses, but the architect's task - his most difficult task - is always that of selecting.

Besides, I think that when one has been through a boarding school, especially then, you have some resistance, because it was both fine comradeship and a fairly hard training.

On the other hand, I don't understand the enthusiasm for everything in the antique shop that Grandma threw out. There, the sense of quality has declined; otherwise Grandma wouldn't have thrown it out.

Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.

Now, the downside to conservation is that so much is done for the public, which almost always mars the environment that one wanted to conserve.

With a painter or a sculptor, one cannot begin to alter his works, but an architect has to put up with anything, because he makes utility objects - the building is there to be used, and times change.

Almost every time I make a building, some people will condemn it straight to Hell.

Carrying out the thing, getting it to the point when one might say: There, now it is good - that point is hard to reach. Often, one sets very high goals for oneself. Perhaps too high.

I have no philosophy, my favourite thing is sitting in the studio.

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.