Architecture begins where engineering ends.

Our guiding principle was that design is neither an intellectual nor a material affair, but simply an integral part of the stuff of life, necessary for everyone in a civilized society.

Specialists are people who always repeat the same mistakes.

Architecture begins where engineering ends.

If your contribution has been vital there will always be somebody to pick up where you left off, and that will be your claim to immortality.

Only work which is the product of inner compulsion can have spiritual meaning.

Architects, sculptors painters, we all must return to the crafts! For art is not a 'profession.' There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.

I am livid with rage, sitting here in chains through this mad war which kills any meaning of life... My nerves are shattered and my mind darkened.

If we investigate the vague feelings of the average man towards the arts, we find that he is timid and that he has developed a humble belief that art is something which has been invented centuries ago in countries like Greece or Italy and that all we can do about it is study it carefully and apply it.

Let us together create the new building of the future, which will be everything in one form: architecture and sculpture and painting.

New synthetic substances - steel, concrete, glass - are actively superseding the traditional raw materials of construction.

One of the outstanding achievements of the new constructional technique has been the abolition of the separating function of the wall.

Our fresh technical resources have furthered the disintegration of solid masses of masonry into slender piers, with consequent far-reaching economies in bulk, space, weight, and haulage.

Proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination. Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist!

The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and crafts - as inseparable components of a new architecture.

The days of the painter at the Bauhaus appear to be truly over. They are estranged from the actual core of present activities, and their influence is more restricting than inspiring.

The development of the New Architecture encountered serious obstacles at a very early stage of its development. Conflicting theories and the dogmas enunciated in architects' personal manifestos all helped to confuse the main issue.

The fear that individuality will be crushed out by the growing 'tyranny' of standardization is the sort of myth which cannot withstand the briefest examination.

The general public, formerly profoundly indifferent to everything to do with building, has been shaken out of its torpor; personal interest in architecture as something that concerns every one of us in our daily lives has been very widely aroused; and the broad line of its future development are already clearly discernible.

The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again.

The school is the servant of the workshop and will one day be absorbed in it. Therefore there will be no teachers or pupils in the Bauhaus but masters, journeymen, and apprentices.

The strong desire to include every vital component of life instead of excluding part of them for the sake of too narrow and dogmatic an approach has characterized my whole life.

The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.

The utilization of flat roofs as 'grounds' offers us a means of re-acclimatizing nature amidst the stony deserts of our great towns; for the plots from which she has been evicted to make room for buildings can be given back to her up aloft.

Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts.

Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward Heaven from the hands of a million workers like the crystal symbol of a new faith.

Under trees, the urban dweller might restore his troubled soul and find the blessing of a creative pause.

Limitation makes the creative mind inventive.

The mind is like an umbrella. Its most useful when open.

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.