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.
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.
The office building is a building for work, organization, lucidity and economy. Light, spacious working rooms, clearly arranged, undivided, only organized according to the pattern of the firm.
Simply by not owning three medium-sized castles in Tuscany I have saved enough money in the last forty years on insurance premiums alone to buy a medium-sized castle in Tuscany.
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.
Nature, too, shall live its own life. We must beware not to disrupt it with the color of our houses and interior fittings. yet we should not attempt to bring nature, houses, and human beings together into a higher unity.
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.
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.
Just as we acquaint ourselves with materials, and just as we must understand functions, we must become familiar with the psychological and spiritual factors of the day. No cultural activity is possible otherwise, for we are dependent on the spirit of our time.
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.
Never talk to a client about architecture. Talk to him about his children. That is simply good politics. he will not understand what you have to say about architecture most of the time.
When one looks at Nature through the glass walls of the Farnsworth House, it takes on a deeper significance than when one stands outside. More of Nature is thus expressed - it becomes part of a greater whole.
It took me a long time to understand the relationship between ideas and between objective facts. But after I clearly understood this relationship, I didn't fool around with other wild ideas. That is one of the main reasons why I just make my scheme as simple as possible.
Modern buildings of our time are so huge that one must group them. Often the space between these buildings is as important as the buildings themselves.
If one limits to developing only the kitchen and bathroom as standardized rooms because of their installation, and then also decides to arrange the remaining living area with movable walls, I believe that any justified living requirements can be met.
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.
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.
What would life be like if everybody insisted you must have actually built such-and-such a thing by yourself? I'd be an old man and have nothing to show for the aging.
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.
I see in industrialization the central problem of building in our time. If we succeed in carrying out this industrialization, the social, economic, technical, and also artistic problems will be readily solved.