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When you look on one of your contemporary ‘good copies’ of historical remains, ask yourself the question: Not what style, but in what civilization is this building? And the absurdity, vulgarity, anachronism and solecism of the modern structure will be revealed to you in a most startling fashion.

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In the history of mankind there are recorded two great Inversions. The first, set forth by the Nazarene to the effect that love is a greater power and more real than vengeance. The second proclaimed the earth to be a sphere revolving in its course around the sun. These affirmations were made in the face of all evidence sacred to the contrary.

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Implicit in true freedom of spirit lies a proud and virile will. Such glorious power of free will to choose, envisages beneficent social responsibility as manifest and welcome.

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An architect, to be a true exponent of his time, must possess first, last and always the sympathy, the intuition of a poet… this is the one real, vital principle that survives through all places and all times.

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It is the mass dream of inverted self, populous with fears overt and secret, that forms the continuous but gossamer thread upon which are strung as phantom beads all civilizations from the remotest past of record to that of the present day and hour.

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How strange it seems that education, in practice, so often means suppression: that instead of leading the mind outward to the light of day it crowds things in upon it that darken and weary it.

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It cannot for a moment be doubted that an art work to be alive, to awaken us to its life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit.

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The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time— is he who shall create poems in stone.

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Once you learn to look at architecture not merely as an art more or less well or more or less badly done, but as a social manifestation, the critical eye becomes clairvoyant.

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An art of expression should begin with childhood, and the lucid use of one’s mother tongue should be typical of that art. <br> The sense of reality should be strengthened from the beginning, yet by no means at the cost of those lofty illusions we call patriotism, veneration, love.

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The chief characteristics of the tall building is that it is lofty. It must be every inch a proud and soaring thing, rising in sheer exultation so that from bottom to top it should be a unit without a single dissenting line.

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Happiness and depression cannot blossom on the same vine. Some people affirm their woes and beg for sympathy. Others, unfortunately, cast gloom wherever they go. These poor souls were born sick and tired.

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The feudal concept of self-preservation is poisoned at the core by the virulent assumption of master and man, of potentate and slave, of external and internal suppression of the life urge of the only one – of its faith in human sacrifice as a means of salvation.

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If with open mind one reads and observes industriously and long; if in so doing one covers a wide field and so covering reflects in terms of realism, he is likely, soon or late, to be brought to a sudden consciousness that Man is an unknown quantity and his existence unsuspected.