Of all the lessons most relevant to architecture today, Japanese flexibility is the greatest.
The medieval hall house was very primitive when it became the characteristic form of dwelling of the landowner of the Middle Ages.
And so, inevitably, one returns to the centre of Western culture, Greece, and we have never, in any sense, lost our ties with the architectural concepts that this country's ancient civilization explored and demonstrated, nor with the political and social freedom that lay behind them.
French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.
Houses mean a creation, something new, a shelter freed from the idea of a cave.
In the Scottish Orkneys, the little stone houses with their single large room and central hearth had an extraordinary range of built-in furniture.
In cities like Athens, poor houses lined narrow and tortuous streets in spite of luxurious public buildings.
In Japanese art, space assumed a dominant role and its position was strengthened by Zen concepts.
In Japanese houses the interior melts into the gardens of the outside world.
Up until the War of the Roses there had been continual conflict in England.
It is hardly surprising that the Georgian domestic style emerges as the most remarkable in the world.
The Japanese put houses in among the trees and allowed nature to gain the ascendancy in any composition.
The American order reveals a method that was largely the outcome of material necessity, as exemplified by the Colonial style and the grid.
The corridor is hardly ever found in small houses, apart from the verandah, which also serves as a corridor.
People like terra firma, and they should be allowed to walk where they wish.
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