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A house is a machine for living in. Baths, sun, hot-water, cold-water, warmth at will, conservation of food, hygiene, beauty in the sense of good proportion. An armchair is a machine for sitting in and so on.

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Truth to tell, the modern man is bored to tears in his home; so he goes to his club. The modern woman is bored outside her boudoir; she goes to tea-parties. The modern man and woman are bored at home; they go to night-clubs.
But lesser folk who have no clubs gather together in the evening under the chandelier and hardly dare to walk through the labyrinth of their furniture which takes up the whole room and is all their fortune and their pride.

When I flew over the Atlas Mountains in a plane, I realized that their formation-through erosion, geological dramas, the action of winds-was completely independent of our moral anxieties; man is in a kind of cyclone; he builds solid houses to protect and shelter his heart. Outside, nature is nothing but indifference, even terror.

L'architecture n'a rien à voir avec les «styles». Les Louis XV, XVI, XIV ou le Gothique, sont à l'architecture ce qu'est une plume sur la tête d'une femme; c'est parfois joli, mais pas toujours et rien de plus.

"A ceux qui, absorbés maintenant dans le problème de "la machine à habiter", déclaraient que "l'architecture c'est servir", nous avons répondu: "L'architecture c'est émouvoir". Et nous avons été taxé de "poète", avec dédain"

A hundred times I have thought: New York is a catastrophe, and fifty times: it is a beautiful catastrophe.

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The problem of the house is a problem of the epoch. The equilibrium of society today depends upon it. Architecture has for its first duty, in this period of renewal, that of bringing about a revision of values, a revision of the constituent elements of the house.