No complete architecture has yet appeared in the history of the world because men, in this form of art alone, have obstinately sought to express themselves solely in terms either of the head or of the heart. I hold that architectural art, thus far, has failed to reach its highest development, its fullest capability of imagination, of thought and expression, because it has not yet found a way to become truly plastic: it does not yet respond to the poet's touch. That it is today the only art for which the multitudinous rhythms of outward nature, the manifold fluctuations of man's inner being have no significance, no place.

Architecture is not about building the impossible, which we can do if we have enough money and enough tools and enough computers, it is about building what is appropriate and about attaining beauty through such an approach. I describe this premise as "inherent buildability and I believe it is central to what I do.

Architecture is the art of how to waste space.

Historically the field of architecture has been dominated by two opposing extremes. ...[A]n avant-garde of wild ideas, often so detached from reality that they fail to become... other than eccentric curiosities. On the other side... well-organized corporate consultants that build... boring boxes of high standard. Architecture seems entrenched between two... unfertile fronts: either naively utopian or petrifyingly pragmatic. ...BIG operates in the fertile overlap between ...opposites. A pragmatic utopian architecture... creation of socially, economically and environmentally perfect places as a practical objective.

It has become obvious to the new architect that by virtue of his work he is taking an active part in the building of a new world. For us the work of an artist has no value 'as such'; it does not represent an end in itself; it has no intrinsic beauty. The value of a work of art is determined by its relationship to the community.. .The artist, or the creative worker, invents nothing; there is no such thing as divine inspiration. Thus we understand by the term 'reconstruction' the conquest of the unresolved, of the 'mysterious,' and the chaotic. In our [Russian] architecture, as in our entire life, we are striving to create a social order, i.e., to raise the instinctive to a conscious level.

There is no art more akin to mysticism than architecture. Abstract, geometrical, musical and yet dumb, passionless, it depends entirely upon symbolism, form and suggestion. Simple lies, and the harmonious combination and numerical relations between these, present something mysterious and at the same time incomplete.

Architecture is a way for power to achieve eloquence through form.

[A]t its best, architecture is like the art of portraiture. In the sense that... Is the Mona Lisa an expression of da Vinci as an artist or is it an expression of Mona Lisa, the woman that it portrays? And... the answer is both. ...[A] great portrait can capture not only the likeness, but also the character, the soul, the potential of the subject, and... what we try to do... is to create... an architectural portrait of how we see Prague. In that sense it... has that kind of inherent Pragueness, from the river to the roof, the kind of 21st century equivalent of the ... You can dream... In the architectural design process, a lot of people... worship the idea of the genius sketch on a napkin, and... that the whole project is conceived in a single eureka moment. ...A lot of the ideas that will be striking ...in 2032 have not been formulated yet. ...A lot of the ideas that haven't even been framed yet, that's what makes it very exciting ... to not just create the vision, but acutually go through with it ...[S]o many ideas... experiences... contradictions and surprises actually occur when the purity of the initial vision starts encountering the nitty gritty reality of real life. ...Some of the most striking experiences are yet to be invented in the next couple of months and years.

Taking architecture seriously therefore makes some singular strenuous demands upon us. It requires that we open ourselves to the idea that we are affected by our surroundings even when they are made of vinyl and would be expensive and time-consuming to ameliorate. It means conceding that we are inconveniently vulnerable to the color of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread. At the same time, it means acknowledging that buildings are able to solve no more than a fraction of our dissatisfactions or prevent evil from unfolding under their watch.

Architecture, even at its most accomplished, will only ever constitute a small, and imperfect (expensive, prone to destruction, and morally unreliable), protest against the state of things. More awkwardly still, architecture asks us to imagine that happiness might often have an unostentatious, unheroic character to it, that it might be found in a run of old floorboards or in a wash of morning light over a plaster wall — in undramatic, frangible scenes of beauty that move us because we are aware of the darker backdrop against which they are set.

The ultimate goal of all visual artistic activity is construction! Architects, painters and sculptors must learn again to know and understand the multi-faceted form of building in its entirety as well as its parts. Only then will they of their own accord fill their works with the architectonic spirit they have lost in the art of the salon. Let us establish a new guild of craftsmen without the presumption of class distinctions building a wall of arrogance between craftsmen and artists. Together let us call for, devise and create the construction of the future, comprising everything in one form: architecture, sculpture and painting.

Architecture depends on Order, Arrangement, Eurythmy, Symmetry, Propriety, and Economy.

When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.

As for philosophy, it makes an architect high-minded and not self-assuming, but rather renders him courteous, just, and honest without avariciousness. This is very important, for no work can be rightly done without honesty and incorruptibility.

Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.