Small museums are great. Big museums are a drag.

When I concentrate on a specific site or place for which I am going to design a building, I try to plumb its depths, its form, its history and its sensuous qualities.

I've said goodbye to the overworked notion that architecture has to save the world.

Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens I have seen, that I believe I have seen, that I long to see, surrounded by simple walls, columns, arcades or the facades of buildings - sheltered places of great intimacy where I want to stay for a long time.

In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings and speak its own language.

There is still a real need for good quality architecture, not paper architecture, but the real stuff.

If you're lucky, and a building succeeds, the real product has many more dimensions than you can ever imagine. You have the sun, the light, the rain, the birds, the feel.

When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.

I am convinced that a good building must be capable of absorbing the traces of human life and taking on a specific richness... I think of the patina of age on materials, of innumerable small scratches on surfaces, of varnish that has grown dull and brittle, and of edges polished by use.

I think space, architectural space, is my thing. It's not about facade, elevation, making image, making money. My passion is creating space.

I design for the use of a building and the place and for the people who use it... the reputation for arrogance comes because when work is offered to me, I look whether I can find a genuine interest in quality.

I’m a passionate architect... I do not work for money

Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.

There was a time when I experienced architecture without thinking about it.

If, early on, you know how things are put together, then you can build. The architect is in charge of making - he is not an artist.

Designing is a matter of concentration. You go deep into what you want to do. It's about intensive research, really. The concentration is warm and intimate and like the fire inside the earth - intense but not distorted. You can go to a place, really feel it in your heart. It's actually a beautiful feeling.

Normally, architects render a service. They implement what other people want. This is not what I do. I like to develop the use of the building together with the client, in a process, so that as we go along we become more intelligent.

The first 10 years of my professional life had only to do with running away from my father. He was a wonderful cabinet-maker, and me being the eldest son, I had to take over his shop, his profession and so on and so on. I tried to escape by going to art school and then going on to industrial design and then interior design.