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’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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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.

Small museums are great. Big museums are a drag.

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.