“How is he made? Oftentimes bitter, sometimes sweet, seldom even wide-awake, architectural criticism of "the modern" wholly lacks inspiration or any qualification because it lacks the appreciation that is love: the flame essential to profound understanding. Only as criticism is the fruit of such experience will it ever be able truly to appraise anything. Else the spirit of true criteria is lacking. That spirit is love and love alone can understand. So art criticism is usually sour and superficial today because it would seem to know all about everything but understand nothing. Usually the public prints afford no more than a kind of irresponsible journalese wholly dependent upon some form of comparison, commercialization or pseudo-personal opinion made public. Critics may have minds of their own, but what chance have they to use them when experience in creating the art they write about is rarely theirs? So whatever they may happen to learn, and you learn from them, is very likely to put over on both of you as it was put over on them. Truth is seldom in the critic; and either good or bad, what comes from him is seldom his. Current criticism is something to take always on suspicion, if taken at all.”

“...pseudo-scientific minds, like those of the scientist or the painter in love with the pictorial, both teaching as they were taught to become architects, practice a kind of building which is inevitably the result of conditioning of the mind instead of enlightenment. By this standard means also, the old conformities are appearing as new but only in another guise, more insidious because they are especially convenient to the standardizations of the modernist plan-factory and wholly ignorant of anything but public expediency. So in our big cities architecture like religion is helpless under the blows of science and the crushing weight of conformity--caused to gravitate to the masquerade in our streets in the name of "modernity." Fearfully concealing lack of initial courage or fundamental preparation or present merit: reactionary. Institutional public influences calling themselves conservative are really no more than the usual political stand-patters or social lid-sitters. As a feature of our cultural life architecture takes a backward direction, becomes less truly radical as our life itself grows more sterile, more conformist. All this in order to be safe?How soon will "we the people" awake to the fact that the philosophy of natural or intrinsic building we are here calling organic is at one with our freedom--as declared, 1776?”

“Philosophy is to the mind of the architect as eyesight to his steps. The Term 'genius' when applied to him simply means a man who understands what others only know about. A poet, artist or architect, necessarily 'understands' in this sense and is likely, if not careful, to have the term 'genius' applied to him; in which case he will no longer be thought human, trustworthy or companionable. Whatever may be his medium of expression he utters truth with manifest beauty of thought. If he is an architect, his building is natural. In him, philosophy and genius live by each other, but the combination is subject to popular suspicion and appellation 'genius' likely to settle him--so far as the public is concerned.”

“How many understand that Nature is the essencial character of whatever is. It's something you'll find by looking not at, but in, always in. It's always inside the thing, and it makes the outside. And some day, when you get sufficiently proficient in understanding the use of the term, you can tell by the outside pretty much from what's inside.[...] But everything that's ever going to be of use to you in architecture or in life or anywhere you go or whatever you do is going to be Nature, in some of its immensely varied forms. So varied that there's no end to the variety imaginable."Nature" September 7, 1958”

“Critical thinking does seem a superior sort of thinking because it seems as though the critic is actually going beyond the scope of what is being criticized in order to criticize it. That is only rarely a true assumption because, most often, the critic will seize on some little aspect that he or she understands and tackle only that.”

“If he lacks verbal expression of it, you may find his love profoundly in his works, deeds and creativity; so recognize rather than criticize.”

“Building becomes architecture only when the mind of man consciously takes it and tries with all his resources to make it beautiful, to put concordance, sympathy with nature, and all that into it. Then you have architecture.”