Architecture is exposed to life. If its body is sensitive enough, it can assume a quality that bears witness to past life.

I grew up in a craftsman's home, where things were done with our own hands. I did cabinetmaking for four years and I hated 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.

My relationship to plants becomes closer and closer. They make me quiet; I like to be in their company.

Small museums are great. Big museums are a drag.

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

What I try to do is the art of building, and the art of building is the art of construction; it is not only about forms and shapes and images.

Architecture to me is whole. I cannot say I only care about this 25% and the other 75% I let go... it's just I want to work the way I want to work. In my shop, you can order certain things and other things you cannot. They are not available.

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.

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 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 need a close contact to the client, whoever it is, and a commitment of the client to go out and do a process together. I want to do the best for him. I need his respect and his patience. I want to work with a sophisticated person who's interested in a good building and not in my name.

I think the chance of finding beauty is higher if you don't work on it directly. Beauty in architecture is driven by practicality. This is what you learn from studying the old townscapes of the Swiss farmers.

I work a little bit like a sculptor. 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.

If you look at the Earth without architecture, it's sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether it's a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings.

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.

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.

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 bottom line may be that my inventing buildings is, indeed, a very private kind of activity. But it's done to be shared. It is comforting and consoling. From the reactions I get I can see I'm not doing something strange.