has been, is and will be coloured; nature does not present to us any object
monotonously uniform. In vegetation, in geology, in topography, in the
animal kingdom, everything mantains a more or less vivid contrast of colour;
and this is why we must obligatorily colour, partly or wholly, any architectural
In the world there is not a single column which is vertical (allthough
on many occasions people have wanted it to be so). The nature of things
demands that they are inlined and it is only necessary to study the
degree of inlination possible.
sharp curve is the sense of limitation, as the straight line is the expression
of the infinite.
The architect must not talk vaguely as the ornametalist but rather in
a concrete way: his language is geometry. To find the forms proper to
each function (which give character) is the architect's task.
Artists do not need monuments erected for them because their works are
comes from the great book of nature
consists of returning to the origin. Thus, originality means returning,
through one's resources, to the simplicity of the early solutions.
The paraboloid is the father, the best form which adapts itself to everything,
which substitutes the others without substituting them, as must be its
The character and appearance of a person are sons of the skeleton. This
is why, although one gets slimmer, the skin wrinkles and colour changes
when ill, the characteristic features are not lost.
The basis of any reasoning is the rule of three, the mathmatical proportion,
Any work of art must be seductive (in this point lies the universality,
as it attracts everybody, both the expert and the profane). When, because
of a deliberate originality, the quality of seduction is lost, then it
is not a work of art.