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平面从内部发展到外部，外部是内部造成的。

建筑艺术的元素是光和影，墙和空间。

布局的有序性，这是把目的分级，把意图分级。

如果人们用不属于建筑语言的意图来衡量，人们就会得到平面的花活。由于观念的错误或者癖好浮华你就会违反平面的规则。

设计一个平面，就是明确和固定某些想法。这就是先要有些想法。这就是把这些想法整理得有秩序，使它们成为可以理解的，可以实现的和可以传播的。所以必须表现出一个明确的意图。一个平面应该浓缩，包含着大量的想法和一个起带动作用的意图。

“平面是整体的决定因素；这是一个严肃的抽象，看起来很枯燥的代数学。”

轴线是建筑中的秩序维持者。在建筑中，轴线要有一个目标。有序布局是把轴线分等分级，也是目标的分等分级，意图的分级。

轴线存在于意图之中，它以精心的手法（走廊、主过道等等），借助视觉幻觉，把一些不足道的东西都显示出来了。这里的轴线不是纯理论的枯燥无味的东西；它把主要的、清楚的、互相区别的物体联系起来。

在你画平面图的时候，绝不要忘记，是人的眼睛来看它的真实效果。

当我们从营造转变为建筑时，这是因为我们有一个崇高的意图。必须避开虚华。虚华是建筑空洞无物的原因。

另外，在建筑景观里，一切景色元素都是根据他们的体积、比重、材料质地等这些很确定又很不相同的感觉的载体而起作用的（木材、大理石、树、草地、蓝色的天际线、远近的海、天）。如一面墙屹立。墙和光，阴或光、愁苦、快活或宁静，等等。必须用这些元素来构图。

The Engineer’s Æsthetic and Architecture—two things that march together and follow one from the other—the one at its full height, the other in an unhappy state of retrogression.

The Engineer, inspired by the law of Economy and governed by mathematical calculation, puts us in accord with universal law. He achieves harmony.

The Architect, by his arrangement of forms, realizes an orde***hich is a pure creation of his spirit; by forms and shapes he affects our senses to an acute degree, and provokes plastic emoti***; by the relati***hips which he creates he wakes in us profound echoes, he gives us the measure of an orde***hich we feel to be in accordance with that of ou***orld, he determines the various movements of our heart and of our understanding; it is then that we experience the sense of...

Our eyes are c***tructed to enable us to see forms in light.

Primary forms are beautiful forms because they can be clearly appreciated.

Architects to-day no longer achieve these *** forms.

Working by calculation, engineers employ geometrical forms, satisfying our eyes by their geometry and our understanding by their mathematics; thei***ork is on the direct line of good art.

A mass is enveloped in its surface, a surface which is divided up according to the directing and generating lines of the mass; and this gives the mass its individuality.

Architects to-day are afraid of the geometrical c***tituents of surfaces.

The great problems of modern c***truction must have a geometrical solution.

Forced to work in accordance with the strict needs of exactly determined conditi***, engineers make use of generating and accusing lines in relation to forms. They create limpid and moving plastic facts.

The Plan is the generator.

Without a plan, you have lack of order, and wilfulness.

The Plan holds in itself the essence of sensation.

The great problems of to-morrow, dictated by collective necessities, put the question of “plan” in a new form.

Modern life demands, and is waiting for, a new kind of plan both for the house and for the city.

An inevitable element of Architecture.

The necessity for order. The regulating line is a guarantee against wilfulness. It brings satisfaction to the understanding.

The regulating line is a means to an end; it is not a recipe. Its choice and the modalities of expression given to it are an integral part of architectural creation.

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