The inspirations of man are the beginning of his work. The mind is the soul, the spirit and the brain, the brain is purely physical. That is why a machine will never be able to compose Bach.
The mind is really the center of the unmeasurable, the brain is the center of the measurable. The soul is the same and all. Every mind is different. Every one is a singularity. The inspirations come from the walks through life and through the making of man, the inspiration to live gives a life to all institutions of medicine, of sport, of those manifestations of man that come from the inspiration to live forever.
The inspiration to learn is the making of all institutions of learning. The inspiration to question is probably the center of all philosophy, and religion. The inspiration to express, which I think is the most powerful inspiration, is the center of all art. And art is the language of God.
One of the most important aids in the work that I do comes from the realization that any building belongs to some institution of man. And I have the greatest reverence for those inspirations from which the establishment of institutions came and from the beauty of the architectural interpretations. Think of one glorious expression which was inspired by adrian. Adrian wanted a place where everyone could worship equally. The Pantheon was the result. How wonderful the interpretation which gave us a circular building from which one could not derive a formalistic ritual. And how so genius was the tracing of the only opening in the sky.
The program that you get and the translation you make architecturally must come from the spirit of man, not from the program.
The program is not architecture -it is merely instruction, it is like a prescription by a druggist. Because in the program there is a lobby which the architect must change to a place of entrance. Corridors must be changed to galleries. Budgets must be changed to economy and areas must be changed to spaces.
I have a gateway building. This gateway is the transition between the inside and the outside-I mean-is the center of the Ecumenical Council. It is not in the program, it comes from the spirit and nature of the problem. This is why I think it is so important that the architect does not follow the program but simply uses it as the point of departure of quantity, not of quality.
Make the building find its own connections.
The nucleus of the very beginning-monastery was not a loss but new realizations came to it by considering the spirit of the monastery. It is for this reason my interest in this nucleus, in form realization, form meaning, the realization of inseparable parts of something.
I was a hermit who had the idea of socializing elements, of bringing them together into a single self-complement.
Make the building find its own connections.(Refer to Fisher House 1960-1969)
And it is what I am trying to say only-is that everything that you use is under scrutiny, there is nothing finished. And the door is open, very open, to the realization of wonderful new institutions. And the wonderful way in which they can be made by inspiring composition and inspiring engineering.