„Pejzaż jest tu zwykle boleśnie monotonny. Nie jest spektakularny, ulepiony został z ciężkiej ziemi i obniesionego chmurami nieba. I jeszcze te wierzby, co płaczą. Taka sceneria daje złudną nadzieję, że nad krajobrazem można jakoś zapanować. (…) Bo skoro historia tyle razy nie pozostawiała nam wątpliwości jak bardzo jesteśmy nieistotni, to może chociaż litościwy, nienachalny pejzaż nam na to pozwoli. Staramy się więc krzyczeć, nic innego nam nie zostało.” („Landscape is in here painfully monotonous. It isn’t spectacular, was made out of a heavy ground and a sky covered by clouds. And these willows which weep. Such a scenery gives us an illusive hope that we are able to control the landscape. (…) That’s because the history convinced us many times that we are unimportant so maybe merciful, unintrusive environment would allow us to do it. We are screaming, there is nothing more left.”) F. Springer
The globalisation several years ago stole our identity. We eat exactly the same things, wear the same, dwell the same and we are proud of it. Unifacation of architecture is a misunderstanding, which has a mounting impact on our environment. But if milk has been already spilt, we have to wipe it humbly, but kindly not drop another glass.
„Czy wschód słońca jest logiczny? Jest naturalny, a to lepsze.” („Is sunrise logical? It is natural and it’s better.”) F.L. Wright
„Form follows function”, „less is more” and other worn-out slogans for XXI century man, who knows perfectly that white is good, but a little bit boring, that’s why he paints his blocky house using peach paint, 100 years ago were a breakthrough. It is probably much more difficult to imagine than knights on their horses and princess locked in a tower, but, especially during the turn of the XIX and XX centuries in United States, people lived in neo-neoclassicist and neo-neogothic shacks. The man who made them stop it was the impious heretic.