"I was attracted by the curve — the liberated, sensual curve suggested by the possibilities of new technology yet so often recalled in venerable old baroque churches."

“I have always accepted and respected all other schools of architecture, from the chill and elemental structures of Mies van der Rohe to the imagination and delirium of Gaudi. I must design what pleases me in a way that is naturally linked to my roots and the country of my origin.”

“I deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete.… This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.”

“My ambition has always been to reduce a building’s support to a minimum. The more we diminish supporting structures, the more audacious and important the architecture is. That has been my life’s work.”

“Life is very fleeting. It’s important to be gentle and optimistic. We look behind and think what we’ve done in this life has been good. It was simple; it was modest. Everyone creates their own story and moves on. That’s it. I don’t feel particularly important. What we create is not important. We’re very insignificant.”

“My work is not about "form follows function," but "form follows beauty" or, even better, "form follows feminine.”

“Challenging the Hierarchies of the City: Oscar Niemeyer’s Mid-Twentieth-Century Residential Buildings by Styliane Philippou”