20th-century design vocabulary asserted that structures should be 'interesting,' 'fantastic,' 'exhilarating'—anything but truly beautiful.

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• The core of the modern design movement—striving for originality, newness, breaking with tradition—was a structure-destroying force that denied unfolding.claim0.788
  Fundamental critique of modernism.
• A structure is truly generated, and perceived as having life, only when it has unfolded from a nice, beautiful sequence of differentiations.claim0.778
  The most profound claim of the chapter: the niceness of the sequence is directly perceptible in the built form and is the ultimate source of living quality.
• Professional architecture of the 20th century has paid too little attention to the complex, subtle structure that only living processes create, leading to environments that rob millions of common sense.claim0.778
  Critique of mainstream architectural practice as detrimental to human wholeness.
• The schemata created by modern and modernistic architectural efforts in the 20th century are too crude to carry the load of creating living geometry.claim0.773
  Critique of 20th-century modernism's inadequate form language.
• The great majority of modern buildings are awkward assemblies of unrelated components, lacking the coherence necessary to be living designs.claim0.772
  Aesthetic judgment on modern buildings.
• Architecture cannot be good so long as we try to do it within a mechanical conception of matter.claim0.770
  The impossibility of good architecture under mechanistic cosmology.
• Many modern designs could not, under any circumstances, have been created by a structure-preserving step-by-step process; they are conceptual and barren.claim0.770
  In-principle impossibility claim.
• After 1900, a variety of modern building processes came into use that are not structure-preserving—some accidentally structure-destroying, others actively promoting ugliness for profit.claim0.766
  Historical shift.