«[…] immeasurable space […]» (p.11)

«Jean-Luc Godard once said that when you set out to make a fiction, you also make a little bit of a documentary, and vice versa.» (P.16)

«[…] architectural curiosities […]» (p.19)

«The kind of studio that had become impossible in New York: open, ample, casual, a desk for every project.» (p.26)

«[…] a festival of potential movements […]» (p.29)

«[…] these detached, floating views came to typify a new kind of visual mastery associated with the plan […]» (p.31)

«‘[…] the entire country became a factory of engineered paths and suspended experiences, where the mundane pull of earthly mass ceased to exist.'» (p.49)

«The Modernist master as unyielding perfectionist –driving his apprentices not just to new levels of precision and commitment, but to new forms of subjectivity available through these practices.» (p.53)

«‘This Swiss dream of defying gravity begins in simple rocks and logs suspended in a manner any child can manage, and ends with something wholly alien that we have not even begun to see. We have years of poor to middling photographs of engineering´s results. But if we are to remain true to our project, the buildings and the photographs themselves must invert the hypothalamuses in our souls, must render unspeakably terrifying and beatific even a glimpse of the printed page. This is why I send the fellows back repeatedly into the field. And this is why I now know, increasingly, that no book of photos will ever, ever capture the anti-gravity dream we have been here at work on for the last 50 years.'» (pp.53-54)

«‘[…] weightly mass giving way to floating line. From these givens, its future can be extrapolated forever: since the exterminating principles never cease to act, it follows that what is floating at one moment will be weighty the next. Therefore, the performance can never end or even progress in the conventional sense of dramatic plotting; it can only be the cyclic restatement of a single theme: creation and destruction irrevocably interlocked endlessly reenacted.'» (p.54)

«Who would care about my work when it was finally published, since the moriré effect was something that was dying out with digital technology?» (p.66)

«[…] the moiré effect was ultimately a kind of graphic unconscious: a basic condition of blur out of which temporary effects of sharpness were occasionally won.» (p.67)

«[…] the indiscriminate consumption of the past simply because it counted somehow as ‘history.’ […]» (p.67)

«[…] ‘A man’s historical sense and knowledge can be very limited, his horizon as narrow as that of a dweller in the Alps, all his judgments may involve injustice and he may falsely suppose that all his experiences are original to him –yet in spite of this injustice and error he will nonetheless stand there in superlative health and vigor, a joy to all who see him; while close beside him a man more just and instructed than he sickens and collapses because the lines of his horizon are always restlessly changing…’ […]» (p.68)

«[…] local bar […] partial conviction […] cheap coincidence […]» (p.69)

«[…] connections between great masterworks of literature and non-canonical texts. How does one decide which minor works to choose? […]» (p.75)

«[…] bringing the book along as his navigation tool […]» (p.80)

«[…] screen-saver landscape […]» (p.92)

«[…] My research seemed to gathered momentum […]» (p.94)

«[…] Alpitecture […]» (p.107)