“In fact, cement is an accumulation of invisible points, with which we make houses, and buildings, palaces and monuments, but also bunkers, airport runways and traffic dividers. Cement is the clay of the twenty-first century, the substance of fabrication of this new artificial world” pp 178

“We can now see why it is precisely nature in its most chaotic, boundless terrifying dimension which is best qualified to awaken in us the feeling of the Sublime: here, where the aesthetic imagination is strained to the utmost, where all finite determinations dissolve themselves, the failure appears at it’s purest” pp 58

“In short, the Sublime is ‘beyond the pleasure principle’, it is a paradoxical pleasure procured by displeasure itself” pp 57

“Above all, however, Beauty and Sublimity are opposed along the axis pleasure-displeasure: a view of Beauty offers us pleasure, while ‘the object is received as sublime with a pleasure that is only possible through the meditation of displeasure’” pp 57

“Designers use words constantly and in direct relation to their work; in forming and discussing ideas, assessing situations, annotation drawings, writing specifications and letters, and in report writing. This aspect of design work is frequently underestimated: an ability to use words clearly, pointedly and persuasively is at all times relevant to design work” pp 31

“Hence, in summary, the designer provides instructions..” pp 30

“Drawing can never be an end for a designer (excepting an illustrator); they are a means to the end of manufacture, and their expressive content is strictly limited to the purposes of relevant communication” pp 31