“Most sentimental ideas imply, at bottom, a deep if unacknowledged disrespect.”

“Design is people.”

“The only guide which I feel that I can follow is not the fluctuating dicta of those who are victors in the battle for popularity at a given moment, but my own understanding of the American tradition in which I was brought up.”

“To seek "causes" of poverty in this way is to enter an intellectual dead end because poverty has no causes. Only prosperity has causes.”

“No neighbourhood or district, no matter how well established, prestigious or well heeled and no matter how intensely populated for one purpose, can flout the necessity for spreading people through time of day without frustrating its potential for generating diversity.”

“Everyone is aware that tremendous numbers of people concentrate in city downtowns and that, if they did not, there would be no downtown to amount to anything--certainly not one with much downtown diversity.”

“There are fashions in building. Behind the fashions lie economic and technological reasons, and these fashions exclude all but a few genuinely different possibilities in city dwelling construction at any one time.”

“[Public housing projects] are not lacking in natural leaders,' [Ellen Lurie, a social worker in East Harlem] says. 'They contain people with real ability, wonderful people many of them, but the typical sequence is that in the course of organization leaders have found each other, gotten all involved in each others' social lives, and have ended up talking to nobody but each other. They have not found their followers. Everything tends to degenerate into ineffective cliques, as a natural course. There is no normal public life. Just the mechanics of people learning what s going on is so difficult. It all makes the simplest social gain extra hard for these people.”

“I have been dwelling upon downtowns. This is not because mixtures of primary uses are unneeded elsewhere in cities. On the contrary they are needed, and the success of mixtures downtown (on in the most intensive portions of cities, whatever they are called) is related to the mixture possible in other part of cities.”

“To generate exuberant diversity in a city's streets and districts four conditions are indispensable:1. The district, and indeed as many of its internal parts as possible, must serve more than one primary function; preferably more than two...2. Most blocks must be short; that is, streets and opportunities to turn corners must be frequent.3. The district must mingle buildings that vary in age and condition, including a good proportion of old ones so that they vary in the economic yield they must produce. This mingling must be fairly close-grained.4. There must be a sufficiently dense concentration of people, for whatever purposes they may be there...”

“Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations.”