- Denise Scott Brown: The historical underpinnings and the social argument go together in our work, and I think that gives it a kind of a toughness. There's a harder edge to it, there's something more agonized to it, which makes it less sellable. On the other hand, I wouldn't want to lose that dimension, I think that it's what gives us strength.
- Robert Venturi: Rome is known as the eternal city. And for every generation of architects, and for every individual, there are different reasons for loving Rome. My generation was one where we were modern architects and everyone was sure of Modernism, of modern architecture which emphasized space and form, which eschewed symbolism, which hated historical symbolism, which hated complexity, which liked clarity, which emphasized a vocabulary which came out of the industrial vernacular. And therefore, in many ways, Rome was absolutely obsolete and irrelevant.
- Robert Venturi: I learned about symbolism, and rhythm, about redundancy, about layered architecture, the richness of planes, of things behind things, all of those things that were really anti-modern. And at that time everyone was looking just at Modern architecture and admiring essentially the simplicities of Modernism.
- Robert Venturi: I don't think you can say that any approach is right or wrong, but I think that you can have a feeling as a living artist in your time which most to you and which will be appropriate. That is esentially what came over us a number of years ago here. We saw it clearly here. But we also have been very careful not to copy in a very direct way. We have not taken classical forms and used them literally- we have derived general lessons.