[88] Or the relationship, in a city, of socially representative buildings and individual housing; the relation of city and country, etc. Now in all these things, dwelling^a becomes symbolic for expressions of ultimate concerns. And I didn't speak, up to now, of SACRED buildings, where this is the intention, but even in so-called secular buildings it is hiddenly present behind the style of these houses. The same of course is true of dressing, of clothes. This brings me to the problem of the style^b--now, not in art^c as art, but in technical creations which are built for purposes. Here I want to say only one thing: the beauty of the perfect machine is its honesty. The honesty of the machine consists in the fact that it EXPRESSES what it is created for, and nothing else. The honesty of modern art, of modern buildings, is that it honestly expresses the relationship to space, to others, to oneself, to light, etc., and doesn’t do anything, and doesn’t go to textbooks of house-building in the Renaissance^d, or the Baroque, and puts a little curve or tower, or toretto, on the roof of a house, which has nothing whatsoever to do with this reality out of which originally the Gothic and the Baroque and other things have been created. This is the demand of architectural honesty, which is the fundamental demand, and out of which the whole realm of building, which is technical act, gets its ultimate dignity. So we have to find a way between two extremes ("extremes" is not a good word)--two pitfalls--the one is a dwelling machine, where "dwelling^e" is only understood as needing light and food and warmth and protection against wind, etc. This is not dwelling, Dwelling means: having materials created by nature, within which one wants to live. Wood, perhaps, is perhaps not always the best from THIS kind of technical needs, but it is best from the point of view of our skin, and the feeling of our skin towards wood is more intimate because it is an organic substance than towards iron or stone. This is the one extreme. The other is the problem of the so-called "beautifying." Don’t beautify anything in the realm of techniques, but express your will to live in this world, on a special place, in a special form, in special social surroundings with a special ultimate concern.