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“... Leon Krier does not look much like an architect. Most of them dress in a now somewhat dated all-black Yohji Yamamoto manner. Krier by contrast wears a lot of linen, and he has the wire-frame glasses, broad-brimmed hats and neck stock associated with minor characters in Merchant Ivory adaptations ...”

“... culminating in Bofill’s deliberately magnificent ensemble in Cergy-Pontoise and Leon Krier’s deliciously classical Atlantis; from a few individual dwellings (Gehry’s Schnabel residence, Pietro Dirossi’s two-tier corner apartment on the Wilhelmstrasse, let alone the astonishing Slow House of Diller and Scofidio) to a host of remarkable ...”

“... civilised behaviour. Meanwhile, and as if this were not enough, the London-based architect Leon Krier has been attempting to rehabilitate the Classical plans of Hitler’s architect Albert Speer. His argument features more than a little of the sub-Heideggerean jargon of authenticity which has become fashionable among advocates of ...”

“... its players. The models of Germania (of which Andy Warhol and the Prince of Wales’s adviser Léon Krier were fans) indicate that the twin attributes of his buildings were laughable vastness and imaginative impoverishment matched only by the basilica at Yamoussoukro in Ivory Coast. The title Hitler at Home promises an exciting war crimes edition of ...”

“... and mediocrity of its designers, and is keen to remind us that many New Urbanists, such as Léon Krier, the designer of Poundbury, have a sideline in special pleading for Albert Speer. The architecture is insufferable in its pretension to Gemütlichkeit and moral gravity. ‘Nothing that the supposedly decadent cities threw up has ever compared in ...”

“... it, by their unpleasant exterior form. Charles’s court architect (and Albert Speer apologist) Léon Krier believed that established architectural languages such as classicism, baroque and gothic tell you what a building is before you read the sign. While that isn’t entirely historically accurate – in the 18th century, a roughly similar language ...”

“... being put forward in this period left Koolhaas lots of room for manoeuvre. On one side were the Krier brothers (Leon and Rob), who insisted on a return to the historic quartier as the basis of urban planning in Europe; on the other side were Robert Venturi, Denise Scott Brown and Steven Izenour, who embraced the commercial strip (‘billboards are almost ...”