Čovjek će napraviti još jedan odlučujući korak kojim će pojedinac, bez obzira na vlastito zadovoljstvo, samome sebi postati nedostatan. Radi se o žudnji koja prelazi u otvorenost prema izvanjskome. Otvorenost koja priziva drugoga i odgovara mu. Blizina drugog izvor je svih nedoumica o sebi.

Emmanuel Levinas: Alterity and Transcendence. Columbia University Press, 1999.

Miesa ne poštujem, ja ga volim.

Rem Koolhaas: Miestakes, Content, strana 183, Tashen, 2004

Kuća Pfanner je izgrađena interpretacija Zokinog shvaćanja koncepta otvorenog prostora. Zokina definicija otvorenosti govori o jedinstvenom
arhitektonskom konceptu slobode. Podlogu za vezu između arhitektonskog oblikovanja prostora i koncepta slobode Zoka nalazi u recentnim istraživanjima u filozofiji, umjetnosti i društvenim znanostima. Te discipline razmatraju temu otvaranja jedne osobe ili grupe ljudi prema drugima umjesto da ih naprave istima ili sličnima.
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The human will pass through another decisive step, in which the subject, despite its satisfaction, fails to be sufficient unto itself . Desire
metamorphosed into an attitude of openness to exteriority. Openness that is appeal and response to the other. The proximity of the other, origin
of all putting into question of self."

Emmanuel Levinas's "Alterity and Transcendence", Columbia University Press, 1999.

I do not respect Mies, I love Mies.

Rem Koolhaas: Miestakes, Content, Tashen, 2004. p. 183

The Pfanner House is the embodiment of Zoka's understanding of the concept of open space. It is a unique architectural concept of freedom. In establishing the relationship between architectural expression and the concept of freedom, Zoka relies on recent research in philosophy, art and social sciences. These disciplines address the issue of individual or group opening up toward other entities, as opposed to making them the same or similar.
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