First and foremost must be my acknowledgment of the inspiration and guidance I received in my youth from my mentors, Walter Gropius, Marcel Breuer, Josef Albers and Oscar Niemeyer. They have given me the foundation upon which I have developed my work over the years. To them and to their memory, I will remain eternally grateful.

My special thanks are due to all those who have collaborated with me during almost 50 years to bring our projects to reality. They are too numerous to mention here, but members of the present team are listed herein.

Of all my clients, G.J. Dusseldorp stands out as the one who first had the confidence to entrust me with major building projects. That these buildings have stood the test of decades is due to his foresight and unique intuition. It was his encouragement that enabled me to collaborate with the great Italian engineer Pier Luigi Nervi, on many structures over a period of more than 15 years.

Working with Nervi in Rome was an education in itself. His intuitive insight into the action of forces and the reasoning in devising appropriate shapes of structural elements, as well as their means of assembly, have never left me since.

Credit must also go to the many specialists in other disciplines whose contribution has had a vital effect on my work, particularly the brilliantly inventive lighting engineers, Edison Price and Claude Engle.

What has added immeasurably to our architecture has been my love of the work of a number of artists who helped me bring art and architecture together as they have always been throughout history; the incomparably delightful work of Alexander Calder, the intellectually sober and deeply satisfying work of Norman Carlberg and the utterly ingenious constructions of Charles Perry (both students of Albers), the constantly exploratory and joyous work of Frank Stella and the serenely delightful work of Lin Utzon. For all their contributions I am deeply grateful.

Last, but not least, my thanks go to the photographers who have portrayed my work for half a century, the first of whom was my late brother Marcell, who recorded the first houses and who awakened in me a love of photography. Max Dupain , who took all my buildings for some 40 years, was an incomparable master of his art who has now been succeeded by his studio’s Eric Sierins. When Max could no longer travel long distances, John Gollings stepped in to photograph the buildings in Melbourne, Hong Kong and Brisbane.

Almost all the personal photographs were taken by my wife and partner, Penelope.