We’ve sourced some of the most interesting and thought-provoking Architecture Quotes from Max Walker, Edith Pearlman, Justin Peck, Vince Vaughn, Santiago Calatrava. Each of the following quotes is overflowing with creativity, and knowledge.
About 1998, when ‘Wide World of Sports’ and the ‘Footy Show’ came to an end for me, I couldn’t type. When I started architecture, it was a very aesthetic, creative, an almost art process, where lettering and thick line were how you expressed yourself on the paper.
Architecture is undistinguished, sometimes derelict, but occasionally, as in ‘Post and Beam,’ there is something arresting in a setting… the building behind the Cathedral.
I love seeing New York City Ballet from the fourth ring, just seeing the architecture of how these bodies move from above.
The thing about Chicago is that it really isn’t like any other place. The architecture and the layout of the city are the best. I’m from the Midwest, and consider myself a Midwesterner. I feel most at home there. I love California. I have great friends in California. I just have always considered Illinois to be home.
What architecture does is what a coat does for our body. It wraps us.
Mies van der Rohe’s architecture and modern architecture in general suffered from not only being repetitive, but not explaining to the populous what the different rooms were for.
You might say that when you step inside, you’re entering a honorific space, but that’s something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us.
I went to school for engineering, I studied jazz. So I always had this kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
The spirituality of the music is something that I always search for in what I do, because I think that music has to have everything inside: a strong architecture, a support, the emotion.
I would like to attend college in the future when I have time. I have always been interested in architecture, so perhaps I would pursue a degree in that or business.
I would say that to put architecture in the chain of history, to be able to interpret and understand why we are where we are, is quite crucial.
The ultimate pleasure of architecture lies in the most forbidden parts of the architectural act, where limits are perverted and prohibitions are transgressed.
Good conductors know when to let an orchestra lead itself. Ninety percent of what a conductor does comes in the rehearsal – the vision, the structure, the architecture.
I think it is widely agreed that Carl Steinitz, over the 50 years he taught at Harvard, has been one of the most important figures in influencing the theory and practice of landscape architecture and the application of computer technology to planning.
Architecture is the learned game, correct and magnificent, of forms assembled in the light.
When I’m in London, Claridge’s is a great favourite. I’m a big fan of art deco architecture and the rooms are extraordinary.
Our overriding goal in restructuring our financial architecture should be that taxpayers never again have to save a failing financial institution.
Good buildings come from good people, and all problems are solved by good design.
The impact of the creative industries, of design and architecture in particular, are of course economic and they are a great export opportunity.
A dress is a piece of ephemeral architecture, designed to enhance the proportions of the female body.
Just as it takes time for a speck of fish spawn to develop into a fully grown fish, so, too, we need time for everything that develops and crystallizes in the world of ideas. Architecture demands more of this time than other creative work.
The frightening thought that what you draw may become a building makes for reasoned lines.
Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. I’m not suggesting that gestural architecture is always superficial, but solid reasoning has its place.
I got addicted to the hands-on problem-solving through the process of making or designing something. Architecture school was really influential and amazing.
I grew up in a modernist house, in a modernist culture. There was a love for modernism everywhere – the furniture, the books, the food, even the cutlery. So I learned very early to appreciate the value of design and the value of architecture.
The U.K. has been at the forefront of developing the climate change policy architecture that can ensure climate action is integrated into economic decision making.
Like in great painting and architecture, in couture, to make clothes you must eliminate, eliminate, eliminate to obtain the true sense of a line. You see, the more you add, the more you load on, the more it’s mad. You must try to have just the silhouette, which is an intelligence in clothes.
Architecture depends on its time. It is the crystallization of its inner structure, the slow unfolding of its form.
Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don’t want to be an architectural firm. I want to remain an artist.
I fought violently for the autonomy of architecture. It’s a very passive, weak profession where people deliver a service. You want a blue door, you get a blue door. You want it to look neo-Spanish, you get neo-Spanish. Architecture with any authenticity represents resistance. Resistance is a good thing.
There is one way that architecture is superior to sculpture, and that is scale. You can walk into a building and have it all around you.
I attended classes and taught classes, in Food Anthropology at Pace University, with an anthropology professor. You can trace history by the architecture and food of a place. Food is one of those things that transcends and stays in the culture.
Architecture is a negotiated art, and it’s highly political, and if you want to make buildings, there is diplomacy required.
Victorian architecture in the United States was copied straight from England.
I acquired an admiration for Japanese culture, art, and architecture, and learned of the existence of the game of GO, which I still play.
I see music as fluid architecture.
My interest in architecture has always been sculptural. Most of my photography is of architecture.
That Moorish architecture is all over the place, of course. It affects me everywhere I see it, as it does so many people. But Brand Library was a special place to me, and I know I’ve paid homage to it many times in my drawings.
A pool at the edge of the ocean is the simplest geometry, yet you feel connected to the sea. In a forest with the mountains in the background, you also feel the connection to nature, yet it’s a very complex geometry. I think architecture is about controlling these feelings.
French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.
There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart. There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart.
Architecture is always political.
If you have an architecture of control, let’s say, where you select in advance everything that’s going to affect your life, then you’re going to live in a very small world that will have an echo chamber feature… Pandora, which I love, actually feeds into that.
There is little in the architecture of a city that is more beautifully designed than a tree.
We were kind of arrogant when we started and became really humbled as we were doing architecture. It’s really hard to work with budgets and deadlines and all of these collaborators and all of these voices and special interests.
In the big picture, architecture is the art and science of making sure that our cities and buildings fit with the way we want to live our lives.
In a place like the Greek Theater in L.A., to try and create a close connection with the audience seems almost antithetical to the architecture of the building.
I do speak Mandarin, and I also relate to the hunger that China has for culture and architecture and style.
Good architecture should be a projection of life itself, and that implies an intimate knowledge of biological, social, technical, and artistic problems.
I feel I can handle the architecture of dance as well as anybody.
It was my interest in happiness that led me to the subject of habits, and of course, the study of habits is really the study of happiness. Habits are the invisible architecture of everyday life, and a significant element of happiness.
There is a profound ethic to architecture which is different from the other arts.
The original Heart logo was made back in the real early ’70s by Mike Fisher, who I used to be in a relationship with. He was first our manager and then our soundman. When I met him, he was in design school for architecture, so he was always drawing.
I don’t think architecture is radical. How can something that takes years and costs millions be radical?
Society understands the architecture of academia and knows there are relevant qualifications in different fields, and the media accepts the idea of specialisations and accords greater respect to those with greater expertise. With one exception: climate science.
I don’t think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think.
I think it’s important to approach a house in a way that’s reflective of the original environment. Maybe I’m a sentimentalist, but I think that certain geographies call out for certain architecture. I like residences that reflect their place.
The secret of good architecture is having more than meets the eye.
Think about what happens when architecture becomes ruins. All you have left are some little columns on a cliff, but it’s still such an overwhelming experience that you could say architecture is that which makes ruins beautiful.
The thing I love about Rome is that is has so many layers. In it, you can follow anything that interests you: town planning, architecture, churches or culture. It’s a city rich in antiquity and early Christian treasures, and just endlessly fascinating. There’s nowhere else like it.
I’ve always liked traveling around Europe and seeing the architecture. The buildings in capital cities have been there for hundreds and hundreds and hundreds of years. Some look better than the new ones.
Architecture belongs to culture, not to civilization.
My architecture is very much place-related.
The only job that was ever of interest to me other than filmmaking is architecture.
Music, architecture and pictures have always been my passions, and all that material wealth has meant for me, is being able to have some of the pictures I liked.
Inspiration is around you. Like, when I travel any country, be it Paris or London, while walking on the streets, the architecture, the restaurants all inspire me. Inspiration for design could be anywhere.
We are always looking ahead to anticipate what next, and our unique innovation architecture enables us to take an innovation-led approach to help our clients invent the future.
Architecture starts when you carefully put two bricks together. There it begins.
I love architecture, but I learned early on that architects just don’t make a lot of money.
Architecture tends to consume everything else, it has become one’s entire life.
Instead of using the machine as a metaphor for architecture, as Le Corbusier did, I use the human body. I want the public to know that it’s them I’m designing for.
In my experience, if you have to keep the lavatory door shut by extending your left leg, it’s modern architecture.
Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.
The difference between good and bad architecture is the time you spend on it.
God created paper for the purpose of drawing architecture on it. Everything else is, at least for me, an abuse of paper.
You don’t need to go to Rome, Prague or Vienna to find wonderful architecture, amazing stories and suprising, hidden gems.
I could have been an architect, but I don’t think I’d have been very happy. Nearly all modern architecture is a silly game as far as I can see.
I always wanted to be an actor, but I always loved design, and growing up in New Orleans there was such great style, great architecture. I would decorate my little apartment in New York over and over again, because it only had a couple of rooms. And I did it for friends and family on the side just for fun.
I never studied sculpture, engineering or architecture. In fact, after college I applied to seven art schools and was rejected by all seven.
Architecture is basically the design of interiors, the art of organizing interior space.
You get one chance to do something about native title. You get perhaps one chance in your life to do something about a republic. You get one chance, your chance, to build a piece of the political architecture in the Pacific. I wasn’t going to give those up.
All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.
India and Egypt have been strongly influencing each other’s culture, arts and architecture since ancient times.
You don’t have to spend much time in Shanghai before you start to get all existential about the meaning of authenticity. Did you know that Shanghai is building nine satellite towns, each designed to mimic the architecture and culture of a different country?
In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.
The show is called ‘The Office,’ and while it focuses on the people, the architecture of the space is very important.
Architecture struck me between the eye and the eyeball.
Architecture is unnecessarily difficult. It’s very tough.
I’ve always been attracted to classic patterns in architecture, music and drama.
Let us together create the new building of the future, which will be everything in one form: architecture and sculpture and painting.
A lasting architecture has to have roots.
Landscape architecture is basically geodesign; it’s designing geography. And yet geodesign is not only done by landscape architects, it’s done by some of the world’s largest corporations.
Every time a student walks past a really urgent, expressive piece of architecture that belongs to his college, it can help reassure him that he does have that mind, does have that soul.
Bridges are perhaps the most invisible form of public architecture.
I don’t separate architecture, design, or culture. What’s more important is a language of creativity that carries meaning.
The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person; and in the end they unite.
You have to accept as an architect to be exposed to criticism. Architecture should not rely on full harmony.
In architecture, you arrive so late. I look at doctors, lawyers I know, and they’re all buying boats and bailing out at 62. My career is just getting started.
For a long time, nobody had figured out Information Architecture, so we all just made stuff up.
Buildings in modern cities have lost their metaphoric aspect. Much contemporary architecture is very fragmented and busy on the outside. It’s like a skin or a skull, but you don’t know what’s inside.
After my schooling, I was not thrilled by the idea of treading the usual doctor-engineer line. I wanted to pursue something artistic, and I was good at drawing. The options before me were architecture, fashion, and interior designing.
When I moved to Switzerland to study at ETH Zurich I became fascinated by Swiss architecture.
I’ve always seen architecture as a healing art, not just as a beautification art.
You must understand the difference between being an architect and a politician. Architecture is a profession of perseverance. You have to come through. The politician is there to blame someone.
Ultimately, the artistic part of architecture has always interested me.
If I was influenced by anything, it was architecture: structure having to do with logic. If you don’t do it right, the whole thing is going to cave in. In a certain sense, you can carry that to graphic design. Fortunately, however, nobody is going to die if you do it wrong.
Architecture is a art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being.
I grew up in southeast London and there’s a lot of brutalist architecture.
If a dictator takes up my ideas, the resulting town will survive the political system that commissioned it and stand as a social good. Besides, modernism rather than classicism has dominated the architecture of totalitarian regimes of both the left and right.
It must be understood that every architecture is bound to its time and manifests itself only in vital tasks and through the materials of its age. It has never been otherwise.
The oldest book I have is a treatise on architecture from the 17th century.
Since I am a Japanese man who’s been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they’re based on Western methods and materials.
In architecture you should live for 150 years, because you have to learn in the first 75 years.
A film carries six fine arts – it consists of architecture, painting, music, writing or literature, photography and performance. It’s a conjecture of all these things and yet based on literature.
I came, I studied architecture in America, so my technical background’s completely western. But my seventeen years, the formative years of one’s life, and I can’t say that the Chineseness in me is not there.
I find the aristocratic parts of London so unattractive and angular; the architecture is so white and gated. But in New York, it’s different – even uptown it’s really grand, and there’s no real segregation there. It’s all mixed up.
I have traveled a fair amount, and I have visited some great cities. I love architecture and museums and castles and ruins and central markets and even double-decker bus tours. But, I am a sucker for a tropical beach.
Architecture is a science arising out of many other sciences, and adorned with much and varied learning; by the help of which a judgment is formed of those works which are the result of other arts.
As a child, I always enjoyed building forts by stringing up bed sheets and clothes. I continue to be inspired by makeshift structures, including my own kids’ forts and temporary architecture of all sorts.
But I feel truly wowed by the architecture and the meaning of the architecture if you get lost in it and think about the man hours in the smallest little chapel, and the love involved. God it’s fantastic.
I’m working on a school of architecture in China. It’s rare that an architect gets to design a school of architecture, and here I get to do it. I’m so pleased that they asked me.
In L.A., cinema and television might be seen as more interesting places for architecture than ever before.
I don’t want to do architecture that’s dry and dull.
Maybe we can show government how to operate better as a result of better architecture. Eventually, I think Chicago will be the most beautiful great city left in the world.
When I work on sculpture, I don’t have to worry about function. When I work on a piece of architecture, I must think about function all the time.
Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don’t fall into the trap of thinking that what you do is abstract.
Every problem is super-interesting and has its own nuances, and you solve it today, but you try to solve it with an architecture. You build a machine to solve the problems that are like it later. And then you move on to the next.
There’s something very special about seeing history so clearly in front of you through that architecture that you just don’t get in the U.S. If I was asked to choose where I’d most like to live, I would always choose London.
A man of eighty has outlived probably three new schools of painting, two of architecture and poetry and a hundred in dress.
I think all good architecture should challenge you, make you start asking questions. You don’t have to understand it. You may not like it. That’s OK.
Architecture is not a profession for the faint-hearted, the weak-willed, or the short-lived.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
The most enjoyable things are the old eighteenth-century terraces that are still standing, that domestic architecture.
The World’s Fair was the precursor to theme parks like Disneyworld, and the really sort of cheap, superficial promotional architecture that you see everywhere in the U.S. I think there’s a danger when you start creating a civilisation that isn’t meant to last.
When I was 18, I lived in Greenwich Village, New York, for nine months. At that time, I wanted to change the world, not through architecture, but through painting. I lived the artist’s life, mingling with poets and writers, and working as a waiter. I was intrigued by the aliveness of the city.
Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
I’m trying to create architecture as landscape. But I’m not copying nature.
I have a strong sense that every project is an invention, which is not a word I hear being used in architecture courses.
I try to shut out ideas about why you should do things. Trying to do good architecture and really designing a career? There’s some attention to be paid to that, but I don’t think it’s everything.
I don’t build in order to have clients. I have clients in order to build.
I grew up in Romania studying art and architecture.
In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings and speak its own language.
I don’t find Hollywood interesting, so I’m thinking of studying architecture instead.
‘Harlem: The Unmaking of a Ghetto’ is a surprise and a fresh way of looking at Harlem, connecting the black district with the architecture of its historical past.
It is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. That which I have insisted upon as the life of the whole, that spirit which is given only by the hand and eye of the workman, can never be recalled.
I went into architecture a little as ‘Peck’s Bad Boy.’ It allowed me to be a critic in a socially condoned way.
No architecture is so haughty as that which is simple.
Chicago is a city built on architecture, and there are plenty of buildings to scale.
I am involved in the architecture of space.
If you examine this, I think that you will find that it’s the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.
Nothing requires the architect’s care more than the due proportions of buildings.
As a student, I hadn’t really been interested in architecture at all, but when I started teaching, it grew into me – rather than me growing into it.
I studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.
My husband John’s and my breaks are often very culture heavy. He cannot pass a museum without venturing inside, so we tend to see a lot of architecture and so-called places of interest.
Architects of grandeur are often the master builders of disillusionment.
I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.
You can never draw enough or read enough – reading about architecture, in other words.
I would fix other people’s lines if they asked me on occasion. The hard part of writing is the architecture of it, getting the story and structuring it. Not the tweaking of lines.
As a designer, the mission with which we have been charged is simple: providing space at the right cost.
I do believe architecture, and all art, should be content-driven. It should have something to say beyond the sensational.
Modern Architecture died in St. Louis, Missouri, on July 15, 1972, at 3.32 p.m. (or thereabouts), when the infamous Pruitt Igoe scheme, or rather several of its slab blocks, were given the final coup de grace by dynamite.
The English light is so very subtle, so very soft and misty, that the architecture responded with great delicacy of detail.
I have no requirements for a style of architecture.
It seems a fantastic paradox, but it is nevertheless a most important truth, that no architecture can be truly noble which is not imperfect.
My private work is touched by this destiny of understanding that architecture and engineering have a social character and can serve the community.
Of all the lessons most relevant to architecture today, Japanese flexibility is the greatest.
The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.
Light, God’s eldest daughter, is a principal beauty in a building.
Technological considerations are of great importance to architecture and cities in the informational society.
If you look at the Earth without architecture, it’s sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether it’s a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings.
I became a fanatic of the architecture of Le Corbusier and I visited almost all his buildings and read all his books. Only later on did I discover that all the things that impressed me in his books, particular his ideology, he had picked up from Auguste Perret.
As the OLPC laptop was getting ready to go into mass production in 2007, many executives approached me wanting the screen that I invented, and the laptop architecture that I co-invented, for their new laptops, cell phones, and other devices.
When I visit any cathedral, it reminds me of being with my grandparents. They weren’t particularly religious, but my grandfather was obsessed with architecture.
I always look forward to the next project. That is one of the wonderful things about architecture – you always can hope for another project to design.
Architecture is the will of an epoch translated into space. Living, Changing, New. Not yesterday, not tomorrow, only today can be given form. Only such architecture is creative.
London is one of the most civilised places in the world for the procedure of making architecture and urban design.
I was always really geeky about design and buildings. Always into architecture as a kid.
Aesthetically, London is just beautiful; it’s a gorgeous city. The architecture, monuments, the parks, the small streets – it’s an incredible place to be.
Less is more.
I went to art school in Chicago for a year at Columbia College. I had this whole master plan of getting into sustainable development and green architecture and construction, so I wanted to go to business school and then get my masters in construction and development.
The future of architecture is culture.
Architecture is art, nothing else.
The ‘International Style of Modernism’ came with the advent of building services. In the end, the architecture became like a container space, essentially like a boring box with a basement full of machinery to make it inhabitable. As a result, buildings literally started to look identical all over the planet.
I was a rebel. I never wanted to build. We thought of architecture as intellectually bankrupt and slightly corrupt, and I was always more interested in other forms of discourse.
In architecture, Palladio is the game. It means hard thought all through – if it is labored, it fails.
New Orleans is unlike any city in America. Its cultural diversity is woven into the food, the music, the architecture – even the local superstitions. It’s a sensory experience on all levels and there’s a story lurking around every corner.
You are a victim of your own neural architecture which doesn’t permit you to imagine anything outside of three dimensions. Even two dimensions. People know they can’t visualise four or five dimensions, but they think they can close their eyes and see two dimensions. But they can’t.
Concrete you can mold, you can press it into – after all, you haven’t any straight lines in your body. Why should we have straight lines in our architecture? You’d be surprised when you go into a room that has no straight line – how marvelous it is that you can feel the walls talking back to you, as it were.
Working off one genius sketch is not the way great architecture should be made.
My house is my refuge, an emotional piece of architecture, not a cold piece of convenience.
Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
Yet for my part, deeply as I am moved by the religious architecture of the Middle Ages, I cannot honestly say that I ever felt the slightest emotion in any modern Gothic church.
I learned to paint in a historical method. First through watercolours and then through oil. Then, when I went to college and to the school of architecture, I took up modern painting.
I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There’s a lot of architecture in our songs.
I’ve always thought that design can have equal importance to the idea of internal architecture. Professionally, things can be very dogmatic – you do the architecture, someone else does the interiors, someone else does the furniture, the fabric, etc. But I think design is all-encompassing.
I’m a member of the National Trust. I absolutely love architecture, history, geography, the arts and culture. Oh, and I love gardens. I moved from London to Hertfordshire, so I could get a garden.
It is not with architecture that one can disseminate any political ideology.
Until the Eighties, Oslo was a rather boring town, but it’s changed a lot, and is now much more cosmopolitan. If I go downtown, I visit the harbour to see the tall ships and the ferries, and to admire the modern architecture such as the Opera House or the new Astrup Fearnley Museum on the water’s edge.
Architecture is a wrapping for the human body, and dance is the finest expression of the body.
My apartment reflects my views as an architect. It is minimal, austere. The architecture doesn’t impose itself upon you. The apartment is a stage for other things to take place.
The fossil fuel industry has taken control of, and powered up, architecture and methods originally built by the tobacco industry and others to attack and deny science.
Architecture is politics.
I believe that architecture, as anything else in life, is evolutionary. Ideas evolve; they don’t come from outer space and crash into the drawing board.
Architecture produces a musical mood in our inner being, and we notice that even though the elements of architecture and music appear to be so alien in the outer world, through this musical mood engendered in us, our experience of architecture brings about a reconciliation, a balance between these two elements.
Every man’s work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.
I don’t know why I’ve always been so captivated by architecture.
Architects today tend to depreciate themselves, to regard themselves as no more than just ordinary citizens without the power to reform the future.
To work in architecture you are so much involved with society, with politics, with bureaucrats. It’s a very complicated process to do large projects. You start to see the society, how it functions, how it works. Then you have a lot of criticism about how it works.
Architecture has been male-dominated forever, and I am a grateful beneficiary of the women’s movement.
I have at last admitted that not only was I angry with my mother, but, in fact, I wanted to destroy her as a child. And I was so concerned to be a woman who was different from my mother that I had this vast architecture of rules.
It is good to learn from the ancients. I’m a bit of an ancient myself. They had a lot of time to think about architecture and landscape.
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
The secret to the movie business, or any business, is to get a good education in a subject besides film – whether it’s history, psychology, economics, or architecture – so you have something to make a movie about. All the skill in the world isn’t going to help you unless you have something to say.
I read whenever possible, and I buy books all the time, sometimes online, but mostly from bookshops. I love literature. If you want to understand art, it’s important to understand what is also happening in literature, in music, in science, in architecture.
I’m not an interior decorator; I’m a designer, and that includes the architecture. The package must be strong and controlled, the rooms aligned, and the windows positioned to make sense with the furniture. Fluff it up, and you’ve got big trouble.
I love architecture.
Everything man is doing in architecture is to try to go against nature. Of course we have to understand nature to know how far we have to go against nature. The secret, I think, of the future is not doing too much. All architects have the tendency to do too much.
I have a traditional view of the afterlife… heaven, hell and judgments. But the accounts of those places are scant, and I believe it’s on purpose. We aren’t supposed to try to figure out the architecture of the afterlife, since the big game is here in this life.
Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
When I was in architecture school, I became curious about the exact mathematics, physics, and construction of the great structures I had been studying. I wanted to know how these amazing things would work: the Pantheon, the dome of Michelangelo, the dome of Brunelleschi. So I decided to study civil engineering.
Little do we find any Phoenician architecture or plastic art at all comparable even to those of Italy, to say nothing of the lands where art was native.
I take a lot from everywhere. I take from music, architecture, novels, and plays. Anywhere that hits you.
In architecture and interiors, as well as fashion, there is an interaction that is both functional and aesthetic.
In general, Tor architecture is not suited for protecting anonymity of long-term, popular web services.
What people want, above all, is order.
I have designed the most buildings of any living American architect.
There’s no architect who doesn’t want to build a library – and I am no different. With so much scrutiny now attached to reading – because of technology and how we approach it as a social activity – that is a very exciting area in architecture.
The Internet has created an incredible democratization of the architecture industry.
To make architecture with any real value is a massive challenge.
Whatever good things we build end up building us.
The Romans were not inventors of the supporting arch, but its extended use in vaults and intersecting barrel shapes and domes is theirs.
So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.
Architecture is not an inspirational business, it’s a rational procedure to do sensible and hopefully beautiful things; that’s all.
In 1996, I took advantage of some favourable circumstances to propose to the state of the Ticino Canton the foundation of the Academy of Architecture and, with it, an Italian-speaking university in Switzerland.
You don’t need to spend a lot of money on stuff when you have amazing architecture.
This is a look, a part of Australia we don’t see. The wide streets, the architecture, the embassies, the space. It’s really beautiful and there’s a feel to Canberra that is different to any other city.
Dubai is a vibrant city: Big cars, big buildings… it reminds me of my home town, Hong Kong. People are always on the move here, and there’s a lot going on. There are some wonderful architecture and some not-so-wonderful.
Color in certain places has the great value of making the outlines and structural planes seem more energetic.
An important work of architecture will create polemics.
As a mature and responsible nation, one of India’s foreign policy interests is to evolve a regional architecture based on the twin principles of shared security and shared prosperity.
A building is no good if someone’s got to explain to you why it’s good. You can’t say you don’t know enough about architecture – that’s ridiculous. It’s got to work on many levels.
Architecture students are generally given theoretical projects, often located at distant locations, and told to come up with a design.
I love the architecture magazines and all of the French magazines for decoration or whatever. I end up enjoying them more sometimes than the fashion magazines.
Look, architecture has a lot of places to hide behind, a lot of excuses. ‘The client made me do this.’ ‘The city made me do this.’ ‘Oh, the budget.’ I don’t believe that anymore.
At this present time, matter is still the best way to think of architecture, but I’m not so sure for very long. The computer is radicalizing the way we think about our world.
Never talk to a client about architecture. Talk to him about his children. That is simply good politics. he will not understand what you have to say about architecture most of the time.
Besides numerous science courses, I had the opportunity to study philosophy, the history of architecture, economics, and Russian history in courses taught by extraordinarily knowledgeable professors.
The British political system and the whole clapped out Westminster architecture, and the language that we use about politics, it’s completely unsustainable. You either decide to be part of that transition to do something different. Or you cling to old certainties.
Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent – not with how things are but with how they might be – in short, with design.
All real education is the architecture of the soul.
The principle of the Gothic architecture is infinity made imaginable.
I came to London constantly, working with Ninja Theory on ‘DmC Devil May Cry,’ and I kind of fell in love with this amazing architecture, where you have these buildings that have clearly been around a long time, and they have this amazing gothic look, and then on the first floor, it’s a McDonald’s!
What’s interesting about architects is, we always have tried to justify beauty by looking to nature, and arguably, beautiful architecture has always been looking at a model of nature.
If architecture is frozen music then music must be liquid architecture.
Tension is an interesting quality – and architecture must have it. There should be elements of the inexplicable, the mysterious, and the poetic in something that is perfectly rational.
The work of art shows people new directions and thinks of the future. The house thinks of the present.
I like going for walks in the western harbour, a newly-built area of Malmo where the old harbour used to be. It is surrounded by canals and waterways and the architecture is modern and innovative – the landmark Turning Torso skyscraper, designed by Santiago Calatrava, is the star of the show.
For me, architecture is the means, not the end. It’s a means of making different life forms possible.
There is a lot of bad architecture. What we need more is to look at how our landscape should look in the next decades.
The thing is that when you are a director, you need to be involved in a lot of different fields. You must be a psychologist, an architecture expert; you must be a choreographer.
I think I went to Italy initially for the art, architecture, food and history, but I stayed there because of the people in Cortona.
I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.
If architecture is, as is sometimes said, music set in concrete, then football and basketball may be said to be creativity embodied in team sports.
Jaipur is the capital of Rajasthan and, in my opinion, the best place to visit. It is an amazing hub of history. It’s called the Pink City because all the architecture has a hint of pink in the stones used. It’s an amazing stop for all kinds of food but also for history and shopping. It has a little bit of everything.
Architecture is the reaching out for the truth.
What has happened to architecture since the second world war that the only passers-by who can contemplate it without pain are those equipped with a white stick and a dog?
‘Clothespin’ was the first city monument on a large scale that could compete with the architecture around it.
Architecture is a slow business, and city planning even slower.
Once you learn to look at architecture not merely as an art more or less well or more or less badly done, but as a social manifestation, the critical eye becomes clairvoyant.
I like to make a tour round the pitch before games to look at the architecture, the colours in the stadium, the sky, to feel the atmosphere growing.
If I weren’t involved with food, I’d be working in architecture. Design is that critical to me.
Architecture is a special kind of career that showcases the accumulations of culture, time, and history.
Forms in nature are a byproduct of a reciprocal action between a given material and the conditions of the environment. But in architecture, the process is the direct opposite: First you decide on the form, and then you think how to build it in reality.
Architecture is restricted to such a limited vocabulary. A building is either a high-rise or a perimeter block or a town house.
I initially thought I would be an architect, maybe. So I went to architecture camp and quickly learned that I did not want to be an architect. I was like, ‘No. This is not for me.’
The two elements the traveler first captures in the big city are extra human architecture and furious rhythm. Geometry and anguish.
I really love Miami, but I don’t think the architecture matches the city. It’s a bit too commercial.
Ever since childhood, I’ve been interested in history and myth. Not just the facts and figures of the past, but everything that contributes to shape our perception of an age: architecture, art, literature and so forth.
Art is very tricky because it’s what you do for yourself. It’s much harder for me to make those works than the monuments or the architecture.
When you have rules to abide by, does that curtail you as a designer, or set you free? People think of classical architecture visually, but I think the brilliant part of it is actually spatial.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
Architecture is definitely a political act.
The artistic part of us all – I think that the easiest way to appreciate this – is through architecture. Architecture is very impressive; the beauty of buildings, temples.
Architecture was pretty much the sexiest thing to be doing from 1700-1800.
I’m somebody who likes codes and ciphers and chases and artwork and architecture, and all the things you find in a Robert Langdon thriller.
We need to rediscover the essence of the meaning of ‘the use.’ Architecture is, above all, here for a better living. Every gesture, every shape must be justified by various reasons that would reinforce their reason to be, their use, and will give more sense to their beauty.
All architecture has a public nature, I believe, so I would like to make a public space.
In effect, the Internet is a global connection of interconnected computers. It has been described as truly a peer-to-peer system with many distributed nodes and no central point of control architecture.
Architecture and building is about how you get around the obstacles that are presented to you. That sometimes determines how successful you’ll be: How good are you at going around obstacles?
I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.
Of course I believe imaginative architecture can make a difference to people’s lives, but I wish it was possible to divert some of the effort we put into ambitious museums and galleries into the basic architectural building blocks of society.
People kind of tend to mystify design and architecture by suggesting you need to train.
Prince Charles was a lot wittier than I thought he’d be, and passionate about the environment and architecture.
But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.
Writing about music is like dancing about architecture.
I have tried to get close to the frontier between architecture and sculpture and to understand architecture as an art.
Of course I know very little about architecture, and the older I get the less I know.
I’m inspired by many things, from landscapes to textiles. Art and architecture always influence my design process.
Liquid architecture. It’s like jazz – you improvise, you work together, you play off each other, you make something, they make something. And I think it’s a way of – for me, it’s a way of trying to understand the city, and what might happen in the city.
The aesthetic of architecture has to be rooted in a broader idea about human activities like walking, relaxing and communicating. Architecture thinks about how these activities can be given added value.
I enjoy art, architecture, museums, churches and temples; anything that gives me insight into the history and soul of the place I’m in. I can also be a beach bum – I like to laze in the shade of a palm tree with a good book or float in a warm sea at sundown.
I’ve always been interested in an architecture of resistance – architecture that has some power over the way we live. Working under adversarial conditions could be seen as a plus because you’re offering alternatives. Still, there are situations that make you ask the questions: ‘Do I want to be a part of this?’
A year before I met Mark Brydon – he was the one I used to make all the music with in Moloko – I was living in Sheffield with a guy who was studying architecture. I used to go to his college and crash the lectures there. I had enrolled to do a fine art course, but then I met Mark, and we signed a record deal instead.
I love art in general – architecture, anything creative.
I love Sutton House in Clapton, a beautiful example of Tudor architecture.
Prediction is structurally inseparable from the business of punditry: It creates the essential image of indefatigable authority that is punditry’s very architecture; it flows from that calcified image, and it provides the substance for the story that keeps getting told about the inevitability of American progress.
We build buildings which are terribly restless. And buildings don’t go anywhere. They shouldn’t be restless.
Unesco can rightly be claimed as one of Britain’s greatest contributions to that global architecture of peace, and for Penny Mordaunt to be willing to destroy that legacy by withdrawing Britain’s membership is nothing but historical and cultural vandalism.
People outside the profession of architecture perhaps often lack the understanding of how their physical environment comes into being. What are the processes, the concerns and considerations? What are the parameters that shape the world around them?
Every song, the title dictates the architecture of the song.
Architecture is a visual art, and the buildings speak for themselves.
Tuscany is so full of history and beauty – you meet wonders of art and architecture on almost every corner. But I love the region’s homier aspects: the special sweetness of the tomatoes, the soft mozzarella, the heady scents of basil and garlic everywhere.
They can do without architecture who have no olives nor wines in the cellar.
Att our MIT lab, there are people from diverse backgrounds like architecture, psychology, and philosophy, giving a holistic touch to the creation of any technology we may have in mind.
I practised as an architect for 10 years. I qualified in 1973 with a fellowship diploma of architecture. World Series Cricket gave me the freedom to go out and pursue architecture.
Architecture is a discourse; everything is a discourse. Fashion discourse is actually a micro-discourse, because it’s centered around the body. It is the most rapidly developing form of discourse.
I founded a club, which is called the Brutally Early Club. It’s basically a breakfast salon for the 21st century where art meets science meets architecture meets literature.
One of the stated goals of the postmodern movement in architecture was a greater sensitivity to the people who live in or use newly designed buildings.
I could be happy doing something like architecture. It would involve another couple of years of graduate school, but that’s what I studied in college. That’s what I always wanted to do.
I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.
Consider the momentous event in architecture when the wall parted and the column became.
Architecture begins when you place two bricks carefully together.
We literally see things so differently, all the architecture and stuff. That’s the cool part about skateboarding. We’re out there skating stuff that’s not meant to be skated.
Each new situation requires a new architecture.
The truth be told, the World Trade Center was neither a very good work of architecture nor a very successful piece of urbanism. Its shortcomings were somewhat mitigated by the westward and southward expansion of the World Financial Center and Battery Park City during the 1980s.
I went from fashion to glass in 1995, and I’m very interested in architecture.
The first thing you must know as an actor or director is the space you will inhabit. See the architecture; imagine where things can happen in space.
A Trump presidency – neutral between dictatorships and democracies, opposed to free trade, skeptical of traditional U.S. defense alliances, hostile to immigration – would mark the collapse of the entire architecture of the U.S.-led post-World War II global order.
Architecture is by definition a very collaborative process.
I see the Beijing National Stadium as an architectural project. I accepted Herzog and De Meuron’s invitation to collaborate on the design, and our proposal won the competition. From beginning to end, I stayed with the project. I am committed to fostering relationships between a city and its architecture.
When I was studying architecture in the 1970s, it was intellectually bankrupt.
Some people think architecture is about the genius sketch; I don’t. Great architecture is a collaboration among a lot of people over a long period of time.
Doctrines provide an architecture for both Republican and Democrat presidents to carry out policies.
My architecture tends to be legible, light and flexible. You can read it. You look at a building, and you can see how it is constructed. I put the structure outside.
Every market we go to, we have a domain-specific language. Every domain-specific language, underneath, has an architecture.
We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.
I probably spent the first 20 years of my life wanting to be as American as possible. Through my 20s, and into my 30s, I began to become aware of how so much of my art and architecture has a decidedly Eastern character.
India – I’ve always felt at home there. Delhi and Mumbai and the Taj Mahal are all incredible – but it’s the people I love. Indians are so interesting and accommodating and friendly. The best hotel I’ve stayed at there is the Rambagh Palace in Jaipur: its architecture is unbelievable.
Zaha Hadid’s Maxxi Museum is proof that Rome and contemporary architecture are no longer a paradox. The building is characteristic Hadid – with curving lines and organic shapes – and the permanent collection already boasts works by Francesco Clemente, William Kentridge, and Gerhard Richter.
There are no rules of architecture for a castle in the clouds.
Trying to describe something musical is like dancing to architecture, it’s really difficult.
My mother took me to Venice one time and showed me all the houses where famous composers used to live. It gave me a fascination for music and the city, but also for architecture. It was a valuable lesson.
I taught at Princeton for 39 years, and the school of architecture on the campus is the worst building on the campus.
I don’t think architecture should be considered as an art form in the first instance. Whenever I say that, it makes people really angry. But this is a very political profession in the Grecian sense. I believe there have to be reasons for every building, and that the ideas should not be self-referential.
There is something about giving everything to your profession. In Italian, an obsession is not necessarily negative. It’s the art of putting all your energy into one thing; it’s the art of transforming even what you eat for lunch into architecture.
Architecture adds dimensions to my life that would be impossible to acquire if I retired. The beautiful thing about architecture is that every project is brand new. I am forced to renew myself with every project. Isn’t that wonderful?
A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable.
Architecture is invention.
I’m often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That’s impossible. And today nobody expects architects to have these grand visions any more.
I think architecture has to be a gift.
I wanted to be a cartoonist, but there was no cartoon academy. So I enrolled in the Royal Danish Art Academy School of Architecture. But then I really got smitten by architecture.
I believe that the way people live can be directed a little by architecture.
There will never be great architects or architecture without great patrons.
I was planning to go into architecture. But when I arrived, architecture was filled up. Acting was right next to it, so I signed up for acting instead.
Architects in the past have tended to concentrate their attention on the building as a static object. I believe dynamics are more important: the dynamics of people, their interaction with spaces and environmental condition.
I never talked about architecture with my father, which I regret.
I live in a craftsman house, but I’m a big fan of modernist and mid-century furniture and architecture, too. But my dream is to do a truly original chair design, something that is all these different things but is my own, too.
I loathe when architects only analyze architecture in intellectual, nonvisual ways. I really love direct response, and that’s very pop. I don’t want to discuss abstract transparencies with a bunch of kooks.
I love a lot of things, and I’m pretty much obsessive about most things I do, whether it be gardening, or architecture, or music. I’d be an obsessive hairdresser.
Form follows function.
Telco cloud and virtualization remain a clear priority for us, and we became the first vendor to supply a commercial telco cloud solution compliant with ETSI Architecture for end-to-end voice-over-LTE services.
Everyone should be able to build, and as long as this freedom to build does not exist, the present-day planned architecture cannot be considered art at all.
When you’re in a creative flow with somebody – and I had this back in architecture school – you’re just so passionate about what you’re doing, and if that other person is just as passionate, you’ll be madly in love with them. It’s just that thrill of creating.
I’m not a religious person. But, when I look at a beautiful cathedral, what brings awe, what induces awe is the idea that architecture, you know, a beautiful cathedral, a beautiful building.
Every building is a prototype. No two are alike.
A city building, you experience when you walk; a suburban building, you experience when you drive.
There’s a snobbery at work in architecture. The subject is too often treated as a fine art, delicately wrapped in mumbo-jumbo. In reality, it’s an all-embracing discipline taking in science, art, maths, engineering, climate, nature, politics, economics.
Infrastructure is much more important than architecture.
There’s a very important aspect to all my work, now more than ever, which is tying the interior design and architecture with the art.
Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it’s still coming to computer science.
Princeton University’s campus environment presents unique challenges and opportunities for architecture to act as a social condenser.
As a general rule, when a new industry takes root, and the first products emerge in a wave, almost always the architecture of the product will be proprietary and interdependent in character.
I’m really into architecture, I’m a member of the Brutalist Appreciation Society; I’m a member of the Postmodern Society. I write letters to save buildings.
The problem of architecture has always been the same throughout time. Its authentic quality is reached through its proportions, and the proportions cost nothing. In fact, most of them are proportions among things, not the things themselves. Art is almost always a question of proportions.
The process I go through in the art and the architecture, I actually want it to be almost childlike. Sometimes I think it’s magical.
Not yesterday, not tomorrow, only today can be given form. Only this architecture creates.
The development of the New Architecture encountered serious obstacles at a very early stage of its development. Conflicting theories and the dogmas enunciated in architects’ personal manifestos all helped to confuse the main issue.
I think about architecture all the time. That’s the problem. But I’ve always been like that. I dream it sometimes.
In a way I spend my entire life stealing from everything – from the past, from cities I love, from where I grew up – grabbing things, taking not only from architecture but from Italy, art, writing, poetry, music.
We should concentrate our work not only to a separated housing problem but housing involved in our daily work and all the other functions of the city.
I started collecting aerial photographs of Native American and South Pacific architecture; only the African ones were fractal. And if you think about it, all these different societies have different geometric design themes that they use. So Native Americans use a combination of circular symmetry and fourfold symmetry.
To me… San Francisco is an ideal city, intellectually stimulating and naturally beautiful. The oceans and forests are close enough to refresh the spirit; the architecture is always exciting.
I’ve always been a good student, made good enough grades to do well, and enjoyed a lot of different subjects. It wasn’t until I went to architecture school, though, that I really loved school work.
We have to base architecture on the environment.
I think architecture should be a stage, not something too material – more of an environment, not a product.
Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward Heaven from the hands of a million workers like the crystal symbol of a new faith.
Architecture has a strong link with the movies in terms of time progression, sequencing, framing, all of that.
There is still a real need for good quality architecture, not paper architecture, but the real stuff.
I try to give people a different way of looking at their surroundings. That’s art to me.
I love the South Bank: every era of architecture is there, and you can stop, look, and listen.
I love walking along Leith’s waterfront and wandering around some of New Town’s beautiful streets and squares, with their gorgeous Georgian architecture.
I was given this beautiful coffee table book of Soviet architecture for my birthday. It has a lot of holiday camps, swimming pools, theatres, and buildings that were built for leisure activities. Incredible architecture in the most obscure places. It’s a little bit sad, because a lot of it has been left to fall apart.
The speed of change makes you wonder what will become of architecture.
I’ve always known I wanted to be in design somehow. It was going to be architecture, but I would’ve had to quit acting for it. I realized with horology, I could learn at my own pace.
In graduate school, I decide to write my doctoral thesis on how Italian architecture influenced English playwrights of the seventeenth century. I wonder why certain playwrights decided to set their tragedies, written in English, in Italian palaces.
Architecture is about public space held by buildings.
Istanbul is inspiring because it has its own code of architecture, literature, poetry, music.
The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn’t really have movements in the same way. Instead it’s made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
To come to England in the 1970s was to return to this strange other-world of half-known history. I found the imperial architecture curiously familiar: the post office, the town hall, the botanic gardens.
You could spend your time with your nose buried in a guidebook, but Amsterdam really is best explored on foot, so you can stumble upon the city’s hidden gems. The architecture and the beauty of some of the buildings is also wonderful.
Architecture is a code. It’s a pure code, derived from the dimensions of nature.
Architecture has joined the world of fashion, but fashion is passing and architecture is timeless.
Frank Lloyd Wright made houses right up until the end. I think that’s important because it gives you a direct connection to all the basic aspects of architecture – the spatial energy of the place, the construction, the materials, the site, the detail.
Convinced as I am and as I am from my government that the world needs a new moral architecture over all I believe that this should be the first topic to debate in our world of today, ethics, moral.
Washington, D.C., has everything that Rome, Paris and London have in the way of great architecture – great power bases. Washington has obelisks and pyramids and underground tunnels and great art and a whole shadow world that we really don’t see.
I hope you will understand that architecture has nothing to do with the inventions of forms. It is not a playground for children, young or old. Architecture is the real battleground of the spirit.
Historically, in the world of architecture, enormous amounts of care and energy have been lavished on things that are almost a cliched idea of culture.
I’ve never owned an Apple product. I like the fact that PCs are open architecture and not locked down like Apple products. I feel that Macs are also unjustifiably overpriced.
Architecture to me is whole. I cannot say I only care about this 25% and the other 75% I let go… it’s just I want to work the way I want to work. In my shop, you can order certain things and other things you cannot. They are not available.
I have realised how exciting and easy it is to be a time traveller by looking at paintings and films and architecture and playing music or listening to it. I don’t think you necessarily have to live in the present all the time.
By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
The rules of navigation never navigated a ship. The rules of architecture never built a house.
The more centralized the power, the less compromises need to be made in architecture.
What’s fascinating about D.C., the exteriors are these elaborate structures, this gorgeous architecture and beautiful stonework, and then you go inside and it’s crap-looking – apart from the White House, which is beautiful.
Architecture, by definition, is always standing still.
I’m drawn to furniture design as complete architecture on a minor scale.
A building has integrity just like a man. And just as seldom.
I would like to use architecture to create bonds between people who live in cities, and even use it to recover the communities that used to exist in every single city.
In Rome, I particularly love the history, churches, sculptures and architecture and the fact that you can walk along a tiny cobbled street and turn the corner to find the Trevi Fountain. London is evocative of other eras and full of history.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there’s no music. Without rhythm, there’s no cinema. Without rhythm, there’s no architecture.
When we project the specific organization of the human body into the space outside it, then we have architecture.
Architecture is inhabited sculpture.
When I went to school at Emerson, I was completely charmed living there and loved the architecture of the Back Bay.
Modern architecture needed to be part of an evolutionary, not a revolutionary, process.
The difference between architecture and engineering comes in only with the creation of schools. It’s a bureaucratic distinction. The result of both disciplines is the construction of objects in a landscape.
There are a lot of questions about whether architecture is art. The people who ask that think pretty tract houses are architecture. But that doesn’t hold up.
In Zagreb, the Old Town really could be Prague. You go two hours to the coast to Opatija, and you really could be in the South of France, in the Croatian Riviera. And then you head down the coast towards Split, and you get into more Turkish architecture, so you can double Istanbul.
Architecture has always been a very idealistic profession. It’s about making the world a better place, and it works over the generations because people go on vacation and they look for it.
Don’t clap too hard – it’s a very old building.
It is not the beauty of a building you should look at; its the construction of the foundation that will stand the test of time.
When I graduated from high school, I thought I wanted to make science fiction movies, so I applied to film school, but I couldn’t get in. A professor told me I should try architecture instead.
Fashion is architecture: it is a matter of proportions.
Everything about camera movement, about how film was made, shot architecture, and time management… I was horrible at all that.
I came to architecture from building. Because my father was a builder, everybody was – and is – a builder in my family.
Architecture doesn’t come from theory. You don’t think your way through a building.
Barcelona is a beautiful city. I love the buildings and the architecture and always enjoy being close to that. It makes sense as an art person to work in places like that, it always feels nice and creative.
In the United States alone, 450 billion square feet of glass facade is produced every year. What if we could take this chance to use the glass to harness solar energy and allow the architecture to respond to the light and heat of the sun, to create photosynthesis and generate solar energy?
To me it was fascinating, the idea of going to university and studying a subject – architecture – that I had already faced in building some small houses.
Sand dunes are almost like ready-made buildings in a way. All we need to do is solidify the parts that we need to be solid, and then excavate the sand, and we have our architecture. We can either excavate it by hand, or we can have the wind excavate it for us.
Architecture is particularly difficult for women; there’s no reason for it to be. I don’t want to blame men or society, but I think it was for a long time, the clients were men, the building industry is all male.
Those who look for the laws of Nature as a support for their new works collaborate with the creator.
Many of the received models of modern architecture and planning owe their ultimate origin to the building code and public health reform movements of the second half of the 19th century.
Considering my specialization in architecture, I’m not surprised that the first graphic novel to thoroughly engage, not to say captivate, me is Chip Kidd and Dave Taylor’s ‘Batman: Death by Design.’
I don’t divide architecture, landscape and gardening; to me they are one.
I’ve gone to school for business, for design, for architecture.
Architecture is a very dangerous job. If a writer makes a bad book, eh, people don’t read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.
I don’t know any architects that I respect who don’t have their own voice. I think the difference between architecture and the other arts is your immersion in reality.
Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.
You need a prince to make a town in an intellectual sense. Developers want to make money. If they cared about architecture, they’d become architects. I’ve had so many projects that never came off because they had no sponsor, and not because they were utopian. I just want to build a town that’s normal.
Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity.
People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that’s both liberating and alarming.
I have an architecture degree; that’s what my college degree is in. And that sucked. I started doing Web and CD-ROM development really early on, and then that grew into being an art director and doing advertising work.
Architecture should be rooted in the past, and yet be part of our own time and forward looking.
Architecture is exposed to life. If its body is sensitive enough, it can assume a quality that bears witness to past life.
Art is more than a series of images that are disembodied. Art is objects that live in real places, economies, spaces, architecture.
I believe very strongly, and have fought since many years ago – at least over 30 years ago – to get architecture not just within schools, but architecture talked about under history, geography, science, technology, art.
And when an architect has designed a house with large windows, which is a necessity today in order to pull the daylight into these very deep houses, then curtains come to play a big role in architecture.
My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.
I like the architecture of lingerie.
Chaoyang Park Plaza is about how to carry the traditional culture into a new format in modern architecture. Instead of building a boundary between the city and the park, I tried to design this building to emerge from the natural landscape.
Architecture should speak of its time and place, but yearn for timelessness.
What is being called the UN ‘gender architecture’ is more like a shack. Women need a bigger global house if equality is ever to become a reality.
My mom and dad had a store, and sometimes people would return broken stuff. I’d take it apart and reassemble it. At 16, I really understood the architecture of things.
Georgian architecture respected the scale of both the individual and the community.
When you are only one vendor, there is a very low rate of innovation. You think the old architecture is just fine, and it can just happily exist for many years.
First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.
Throughout the ages it has always been possible to point to good and bad architecture.
Melrose is the finest remaining specimen of Gothic architecture in Scotland. Some of the sculptured flowers in the cloister arches are remarkably beautiful and delicate, and the two windows – the south and east oriels – are of a lightness and grace of execution really surprising.
I worked out a rather deep-dish theory defining the theater as a form of architecture rather than a form of literature.
Princeton is a sublime undergraduate university. It has a good architecture school.
The new architecture of transparency and lightness comes from Japan and Europe.
When people are deprived of a sense, their other senses get heightened. If you’re culturally devoid of something – of weather, of artistry, of interesting architecture, all the way down the line to culture itself – you’re either forced to give in and get that car dealership, or you manufacture those things for yourself.
The idea was that you could grow a system like the Internet one network at a time and then interconnect them. In some sense, the most important thing was the invention of the architecture protocols that enabled the Internet.
We require from buildings two kinds of goodness: first, the doing their practical duty well: then that they be graceful and pleasing in doing it.
I’m involved in everything from highly progressive lighting systems to airline interiors. In the field of transportation I can go from the micro to the macro: architecture, transportation, industrial product design, right across the board. It’s Russian dollism, because they all interrelate: one goes into the other.
I have played a few times in Barcelona, including the fantastic Olympic Stadium. It’s undoubtedly one of my favourite cities in terms of the people, arts, food, architecture and design.
If I failed in acting, I wanted to have a backup, thus I chose architecture. I learnt painting as well.
New York is just an energy. There’s a beauty to the way it’s laid out: the architecture, the way the planning is. It’s huge, but you really do get to experience more than your own existence here. It’s kinda hard to isolate yourself from different types of people, different types of ideas or communities.
Britain loves a bargain, but you don’t get good, lasting architecture on the cheap.
Revived in this country the long forgotten beauties of Gothic architecture.
You look at the steamboat, the railroad, the car, the airplane – not all of these were invented in the Anglo-American world, but they were popularized and extended by it. They were made possible by the financial architecture, the capital intensive operations invented and developed by the Anglo-Americans.
I am not an enthusiast when it comes to cities, preferring rolling scenery, wildlife and stars to museums, monuments, architecture and traffic.
The architecture for ‘Paladin’ – given that it’s at least three books, with the possibility of more – turned out to be bigger than anything I’ve ever created, with multiple levels of reality, interlocking mysteries and a terabyte of time frame.
The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line.
If you’re into architecture and you’re from the West, everything is hors d’oeuvres for working to rebuild the Temple. Ultimately you’re led there. You can’t escape it.
The substance of fictional architecture is not bricks and mortar but evanescent consciousness.
When Europeans first came to Africa, they considered the architecture very disorganized and thus primitive. It never occurred to them that the Africans might have been using a form of mathematics that they hadn’t even discovered yet.
When I started studying architecture, people would say, you know, ‘Can you tell me why are all modern buildings so boring?’ Because, like, people had this idea that in the good old days, architecture had, like, ornament and little towers and spires and gargoyles, and today, it just becomes very practical.
Even at the United Nations, where legend has it that the building was designed so that there could be no corner offices, the expanse of glass in individual offices is said to be a dead giveaway as to rank. Five windows are excellent, one window not so great.
I don’t believe that classical architecture is enough to engage people anymore. They say: ‘So what else is new?’