Quotes of All Topics . Occasions . Authors
I know the price of success: dedication, hard work, and an unremitting devotion to the things you want to see happen.
Take pleasure in your dreams; relish your principles and drape your purest feelings on the heart of a precious lover.
I taught at Princeton for 39 years, and the school of architecture on the campus is the worst building on the campus.
As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown.
For me beauty is valued more than anything - the beauty that is manifest in a curved line or in an act of creativity.
The guy who sits in front of the TV set with headphones on has lost the capacity to react to the tactile environment.
You can never learn less; you can only learn more. The reason I know so much is because I have made so many mistakes.
People should think things out fresh and not just accept conventional terms and the conventional way of doing things.
When circumstances defy order, order should bend or break: anomalies and uncertainties give validity to architecture.
The architect needs to learn to see, and to open his eyes because there is always a lesson to learn from the streets.
New York City has a tradition of great stations. There are cities in the world that don't have that. New York has it.
Look at London or Paris: they're both filthy. You don't get that in Tokyo. The proud residents look after their city.
Since art is dead in the actual life of civilized nations, it has been relegated to these grotesque morgues, museums.
God created paper for the purpose of drawing architecture on it. Everything else is at least for me an abuse of paper.
One of the things I've always loved about New York is there is so much precedent for ornament on industrial buildings.
When everything is perfectly orderly and understandable, there has to be one thing that puts everything into question.
Scuttle no small plans. They have no magic to stir single issue individuals into a group of people against everything.
I suppose I'm trying to build an architecture that's as timeless as possible, although we're all creatures of our age.
Architecture is not created, it is discovered – the hand will find solutions before the mind can even comprehend them.
Words are most malignant, the most treacherous possession of mankind. They are saturated with the sorrows of all time.
We must have order, allocating to each thing its proper place and giving to each thing is due according to its nature.
I have been criticized rather strenuously by painters and sculptors for not incorporating their work in our buildings.
As an architect, you design for the present, with an awareness of the past, for a future which is essentially unknown.
Consisting mostly of recirculating scrapped metals, 80% of all the metals that have ever been mined are still at work.
Accept ignorance; pay more attention to the question than the answer; never be afraid to go in the opposite direction.
I have tried to get close to the frontier between architecture and sculpture and to understand architecture as an art.
Do I provoke as a method of investigation? Of course. That's the essence of architecture. Do I do it with gusto? I do.
Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand.
The greatest responsibility of the planner and architect, I believe, is the protection and development of our habitat.
You have to really believe not only in yourself; you have to believe that the world is actually worth your sacrifices.
I am quite sensitive to politics, because you know, as an Arab, an Iraqi, all your life, you are very conscious of it.
Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built.
I'm suspicious of the idea of architects acting like business executives, brand managers, or purveyors of luxury goods.
To me the drawn language is a very revealing language: one can see in a few lines whether a man is really an architect.
As much as we pretend otherwise, we want what's comfortable, and we're afraid of the different. We're afraid of change.
Each project, I suffer like I'm starting over again in life. There's a lot of healthy insecurity that fuels this stuff.
I am very different as a parent to new kids. My work changed from being rooted in the sky to being rooted in the earth.
You can't change the way people think, all you can do is give them a tool, the use of which will change their thinking.
It is the integrity of each individual human that is in final examination. On personal integrity hangs humanity's fate.
The explicable requires the inexplicable. Experience requires the nonexperienceable. The obvious requires the mystical.
I came to architecture from building. Because my father was a builder, everybody was - and is - a builder in my family.
Communities of tract houses, plopped on a grid, represent a way of throwing historical forms around like bouillabaisse.
You start a project as a young person and then at the end you are another person. You are ready to go for your pension.
Something that has been every important to me in all my projects has been location, the place where they are installed.
In Italy, there are so many significant architectural structures in history such as the Pantheon in Rome, or the Duomo.
However often the thread may be torn out of your hands, you must develop enough patience to wind it up again and again.
God created paper for the purpose of drawing architecture on it. Everything else is, at least for me, an abuse of paper.
To me, the nicest luxury would be to have a room where I could keep all my books in one place - and have space for more.
The essentially unchangeable established order of things, slowly disappeared and was forgotten for a while completely...
I see my buildings as pieces of cities, and in my designs I try to make them into responsible and contributing citizens.