Quotes of All Topics . Occasions . Authors
I work 12 hours a day, seven days a week - and I love it. I'm creative. I feel fulfilled. I'm from a solidly lower-middle-class background; I'm not from the world that I'm in now. So I appreciate it a lot. I've really got a rich, full life.
Influence is a very unpleasant subject and I deal with it in a maybe irresponsible way, which is to really ignore it. It would be a nightmare if we started to really think about it; it would tie our hands, it would tie everyone elses hands.
The utilization of flat roofs as 'grounds' offers us a means of re-acclimatizing nature amidst the stony deserts of our great towns; for the plots from which she has been evicted to make room for buildings can be given back to her up aloft.
Television watching should more properly be called television staring; it engages eye and ear simultaneously in a relentless and persistent way and leaves no room for daydreaming. This is what makes watching such an inferior form of leisure
Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. Im not suggesting that gestural architecture is always superficial, but solid reasoning has its place.
I loved the excitement and the pleasures of life in New York, the opportunities for advancement, the pursuit of ambition, the theaters, the places of amusement, and such nights as the last I spent with you just as I was leaving for the West.
There will be a competition for the memorial. And then it can be developed with trees, with planting. It can become a very beautiful place protected from the streets, because it is below. And it can be something very moving and very private.
The screech and mechanical uproar of the big city turns the citified head, fills citified ears - as the song of birds, wind in the trees, animal cries, or as the voices and songs of his loved ones once filled his heart. He is sidewalk-happy.
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.
The number of African Americans in my profession is woefully small; about two percent of architects in the country are black. I'd like to see more diversity. That's why whenever I'm asked to speak at middle and high schools I always say yes.
[Evolution] doesn't mean God-guided, gradual creation. It means unguided, purposeless change. The Darwinian theory doesn't say that God created slowly. It says that naturalistic evolution is the creator, and so God had nothing to do with it.
Influence is a very unpleasant subject and I deal with it in a maybe irresponsible way, which is to really ignore it. It would be a nightmare if we started to really think about it; it would tie our hands, it would tie everyone else's hands.
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.
A building or a town will only be alive to the extent that it is governed in a timeless way. It is a process which brings order out of nothing but ourselves; it cannot be attained, but it will happen of its own accord, if we will only let it.
A system of bus rapid transit is not only dedicated lanes. You have to have really good boarding conditions - that means paying before entering the bus and boarding at the same level. And at the same time having a good schedule and frequency.
Someone once told me they didn't like taking the lid off the kettle because they'd just lose it in the kitchen, so we made a kettle with an attached lid that you slide. It was in response to that that we made one that did something different.
Life itself has so much politics, why should I make it my profession? I'm just a politician's son, not a politician myself. Two politicians, that's my dad and elder brother, in the family are enough. I'm happy doing my own stuff in Bollywood.
I want to create a space that moves people. It doesn't matter if it is a house, or a museum, or whatever. So, it is somebody sitting on that lawn, just going around and around and feeling really happy. That is something that I'm striving for.
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.
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.
Images in the 20th century had a unique power where image became divorced from reality, and often more important than reality. Buildings were judged more by the way they looked in magazines than by the satisfaction people felt when using them.
I think the biggest problem with 'industrial' architecture is that it's lost its sense of humanity. Minimalist stuff drains all the humanity out of it. That idea works great for the money thing, but it doesn't work great for the feeling thing.
The baby boomers are out there, they've had a lot of good years of earnings, they've inherited wealth. They are buying trophy homes and will be for years. We are one of those places people dream of. They come here to buy a piece of that dream.
My architectural drive was to design new types of buildings to help poor people, especially following natural disasters and catastrophes... I will use whatever time is left to me to keep doing what I have been doing, which is to help humanity.
I think the general public's response to my projects is very strong. You can be an intellectual and say that popularity detracts from architectural quality. On the other hand, you can see in the public's identification something very positive.
When you design a building, you start from a general philosophy, and you come down, and you start from detail and come up. Only the theoretical architect believes that you can make the concept and then sometime, somebody will come to build it.
Proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination. Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist!
Temporarily in 1934 I became a department head in the German Labor Front and dealt with the improvement of labor conditions in German factories. Then I was in charge of public works on the staff of Hess. I gave up both these activities in 1941.
Certainly architecture is concerned with much more than just its physical attributes. It is a many-layered thing. Beneath and beyond the strata of function and structure, materials and texture, lie the deepest and most compulsive layers of all.
Our forefathers were not only brave. I believe they were right. I believe that what they meant was that every man born had equal right to grow from scratch by way of his own power unhindered to the highest expression of himself possible to him.
I say that radiation is inherently disintegrative: it comes apart. Gravity is inherently integrative: it pulls together. And to me, there's a good possibility that love is what I'd call metaphysical gravity. It really holds everything together.
All I know is that these two gases both had a quite extraordinary effect, and that there was no respirator, and no protection against them that we knew of. So the soldiers would have been unable to protect themselves against this gas in any way.
And I realized, when I'd come in to the meetings with these corrugated metal and chain link stuff, and people would just look at me like I'd just landed from Mars. But I couldn't do anything else. That was my response to the people and the time.
Curitiba is not a paradise. We have all the problems that most Latin American cities have. We have slums. We have the same difficulties, but the big difference is the respect given by people due to the quality of the services which are provided.
In my heart I believe that biology is the beginning and the end of everything. It's the biggest source of ideas, the biggest source of invention. Nobody can invent better than nature and so if you like nature is my biggest source of inspiration.
Either man is obsolete or war is. War is the ultimate tool of politics. Political leaders look out only for their own side. Politicians are always realistically maneuvering for the next election. They are obsolete as fundamental problem-solvers.
You can draw any kind of picture you want on a clean slate and indulge your every whim in the wilderness in laying out a New Delhi, Canberra, or Brasilia, but when you operate in an overbuilt metropolis, you have to hack your way with a meat ax.
The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.
At headquarters, where everyone lived under the tremendous pressure of responsibility, probably nothing was more welcome than a dictate from above. That meant being freed of a decision and simultaneously being provided with an excuse for failure.
I found myself starting architecture with a deep social, Jewish, liberal conscience, and the belief that architecture is for the people. It was a do-gooder base; I was born and raised that way. I was for blacks, whites, Italians, Poles, whatever.
Architectural features of true democratic ground-freedom would rise naturally from topography, which means that buildings would all take on the nature and character of the ground on which in endless variety they would stand and be component part.
If I ran a school, I'd give the average grade to the ones who gave me all the right answers, for being good parrots. I'd give the top grades to those who made a lot of mistakes and told me about them, and then told me what they learned from them.
Each building has to be beautiful, but cheap and fast, but it lasts forever. That is already an incredible battery of seemingly contradictory demands. So yes, I'm definitely perhaps contradictory person, but I operate in very contradictory times.
There is something about giving everything to your profession. In Italian, an obsession is not necessarily negative. Its the art of putting all your energy into one thing; its the art of transforming even what you eat for lunch into architecture.
We [MIT Smart Cities research group] try to identify the fundamental underlying design assumptions that everybody takes as a sort of given and unchallengeable when you think about solving these problems. And we try to challenge those assumptions.
All sensible Army people turned gas warfare down as being utterly insane since, in view of your superiority in the air, it would not be long before it would bring the most terrible catastrophe upon German cities, which were completely unprotected.
For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.
I hope for the experience of people standing together, turning their backs to the city and facing this, and hearing the leaves rustle. Well, maybe it won't be as bucolic as at the Brooklyn Navy Yard, but I know you will feel removed from the city.
Surveys often show people would prefer a detached house with a lawn and driveway to an apartment. I understand this. It's not my place to presume to tell people where they can live. But perhaps that dream will simply not be possible in the future.
When air conditioning, escalators, and advertising appeared, shopping expanded its scale, but also limited its spontaneity. And it became much more predictable, almost scientific. What had once been the most surprising became the most manipulated.