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I have always been interested in fashion as an informing design discipline: proportion structure, detail, materiality, texture, color and quality. With a heightened interest in, and an awareness of the built environment, the 'store' has become a critical, perceptual and psychological component of merchandising as well as imaging. Architecture and fashion are partners.
That's not a utopian vision. It is a set of ideas that we think are important to discuss. Those ideas largely have to do with sustainability of cities. The ability of cities to, over time, remain in balance with the resource streams that are available to them, and they have to do with social justice and equity of the fundamental conditions of satisfactory citizenship.
There is no endeavor more noble than the attempt to achieve a collective dream. When a city accepts as a mandate its quality of life, when it respects the people who live in it, when it respects the environment, when it prepares for future generations, the people share the responsibility for that mandate. This shared cause is the only way to achieve that collective dream.
A design may be called organic when there is an harmonious organization of the parts within the whole, according to structure, material, and purpose. Within this definition there can be no vain ornamentation or superfluity, but the part of beauty is nonetheless great-in ideal choice of material, in visual refinement, and in the rational elegance of things intended for use.
Being Chinese immigrants in the United States, it was important for my parents to maintain ties that went back a long time. They led by example. My dad didn't bring his work pressures home. We were always aware of them and would go as kids to his office and run around. But when he came home, he was able to leave things behind, at least from our perspective, and focus on us.
James Hardie(R) siding is a sustainable and marvelous substitute for wood. It's available pre-colored and the finish truly looks like high-grade wood siding. I've used this product line for years, and have been delighted with the results. It's the only product I will consider substituting for wood, and in many climates it's significantly preferable because of its stability.
In most ecological systems you have a composite, biotic components as well as abiotic components acting together to form a whole, whereas in a human built environment most of the components are abiotic or they are inorganic. One of the first things we need to do is to complement the inorganic components with more organic components, and to make them interact to form a whole.
High buildings have no genuine advantages, except in speculative gains for banks and land owners. They are not cheaper, they do not help create open space, they destroy the townscape, they destroy social life, they promote crime, they make life difficult for children, they are expensive to maintain, they wreck the open spaces near them, and they damage light and air and view.
I believe that the idea of the totality, the finality of the master-plan, is misguided. One should advocate a gradual transformation of public space, a metamorphic process, without relying on a hypothetical time in the future when everything will be perfect. The mistake of planners and architects is to believe that fifty years from now Alexanderplatz will be perfected. -p.197
I need not print a line, nor conjure with the painter's tools to prove myself an artist ... Whilst in other spheres of labor the greater part of our life's toil and moil will of a surety end, as the wise man predicted, in vanity and vexation of spirit, here is instant physical refreshment in the work the garden entails, and, in the end, our labor will be crowned with flowers.
Gravity is measured by the bottom of the foot; we trace the density and texture of the ground through our soles. Standing barefoot on a smooth glacial rock by the sea at sunset, and sensing the warmth of the sun-heated stone through one's soles, is an extraordinarily healing experience, making one part of the eternal cycle of nature. One senses the slow breathing of the earth.
U.S. labor leaders will realize that automation can multiply man's wealth far more rapidly than it is multiplying at present and that automation will leave all men free to search and research... Realizing the direct competition with foreign industry on a straight labor basis will mean swiftly decreasing wages per hour and longer hours and decreasing buying power of the public.
For me, there's no difference between what's temporary and what's definitive. I built the church in Kobe, which was supposed to be temporary, and people liked it so much that there's a version of it still there today - unlike some concrete buildings that were just built for money and that can be destroyed from one day to the next. Concrete can be very fragile during earthquakes.
Two years ago I focused on one apartment to see how many variations you can come up with in a given space with the same parameters. I would work on this repeatedly for days and you see that there is maybe seven hundred options for one space. This exercise gives you an idea of the degree at which you can interpret the organization of space, it is not infinite but it's very large.
. . . So I vowed to keep myself alive, but only if I would never use me again for just me - each one of us is born of two, and we really belong to each other. I vowed to do my own thinking, instead of trying to accommodate everyone else's opinion, credo's and theories. I vowed to apply my inventory of experiences to the solving of problems that affect everyone aboard planet Earth.
Architects mostly work for privileged people, people who have money and power. Power and money are invisible, so people hire us to visualize their power and money by making monumental architecture. I love to make monuments, too, but I thought perhaps we can use our experience and knowledge more for the general public, even for those who have lost their houses in natural disasters.
The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history.
I salute you! There is nothing I can give you which you have not; but there is much, that, while I cannot give you, you can take. No heaven can come to us unless our hearts find rest in it today. Take Heaven. No peace lies in the future which is not hidden in this present instant. Take Peace. The gloom of the world is but a shadow; behind it, yet, within our reach, is joy. Take Joy.
The procedure we are pursuing is that of true democracy. Semi-democracy accepts the dictatorship of a majority in establishing its arbitrary, ergo, unnatural, laws. True democracy discovers by patient experiment and unanimous acknowledgement what the laws of nature or universe may be for the physical support and metaphysical satisfaction of the human intellect's function in universe.
When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.
You could say that my aim is ‘to recover the place’. The place is a result of nature and time; this is the most important aspect. I think my architecture is some kind of frame of nature. With it, we can experience nature more deeply and more intimately. Transparency is a characteristic of Japanese architecture; I try to use light and natural materials to get a new kind of transparency.
There are over 2 million cars standing in front of red lights with their engines going. Then we have over 2 million times approximately 100 horsepower being generated as they are idling there, so that we have something like 200 million horses jumping up and down and going nowhere. Now, we have to count that in our economy when we begin to get down to what is the efficiency of the economy.
Automobile is one of the most successful inventions of all time, but in my view, it is thoroughly obsolete already. And so by fundamentally rethinking the automobile, thinking of it as a robot on four wheels, essentially, something that can communicate with other intelligent devices, it can operate in a coordinated way, you can really start to fundamentally rethink urban personal mobility.
The Americans had not played a very prominent part in the war of 1914-1918, he (Adolf Hitler) thought, and moreover, had not made any great sacrifices of blood. They would certainly not withstand a trial by fire, for their fighting qualities were low. In general no such thing as an American people existed as a unit; they were nothing but a mass of immigrants from many nations and many races.
When I was a child I could do math and art, so I had left- and right-brain capabilities. But I've seen my children, who are more right-brained, struggling. My son was told he wouldn't make it to college, but he dogged it through and ended up being accepted by 10 major art schools after the high school advisor said, "Please don't apply. You're going to be disappointed." That kid's an artist now.
I got into architecture because I was searching for a way to produce in the world. I went to art school and thought I would do it through art, but I realized very quickly that I was interested in the social ramifications of form making. So buildings became the vehicle and fulfilled that thing. That satisfied me when I produced them. I decided this is what I wanted to do with the rest of my life.
Insects influenced the shape of the Australian house. Some, like the white ant and lthe Lyctus borer, worked quietly and invisibly until a little shower of yellow dust or a sudden collapse indicated their presence. Others, like the mosquito and housefly, were less dangerous and more objectionable. The former type influenced structure in minor ways; the latter affected planning to a major degree.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
On a daily basis, my home life is very simple. I spend about 2 hours every morning reading the newspaper. As my two assistants will tell you, I don't come to work in the mornings, for two reasons. First, I want to be informed - that means I go through The New York Times every day, and then I watch some news on television. The second is, mornings are the best time to communicate with my clients abroad.
Here is an educational bombshell: Take from all of today's industrial nations all their industrial machinery and all their energy-distributing networks, and leave them all their ideologies, all their political leaders, and all their political organizations, and I can tell you that within six months, two billion people will die of starvation, having gone through great pain and deprivation along the way.
Take nothing for granted as beautiful or ugly, but take every building to pieces, and challenge every feature. Learn to distinguish the curious from the beautiful. Get the habit of analysis - analysis will in time enable synthesis to become your habit of mind. 'Think simples' as my old master used to say - meaning to reduce the whole of its parts into the simplest terms, getting back to first principles.
I find man utterly unaware of what his wealth is or his fundamental capability is. He says time and again, "We can't afford it." For instance, we are saying now that we can't afford to do anything about pollution but after the costs of not doing something about pollution have multiplied many fold beyond what it would cost to correct it now, we will spend many fold what it would cost us now to correct it.
I think green buildings are extremely important but it's only part of the equation. A lot of people think that if I put a green building everything is going to be fine, but actually it's not just the green buildings we need, but green businesses, green governments, green economics. We have to extend the greening of buildings to our business and our lifestyles - that is the most important thing to do next.
A work of art... is not a living thing... that walks or runs. But the making of a life. That which gives you a reaction. To some it is the wonder of man's fingers. To some it is the wonder of the mind. To some it is the wonder of technique. And to some it is how real it is. To some, how transcendent it is. Like the 5th Symphony, it presents itself with a feeling that you know it, if you have heard it once.
If we range through the whole territory of nature, and endeavour to extract from each department the rich stores of knowledge and pleasure they respectively contain, we shall not find a more refined or purer source of amusement, or a more interesting and unfailing subject for recreation, than that which the observation and examination of the structure, affinities, and habits of plants and vegetables, afford.
Lagos was a city that had been turned against itself. There was a bridge that became the perfect trap for crimes, which began with nails being scattered to cause flat tyres. If the driver stopped, the car would be dismantled in 20 minutes and the parts thrown overboard [to people waiting below]. The system had turned into a kind of destructive device that could be used against people. That was the narrative.
I'm very interested in buildings that adapt to changes in climatic conditions according to the seasons, buildings capable of responding to our physical and psychological needs in the way that clothing does. We don't turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected. Layering and changeability: this is the key.
Take the initiative. Go to work, and above all co-operate and don't hold back on one another or try to gain at the expense of another. Any success in such lopsidedness will be increasingly short-lived. These are the synergetic rules that evolution is employing and trying to make clear to us. They are not man-made laws. They are the infinitely accommodative laws of the intellectual integrity governing universe.
François Mitterrand was a student of architecture, he had done a lot of research before he called me. He said, "You did something special at the National Gallery of Art in Washington - you brought the new and the old together." But John Russell Pope finished the West Building in 1941, so when the East Building opened it was only about 40 years old. But the Louvre is 800 years old! A much bigger design challenge.
If success or failure of this planet and of human beings depended on how I am and what I do... How would I be? What would I do? We may now care for each Earthian individual at a sustainable billionaire's level of affluence while living exclusively on less than 1 percent of our planet's daily energy income from our cosmically designed nuclear reactor, the Sun, optimally located 92 million safe miles away from us.
In a Society becoming steadily more privatized with private homes, cars, computers, offices and shopping centers, the public component of our lives is disappearing. It is more and more important to make the cities inviting, so we can meet our fellow citizens face to face and experience directly through our senses. Public life in good quality public spaces is an important part of a democratic life and a full life.
All buildings, large or small, public or private, have a public face, a facade; they therefore, without exception, have a positive or negative effect on the quality of the public realm, enriching or impoverishing it in a lasting and radical manner. The architecture of the city and public space is a matter of common concern to the same degree as laws and language—they are the foundation of civility and civilisation.
However, if we leave the industrial machinery and their energy-distribution networks and leave them also all the people who have routine jobs operating the industrial machinery and distributing its products, and we take away from all the industrial countries all their ideologies and all the politicians and political machine workers, people would keep right on eating. Possibly getting on a little better than before.
The color and spectacle of Mexico's streets sparked my interest in community driven space and experience, a passion that I began to develop while studying architecture at Syracuse University and then at the Architectural Association School in London. Having been immersed in such a diverse array of lively environments, it would be impossible for me not to use these memories and experiences as inspiration for my work.
Why I talked about political correctness: the colonial is now such a major taboo that any achievement of the colonial period, or any generosity implied in colonialism, is again fundamentally neglected or fundamentally not recognised. That's crazy, because history is a series of layers, and you cannot say, "This layer I support and this layer I cancel." History is history and you cannot retrospectively manipulate it.
An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave.
It is possible to make buildings by stringing together patterns, in a rather loose way. A building made like this, is an assembly of patterns. It is not dense. It is not profound. But it is also possible to put patterns together in such a way that many patterns overlap in the same physical space: the building is very dense; it has many meanings captured in a small space; and through this density, it becomes profound.
I think you've got to accept that certain things are in process that you can't change, that you can't overwhelm. The chaos of our cities, the randomness of our lives, the unpredictability of where you're going to be in ten years from now - all of those things are weighing on us, and yet there is a certain glimmer of control. If you act a certain way, and talk a certain way, you're going to draw certain forces to you.
In some conditions, the architecture of textile is more relevant than in other conditions or the opacity of the material form. Pattern in the world of scarce materiality and a hybridity becomes a way of creating a new authenticity. Sometimes there is a certain kind of nobility of a group of materials literally of the earth, which had a certain nobility of presence, but is very different from the materials we have now.
I cannot pursue my architecture without considering the minimization of energy consumption, simple and direct technologies, a respect for site, climate, place and culture. Together, these disciplines represent for me a fantastic platform for experimentation and expression. Of particular importance is the junction of the rational and the poetic resulting hopefully in works that resonate and belong to where they reside.