Quotes of All Topics . Occasions . Authors
My assumption was that all indigenous architecture would be more fractal. My reasoning was that all indigenous architecture tends to be organized from the bottom up. As it turns out, though, my reasoning was wrong.
I've got a furniture range with my wife, and I want to get into designing hotels and restaurants as well. We've got a big studio in Victoria and a showroom in Belgravia. I've always been interested in architecture.
Architecture has curled up in a ball and it's about itself. It has found itself either as a freakshow, where you're not sure if it's good or bad but at least it's interesting, or at the behest of forces of commerce.
I'm so into this idea that the Internet was this reservoir of mythologies and histories, and the architecture of it being linked pages that create hard connections and bridges between ideas that shouldn't be linked.
Personally, one of the greatest sources of inspiration for my work has been architecture. I've had the chance to see so many exquisite structures, whether they are historical monuments or modern commercial premises.
Information and inspiration are everywhere... history, art, architecture, everything an illustrator needs. Europe is, after all, the land that has generated most of the enduring myths and legends of Western culture.
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.
Perhaps because my town was so naturally gothic in its architecture and relative isolation - the roads often closed in winter - my stories tended toward the ghostly and the creepily suspenseful right from the get-go.
When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature - this very unique to Japan.
There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.
At about five I knew I was going to be an architect because my mother had studied architecture. I thought it was women's work. I had a proprietary feeling about architecture. I could own it because my mother owned it.
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.
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.
It's my goal to make a building as immaterial as possible. Architecture is a very material thing. It takes a lot of resources, so why not eliminate what you don't need as long as you're able to achieve the same result?
Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.
Italy is full of historical buildings. And Europe holds a great history of philosophy from Greece until today. I read all those books and see these buildings, and I think of where I stand when I design my architecture.
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.
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.
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.
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and crafts - as inseparable components of a new 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.
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.
For many years, I have lived uncomfortably with the belief that most planning and architectural design suffers for lack of real and basic purpose. The ultimate purpose, it seems to me, must be the improvement of mankind.
Charles was very intent to use his years as Prince of Wales to make his mark while he still had freedom of maneuver that he wouldn't have as King. The first subject he really went for was architecture. It made an impact.
Gregorian chant, Romanesque architecture, the Iliad , the invention of geometry were not, for the people through whom they were brought into being and made available to us, occasions for the manifestation of personality.
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.
Newport Center has become a Mediterranean town. The climate here is the same as the Mediterranean's, and so is the architecture. This center exudes a radiance, an energy. It will become a special way of life for everyone.
I am a failed architect, if I'm honest. I got a degree in art history and was about to get another degree, in architecture, but realized I would be terrible at building things because I've got really bad spatial awareness.
Though I love the arts with all my heart - paintings, sculpture, theatre, and music - and think they are among the biggest achievements we humans can do, I am really convinced that architecture is among the most important.
When I started university, I didn't know much about architecture, so I flipped through a lot of magazines, looking at different and exciting images from all over the world. I thought that architecture could be interesting.
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.
I think New Orleans is such a beautiful city. It looks like a fairytale when you walk through the French Quarter or the Garden District. There is such a lush sense of color, style, architecture - and the people themselves.
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.
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.
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.
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.
Architecture is a technology. And it's involved in all of the different networks of systems that produce architecture - including politics, economics, social and cultural conditions. So architecture is already in technology.
Since the Beijing Olympics in 2008, our office has been discussing how we can make architecture more human and at one with nature. We need to ask ourselves, what legacy do we want to leave behind on humankind's urban culture?
I love Chicago. It's one of the great cities. I'm crazy about the town. It reminds me of New York when it was at its best, the New York that used to be and is no more. I love the architecture, the old stuff and the new stuff.
I wanted a real profession. And I'd always been interested in architecture and in design and in, really, what makes things work. And understanding what's kind of behind the walls and why things stand up and some things don't.
The intellectual force of the West is still dominant, but other cultures are getting stronger. I expect that we will develop a new way of thinking in architecture and urban planning, and that less will be based on our models.
In Architecture there is a part that is the result of Logical Reasoning and a part that is created through the Senses. There is always a point where they Clash. I don't think Architecture can be created without that Collision.
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.
It is perhaps the principal admirableness of the Gothic schools of architecture, that they receive the results of the labour of inferior minds; and out of fragments full of imperfectionraise up a stately and unaccusable whole.
I have a thing for clean lines and beautiful form that I attribute to my four years in Tokyo and Kyoto. I also appreciate traditional architecture and a warm palette that I think my Midwest upbringing has something to do with.
I cannot imagine myself fitting into the existing curriculum. I am too self-willed for that and have had my own very definite ideas for a long time, very different from the existing ways, as to how architecture is to be taught.
No architect troubled to design houses that suited people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper and, above all, timesaving to make them identical.
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.
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.