Architecture Quotes
Most Famous Architecture Quotes of All Time!
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What is now called 'green architecture' is an opportunistic caricature of a much deeper consideration of the issues related to sustainability that architecture has been engaged with for many years. It was one of the first professions that was deeply concerned with these issues and that had an intellectual response to them.
Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.
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.
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.
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.
I worked out a rather deep-dish theory defining the theater as a form of architecture rather than a form of literature.
I have a background in technology, design, architecture, arts and sciences. I see myself as a multi-dimensional person.
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.
There's a technicality to designing and wearing hats. A hat is balancing the proportions of your face; it's like architecture or mathematics.
I acquired an admiration for Japanese culture, art, and architecture, and learned of the existence of the game of GO, which I still play.
All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.
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.
Architecture is basically the design of interiors, the art of organizing interior space.
I think the chance of finding beauty is higher if you don't work on it directly. Beauty in architecture is driven by practicality. This is what you learn from studying the old townscapes of the Swiss farmers.
I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.
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.
Architecture is exposed to life. If its body is sensitive enough, it can assume a quality that bears witness to past life.
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.
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.
There is still a real need for good quality architecture, not paper architecture, but the real stuff.
Architecture has its place in the concrete world. This is where it exists. This is where it makes its statement.
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.
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.
The more centralized the power, the less compromises need to be made in architecture.
The problem with digital architecture is that an algorithm can produce endless variations, so an architect has many choices.
I don't believe that classical architecture is enough to engage people anymore. They say: 'So what else is new?'
I truly believe that the great heroes that create the history of architecture are people who take risks and write to tell about it.
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.
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.
Shoe design is like architecture - with the finest structure and tight, precise seams, it suits my obsessive neatness.
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?
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.
My interest in architecture has always been sculptural. Most of my photography is of architecture.
Architecture will always express the technical and social progress of the country in which it is carried out. If we wish to give it the human content that it lacks, we must participate in the political struggle.
One of my favorite vacation places is Miami, because of the people, the water and the beach - of course - and the architecture on Miami Beach is so wonderful.
Amsterdam is such a fun, cool place, and it's very Instagrammable with the canals and the boats and the flowers and the architecture. It's amazing for outfit of the day shots.
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.
In L.A., cinema and television might be seen as more interesting places for architecture than ever before.
As a child, my father's architecture seemed to me to be industrial in a way. It seemed harsh and kind of chilly; I didn't respond to it.
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 was always fascinated by graphic art and typography and architecture. And so I was constantly cutting things and making blocks and making buildings out of shoeboxes.
In my experience, if you have to keep the lavatory door shut by extending your left leg, it's modern architecture.
The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.
There is a profound ethic to architecture which is different from the other arts.
Architecture should be rooted in the past, and yet be part of our own time and forward looking.
Architecture has joined the world of fashion, but fashion is passing and architecture is timeless.
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.
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.
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.
We build buildings which are terribly restless. And buildings don't go anywhere. They shouldn't be restless.
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.
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.
Architecture was always the plan. I always figured I'd just do theater on the side.
The traditional notion of an architect having a vision of a building and then drawing it either on paper or on a computer and then constructing it isn't really how architecture works, and in reality, the computer has a lot of influence on design.
In any architecture, there is an equity between the pragmatic function and the symbolic function.
The dialogue of architecture has been centered too long around the idea of truth.
For my first apartment, when I was first married, I went to the lumberyard and bought stuff and made couches. My then-wife made cushions. I was really very interested in furniture. I was in school for architecture, but I had to live, and making furniture was different from designing buildings, which I couldn't do for myself.
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.
I taught at Princeton for 39 years, and the school of architecture on the campus is the worst building on the campus.
You can never draw enough or read enough - reading about architecture, in other words.
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.
As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.
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.
I left science, then I went into art, but I approach things very analytically. I choose to pursue both art and architecture as completely separate fields rather than merging them.
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.
In art or architecture your project is only done when you say it's done. If you want to rip it apart at the eleventh hour and start all over again, you never finish. I was one of those crazy creatures.
I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.
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 try to give people a different way of looking at their surroundings. That's art to me.
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.
The impact of the creative industries, of design and architecture in particular, are of course economic and they are a great export opportunity.
At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.
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.'
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.
Architecture is not a profession for the faint-hearted, the weak-willed, or the short-lived.
There is no sadder tale in the annals of architecture than the virtual disappearance of the defining architectural form of the Modern Movement - publicly sponsored housing.
One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
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.
Cost overruns are not uncommon in architecture, particularly for designs that depart from structural or technological norms, or demand a finer quality of execution than commercial schemes - conditions typical of buildings for cultural institutions. Budgets are exceeded for many reasons, not all of them within an architect's control.
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.
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.
Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.
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.
Chroniclers of the role of paper in history are given to extravagant pronouncements: Architecture would not have been possible without paper. Without paper, there would have been no Renaissance. If there had been no paper, the Industrial Revolution would not have been possible. None of these statements is true.
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