Architecture Quotes
Most Famous Architecture Quotes of All Time!
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Rabindranath Tagore Jayanti 2026
The Green Climate Fund is very much a strategic building block in the architecture for financing sustainable development.
I find the aristocratic parts of London so unattractive and angular; the architecture is so white and gated. But in New York, it's different - even uptown it's really grand, and there's no real segregation there. It's all mixed up.
The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide, which implied that the only pleasure you can get from Folly architecture is by calling the architect mad, and by laughing at the architecture.
It is good to learn from the ancients. I'm a bit of an ancient myself. They had a lot of time to think about architecture and landscape.
Modern architecture needed to be part of an evolutionary, not a revolutionary, process.
I think the artistic side of architecture was natural to me. My mother was an artist and a poet.
I've never left China. My family's been there for 600 years. But my architecture is not consciously Chinese in any sense. I'm a western architect.
I came, I studied architecture in America, so my technical background's completely western. But my seventeen years, the formative years of one's life, and I can't say that the Chineseness in me is not there.
The imperial vastness of late Roman architecture was made possible by the invention of concrete.
I wanted to be a pilot, but I was always drawing bodies. When I realised I wanted to pursue something creative, my parents pushed me towards architecture.
When I was in architecture school at Princeton, the worst thing you could say about someone was that they were eclectic.
Theater publicly reveals the human condition through appealing to both intellect and emotion. Architecture, whether lowly or exalted, can do the same.
Grenfell, the building set on fire with the help of its own face, is a scene of a complex injustice: one that is moral, economic, political, and aesthetic. Not only was the cladding unsafe, it was ugly; not only was it ugly, it was untrue both to the architecture of the building it covered and untrue to its responsibility to human safety.
Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent - not with how things are but with how they might be - in short, with design.
Our overriding goal in restructuring our financial architecture should be that taxpayers never again have to save a failing financial institution.
A city building, you experience when you walk; a suburban building, you experience when you drive.
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?
The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person; and in the end they unite.
I don't find Hollywood interesting, so I'm thinking of studying architecture instead.
As a designer, the mission with which we have been charged is simple: providing space at the right cost.
The Romans were not inventors of the supporting arch, but its extended use in vaults and intersecting barrel shapes and domes is theirs.
After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.
I founded a club, which is called the Brutally Early Club. It's basically a breakfast salon for the 21st century where art meets science meets architecture meets literature.
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.
First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.
A structure becomes architectural, and not sculptural, when its elements no longer have their justification in nature.
What's interesting about architects is, we always have tried to justify beauty by looking to nature, and arguably, beautiful architecture has always been looking at a model of nature.
To go back to architecture, what's organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm. Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale and the small scale.
I graduated from Wesleyan University with a B.A. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures.
I was planning to go into architecture. But when I arrived, architecture was filled up. Acting was right next to it, so I signed up for acting instead.
I like things that are kind of eclectic, when one thing doesn't go with another. That's why I love Rome. The town itself is that way. It's where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That's my style, and that's what my work is about.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
I love a lot of things, and I'm pretty much obsessive about most things I do, whether it be gardening, or architecture, or music. I'd be an obsessive hairdresser.
Everything man is doing in architecture is to try to go against nature. Of course we have to understand nature to know how far we have to go against nature. The secret, I think, of the future is not doing too much. All architects have the tendency to do too much.
My hope is that light, flexible architecture might bring about a new and open society.
Architecture can't fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn't real.
The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.
Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.
Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity.
Noble life demands a noble architecture for noble uses of noble men. Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall.
Look, architecture has a lot of places to hide behind, a lot of excuses. 'The client made me do this.' 'The city made me do this.' 'Oh, the budget.' I don't believe that anymore.
Architecture is a service business. An architect is given a program, budget, place, and schedule. Sometimes the end product rises to art - or at least people call it that.
There are a lot of questions about whether architecture is art. The people who ask that think pretty tract houses are architecture. But that doesn't hold up.
Architecture has always been a very idealistic profession. It's about making the world a better place, and it works over the generations because people go on vacation and they look for it.
I think people care. If not, why do so many people spend money going on vacations to see architecture? They go to the Parthenon, to Chartres, to the Sydney Opera House. They go to Bilbao... Something compels them, and yet we live surrounded by everything but great architecture.
It's not new that architecture can profoundly affect a place, sometimes transform it. Architecture and any art can transform a person, even save someone.
I love the architecture magazines and all of the French magazines for decoration or whatever. I end up enjoying them more sometimes than the fashion magazines.
I'm inspired by many things, from landscapes to textiles. Art and architecture always influence my design process.
The two elements the traveler first captures in the big city are extra human architecture and furious rhythm. Geometry and anguish.
Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
There's a very mathematical, mechanical side to architecture, and I probably lean more toward that aspect of it, though I'm terrible at numbers. But that side appeals to me more than the decorating aspect.
Even at the United Nations, where legend has it that the building was designed so that there could be no corner offices, the expanse of glass in individual offices is said to be a dead giveaway as to rank. Five windows are excellent, one window not so great.
Princeton is a sublime undergraduate university. It has a good architecture school.
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.
In art school, it was about feeling. In architecture school, it was about ideas.
We're always taught that we're building for permanence, but why? I like the idea of a prosthetic architecture! When a section is removed, the building readjusts its weight distribution, like a living body.
Architecture has been male-dominated forever, and I am a grateful beneficiary of the women's movement.
We were kind of arrogant when we started and became really humbled as we were doing architecture. It's really hard to work with budgets and deadlines and all of these collaborators and all of these voices and special interests.
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.
I was a rebel. I never wanted to build. We thought of architecture as intellectually bankrupt and slightly corrupt, and I was always more interested in other forms of discourse.
As a student, I hadn't really been interested in architecture at all, but when I started teaching, it grew into me - rather than me growing into it.
When I was studying architecture in the 1970s, it was intellectually bankrupt.
In architecture, Palladio is the game. It means hard thought all through - if it is labored, it fails.
Architecture is undistinguished, sometimes derelict, but occasionally, as in 'Post and Beam,' there is something arresting in a setting... the building behind the Cathedral.
I got a New York designer to build my dream store here, which is a little bit of Florence in New York. It's like the Duomo on Madison. I got inspired by Santa Maria Novella and all the Renaissance architecture.
I have a traditional view of the afterlife... heaven, hell and judgments. But the accounts of those places are scant, and I believe it's on purpose. We aren't supposed to try to figure out the architecture of the afterlife, since the big game is here in this life.
The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.
My mother studied English and drama at the University of Pennsylvania, where my father studied architecture. She was a great influence in all sorts of ways, a wicked wit.
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.
There is a lot of bad architecture. What we need more is to look at how our landscape should look in the next decades.
I love walking along Leith's waterfront and wandering around some of New Town's beautiful streets and squares, with their gorgeous Georgian architecture.
In Los Angeles, by the time you're 35, you're older than most of the buildings.
I need quite a lot going on, so a perfect holiday for me is one in a cooler climate with wonderful scenery, animals or great architecture.
I remember coming back to the U.K. after spending five months in Charlotte for 'Homeland,' and I just found myself just wandering around London. There's nothing like it - the buildings, the architecture, the sense of history, the sense of culture - there really is nothing like it.
I don't think architecture is radical. How can something that takes years and costs millions be radical?
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.
The difference between good and bad architecture is the time you spend on it.
Britain loves a bargain, but you don't get good, lasting architecture on the cheap.
I like to be surrounded by books. My wife Evelyn has a Ph.D. in comparative literature, so we have a lot of her Spanish and German literature books which are wasted on me, plus a lot of novels and books on art and architecture shared by us both. Evelyn used to edit an art magazine called 'FMR,' so we have a common interest in design.
I suppose I'm trying to build an architecture that's as timeless as possible, although we're all creatures of our age.
A building is no good if someone's got to explain to you why it's good. You can't say you don't know enough about architecture - that's ridiculous. It's got to work on many levels.
Seeing architecture differently from the way you see the rest of life is a bit weird. I believe one should be consistent in all that one does, from the books you read to the way you bring up your children. Everything you do is connected.
It is not the beauty of a building you should look at; its the construction of the foundation that will stand the test of time.
'Harlem: The Unmaking of a Ghetto' is a surprise and a fresh way of looking at Harlem, connecting the black district with the architecture of its historical past.
I love antique architecture, so if I have any indulgences, I have owned and renovated and reconstructed a lot of old houses.
I studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.
The overall experience Skype provided was superior to other folks because of the underlying architecture and the ability to provide a superior experience.
I graduated from university with a degree in architecture and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around.
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