Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
No amount of thought can ever reveal what comes unexpectedly.
Architecture doesn't come from theory. You don't think your way through a building.
Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.
God's designs may be frequent justification for our actions, but it is we, the self-made men, who take the credit.
The tourist transports his own values and demands to his destinations and implants them like an infectious disease, decimating whatever values existed before.
Life is rich, always changing, always challenging, and we architects have the task of transmitting into wood, concrete, glass and steel, of transforming human aspirations into habitable and meaningful space.
The delusion of entertainment is devoid of meaning. It may amuse us for a bit, but after the initial hit we are left with the dark feeling of desolation.
The innovative spirit was America's strongest attribute, transforming everything into a brave new world, but there lingered an insecurity about the arts.
Inspiration in Science may have to do with ideas, but not in Art. In art it is in the senses that are instinctively responsive to the medium of expression.
Ancient Rome was as confident of the immutability of its world and the continual expansion and improvement of the human lot as we are today.
Bankers cannot afford to be concerned with only the economic aspects of projects. There may be serious implications on the natural environment, the urban environment, on human culture.
Western history has been a history of deed done, actions performed and results achieved.
After 1980, you never heard reference to space again. Surface, the most convincing evidence of the descent into materialism, became the focus of design. Space disappeared.
Our incapacity to comprehend other cultures stems from our insistence on measuring things in our own terms.
We can appreciate but not really understand the medieval town. We cannot comprehend its compactness, the contiguity of all its buildings as a single uninterrupted whole.
Our settlement of land is without regard to the best use of land.
The heart, not the head, must be the guide.
Roman civilization had achieved, within the bounds of its technology, relatively as great a mastery of time and space as we have achieved today.
Profit and bottom line, the contemporary mantra, eliminates the very source of architectural expression.
Our engineering departments build freeways which destroy a city or a landscape, in the process.
Vitality is radiated from exceptional art and architecture.
You have to see a building to comprehend it. Photographs cannot convey the experience, nor film.
The artist likes to seem totally responsible for his work. Often he begins to explain it, to make it appear as if it were a reasonable process.
There is a single thread of attitude, a single direction of flow, that joins our present time to its early burgeoning in Mediterranean civilization.
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