Clearly, if a building is not functionally and technically in order, then it isn't architecture either, it's just a building.
And when an architect has designed a house with large windows, which is a necessity today in order to pull the daylight into these very deep houses, then curtains come to play a big role in architecture.
There is always a point when one senses ones lack of skill, the doubt
If a building becomes architecture, then it is art.
In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.
It may sound affected - but it is the act of creation itself, and it is equally exhilarating whether one is working on a teaspoon or a national bank.
I do not feel certain until I have confronted my initial solution with other solutions - although in fact the first solution often proves to be the right one.
I have no philosophy, my favourite thing is sitting in the studio.
Carrying out the thing, getting it to the point when one might say: There, now it is good - that point is hard to reach. Often, one sets very high goals for oneself. Perhaps too high.
A pastry usually tastes better if it looks nice. A cream pastry, now that looks nice - in fact, there is nothing I mind as long as it looks nice.
The primary factor is proportions.
But inspiration? - That's when you come home from abroad and are asked: Well, have you found inspiration? - and fortunately you haven't. But the impressions sink in, of course, and may emerge later: None of us has invented the house; that was done many thousands of years ago.
None of us has invented the house; that was done many thousands of years ago
If architecture had nothing to do with art, it would be astonishingly easy to build houses, but the architect's task - his most difficult task - is always that of selecting.
Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.
That is the artistic task: To choose the best from these solutions.
Now, the downside to conservation is that so much is done for the public, which almost always mars the environment that one wanted to conserve.
People buy a chair, and they don't really care who designed it.
You will soon find that I am a bit obsessive about my work. And that is a little sad, one often feels strangely restricted, not finding time to simmer, although one actually has many interests.
But I think that parents who criticise their children too much are in fact better than parents who praise their children too much.
Architecture tends to consume everything else, it has become one's entire life.
Almost every time I make a building, some people will condemn it straight to Hell.
That business of relaxation, which is so terribly modern today, is all good and well, but my work interests me so much, and is so varied, that many times it seems relaxing when I go from one aspect to another.
Furniture manufacturing in plastics requires very costly machinery, which the Danish market is not big enough to justify. Or so they say. But show me a plastics manufacturer who dares to take on the experiment
On the other hand, I don't understand the enthusiasm for everything in the antique shop that Grandma threw out. There, the sense of quality has declined; otherwise Grandma wouldn't have thrown it out
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