The sun never knew how great it was until it hit the side of a building.
Architects today tend to depreciate themselves, to regard themselves as no more than just ordinary citizens without the power to reform the future.
Chandeliers are marvels of drop-dead showiness, the jewellery of architecture.
When the old way of seeing was displaced, a hollowness came into architecture. Our buildings show a constant effort to fill that void, to recapture that sense of life which was once to be found in any house or shed. Yet the sense of place is not to be recovered through any attitude, device, or style, but through the principles of pattern, spirit, and context.
The difference between good and bad architecture is the time you spend on it.
My ambition has always been to reduce a building's support to a minimum. The more we diminish supporting structures, the more audacious and important the architecture is. That has been my life's work.
I think it modern society as a whole, but definitively in Brazil, spaces are so well divided and there are so many barriers, and so many divisions, so many lines and so many borderlines, basically telling you that you should be here but not here. This is my space and this is your space, and this is expressed very dramatically in architecture, we have a very kind of aggressive, almost medieval concept for architecture, which is basically keeping people out. So you get high walls, fences, and electric fences, and divisions like that.
I'm trying to create flesh architecture. I aim to get a sculptural feel for groups of bodies, as well as create performance art.
I got into architecture because I was searching for a way to produce in the world. I went to art school and thought I would do it through art, but I realized very quickly that I was interested in the social ramifications of form making. So buildings became the vehicle and fulfilled that thing. That satisfied me when I produced them. I decided this is what I wanted to do with the rest of my life.
I have a very strong sense of architecture in my novels. But at first it's sometimes like building a doorknob before you have a door, and a door before you have a room.
What I resist is techniques. I find techniques very problematic. So when critics talk about my work in those terms, I find that they miss the condition. I am comfortable with the notion of pattern and ornament as a system of organization, [but] for me it acts as a textile. So it's not about pattern, but the notion of architecture through the lens of textile, rather than architecture through the lens of brick and mortar.
I think the future of architecture does not lie so much in continuing to fill up the landscape, as in bringing back life and order to our cities and towns.
The great challenge of the twentieth century ... is to create a new financial architecture in which private decisions produce a less degenerate capitalism.
Where the citizen uses a mere sliver or board, the pioneer uses the whole trunk of a tree.
As for your high towers and monuments, there was a crazy fellow once in this town who undertook to dig through to China, and he got so far that, as he said, he heard the Chinese pots and kettles rattle; but I think that I shall not go out of my way to admire the hole which he made.
My mother took me to Venice one time and showed me all the houses where famous composers used to live. It gave me a fascination for music and the city, but also for architecture. It was a valuable lesson.
In some conditions, the architecture of textile is more relevant than in other conditions or the opacity of the material form. Pattern in the world of scarce materiality and a hybridity becomes a way of creating a new authenticity. Sometimes there is a certain kind of nobility of a group of materials literally of the earth, which had a certain nobility of presence, but is very different from the materials we have now.
Architecture falls between art and airports. It's pragmatic-it helps you get from point A to point B. But it also works as art. It makes you think twice. It inspires you. It brings you back to yourself.
I really like the city of Vienna. I like its art, its music and its architecture. In short, I like the culture that Vienna represents. What really captures me is the period around 1900 - the time of Freud, Schnitzler and Klimt. This is the period in which the modern view of mind was born.
My dad is a carpenter, a joiner, and I used to watch him make things. So I always imagined that I'd do something where I made things, too. I was really more interested in architecture growing up because I would work with my dad on houses.
Chicago is known for good steaks, expensive stores and beautiful architecture. Unfortunately, the Windy City also enjoys a reputation for corrupt politics, violent crime, and some of the strictest gun control laws anywhere in the country.
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.
Painting, sculpture and architecture are finished, but the art habit continues.
A bold architectural statement turns a public building into a landmark, but it is in the details where the architect becomes the real storyteller.
The future of architecture is culture.
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