Quotes About Architecture

My dad, he's definitely one of greatest writers of his generation. There is no question about it. When you are that good, when work is that good, you have to appreciate every aspect of it. It's the architecture of it, it's like looking at a Frank Lloyd Wright building or a Lautner building, it's master craftsmanship. Every aspect of it intertwines in a perfectly harmonious way. That's what architecture is at its best and the architecture of my father's music is on that level.

Architecture is not created by individuals. The genius sketch ... is a myth. Architecture is made by a team of committed people who work together, and in fact, success usually has more to do with dumb determination than with genius.

I found myself starting architecture with a deep social, Jewish, liberal conscience, and the belief that architecture is for the people. It was a do-gooder base; I was born and raised that way. I was for blacks, whites, Italians, Poles, whatever.

Architecture is supposed to complete nature. Great architecture makes nature more beautiful-it gives it power.

Negro music has touched America because it is the melody of the soul joined with the rhythm of the machine. It is in two part time; tears in the heart; movement of the legs, torso arms and head. The music of the era of construction; innovating. It floods the body and heart; it floods the USA and its floods the world. The jazz is more advanced than the architecture. If architecture were at the point reached by jazz, it would be an incredible spectacle.

My weakness ... is architecture. I think of my work as ephemeral architecture, dedicated to the beauty of the female body.

I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.

So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal.

If you think good architecture is expensive, try bad architecture.

Building becomes architecture only when the mind of man consciously takes it and tries with all his resources to make it beautiful, to put concordance, sympathy with nature, and all that into it. Then you have architecture.

If you look at the Earth without architecture, its sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether its a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings.

I think, you know, architecture should not just be something that follows up on events but be a leader of events ... by implementing an architectural action, you actually are making a transformation in the social fabric and in the political fabric. Architecture becomes an instigator.

To sum up the state of architecture in America: ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.

To go back to architecture, whats 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.

Never talk to a client about architecture. Talk to him about his children. That is simply good politics. He will not understand what you have to say about architecture most of the time. An architect of ability should be able to tell a client what he wants. Most of the time a client never knows what he wants.

I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.

I started to begin to be interested in architecture and design when I was 14 years old, which was pretty early in life. And then I would start to look at architectural magazines and I eventually went to the school of architecture too, but one of the things I learned very early is that an architect should be able to design anything from a spoon to the city.

He who does not master the nude cannot understand the principles of architecture.

The psychedelic species of visual beauty is something we don't see in our furniture styles and our architecture. It seems to be coming in, literally, from another dimension, and yet it is undeniably moving. It's beautiful.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

For more than twenty years by my own work and personal initiative, I have gathered from all the old streets of Vieux Paris photographic plates, 18 x 24 format, artistic documents of the beautiful civil architecture of the 16th to the 19th century: the old hôtels, historic or curious houses, beautiful facades, beautiful doors, beautiful woodwork, door knockers, old fountains This vast artistic and documentary collection is today complete. I can truthfully say that I possess all of Vieux Paris.

In fact, it will be very easy to climb the building because of its shape and architecture.

Half of architecture students are women, and you see respected, established female architects all the time.

I just love architecture, and I just love the idea of being someone who sees the world differently and doing everything you can do in order to actualize that dream. And really sticking to your guns when everyone else is telling you that you're crazy.

Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.

I think about architecture all the time. That's the problem. But I've always been like that. I dream it sometimes.

Architecture must have something that appeals to the human heart. Creative work is expressed in our time as a union of technology and humanity.

An important work of architecture will create polemics.

I believe that architecture is a pragmatic art. To become art it must be built on a foundation of necessity.

Dismantling the architecture of my discontent

I learned in architecture that you have to have a real plan. You have to have a client, they have to have distribution, start-up money, and have a vision of where it's going to go. All this has to be settled before you start, or else your work is just a story.

Architecture traditionally has been the slowest of art forms. It was not unusual for great cathedrals to take centuries to complete, with stylistic changes from Romanesque to Gothic or Renaissance to Baroque as common as the addition of chapels or spires. But because the function remained the same, the form could be flexible and its growth organic.

Architecture tends to consume everything else, it has become one's entire life.

Open-source code is extremely well-adapted to service-oriented architecture.

Art and architecture - all the arts - do not have to exist in isolation.

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.

I believe that sensory pleasure should take precedence over intellectual pleasure in art and architecture.

When I'm with him, there is someone with me in my house of grief, someone who knows its architecture as I do, who can walk with me, from room to sorrowful room, making the whole rambling structure of wind and emptiness not quite as scary, as lonely as it was before.

The great challenge of the twentieth century ... is to create a new financial architecture in which private decisions produce a less degenerate capitalism.

There was an age, however, when the transition from savagery to civilization, with all its impressive outward manifestations in art and architecture, took place for the first time.

Loving photography and wanting to be a painter, it all ended up in the process of filmmaking. It's strange professionally be to connected because it connects you to architecture, it connects you to painting, it connects you to writers, to actors. It connects you to really all of the arts.

You have to lead, in the case of a game show, a contestant through the architecture of the show. So there's a lot of rules there, literal and implied, that you have to navigate.

If music is frozen architecture, then the potpourri is frozen coffee-table gossip... Potpourri is the art of adding apples to pears.

A person's life consists of a collection of events, the last of which could also change the meaning of the whole, not because it counts more than the previous ones but because once they are included in a life, events are arranged in an order that is not chronological but, rather, corresponds to an inner architecture.

For corporations to be bedfellows with the arts is good business for both. The architecture that houses a company is a more visible statement than the president's in the annual report. Ditto interiors, particularly of offices and sometimes, dramatically, in plants. For solvent businesses, support of community cultural undertakings in music, drama, dance creates great goodwill. Also, the existence of such activities is often important to the executives and their families that companies want to keep or attract to keep.

In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style. The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste. There are few violations of this taste, and there is exemplary architectural consistency. Paris has defined the aesthetics of a sophisticated urban culture.

Architecture is the reaching out for the truth.

The crystal ball has a question mark in its center. There are some fundamental choices to be made. We will either choose to continue to wage a hopeless war to preserve the existing architecture for copyright by upping the stakes and using better weapons to make sure that people respect it. If we do this, public support for copyright will continue to weaken, pushing creativity underground and producing a generation that is alienated from the copyright concept.