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.

I've never had a problem with the old truism about dancing to architecture. I think you can dance to architecture. There's some pretty funky architecture to dance to.

The bottom line for mathematicians is that the architecture has to be right. In all the mathematics that I did, the essential point was to find the right architecture. It's like building a bridge. Once the main lines of the structure are right, then the details miraculously fit. The problem is the overall design.

At about five I knew I was going to be an architect because my mother had studied architecture. I thought it was women's work. I had a proprietary feeling about architecture. I could own it because my mother owned it.

My interest in architecture has always been sculptural. Most of my photography is of architecture

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

The first gesture of an architect is to draw a perimeter; in other words, to separate the microclimate from the macro space outside. This in itself is a sacred act. Architecture in itself conveys this idea of limiting space. It's a limit between the finite and the infinite. From this point of view, all architecture is sacred.

Architecture is a hypothesis about the future that holds that subsequent change will be confined to that part of the design space encompassed by that architecture.

I believe architecture is a cultural output and I think Rem Koolhaas is one of the rare individuals who was able to really output architecture as cultural artifact.

I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.

Architecture is my first love, if you want to talk about what moves me... the ordering of space, the visual pleasure, architecture's power to construct our days and nights.

If you examine this, I think that you will find that it's the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.

The word Gothic, in the sense in which it is generally employed, is wholly unsuitable, but wholly consecrated. Hence we accept it and we adopt it, like all the rest of the world, to characterize the architecture of the second half of the Middle Ages, where the ogive is the principle which succeeds the architecture of the first period, of which the semi-circle is the father.

Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. Im not suggesting that gestural architecture is always superficial, but solid reasoning has its place.

It is not an individual act, architecture. You have to consider your client. Only out of that can you produce great architecture. You cannot work in the abstract

I think Miss Monroe as architecture is extremely good architecture, and she's a very natural actress, and a very good one.

In a script, you have to link various episodes together, you have to generate suspense and you have to assemble things - through editing, for example. It's exactly the same in architecture. Architects also put together spatial episodes to make sequences.

Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.

But I do believe architecture, and all art, should be content-driven. It should have something to say beyond the sensational.

Maybe we can show government how to operate better as a result of better architecture.

Literature, at least good literature, is science tempered with the blood of art. Like architecture or music.

Japanese architecture is very much copied in this country and in Europe.

God created paper for the purpose of drawing architecture on it. Everything else is at least for me an abuse of paper.

I was also always interested in the aesthetic realm - architecture and that kind of stuff - but music was my first love.

While cities are distinguished by their architecture and physical appearance, Bell and de-Shalit make a compelling case that many major world cities--and their inhabitants--also express their own distinctive ethos or values. The Spirit of Cities takes the reader on a wide-ranging and lively personal journey.

It's not so much about form versus functionality. Rather, it's about doing both and doing them a lot and doing them well-and that's how we should be talking about architecture.

Architecture begins to matter when it brings delight and sadness and perplexity and awe along with a roof over our heads.

Berlin is liberation. Architecture, man!

All the same, the fundamental truths which govern that art are still unchangeable; just as the principles of mechanics must always govern architecture, whether the building be made of wood, stone, iron or concrete; just as the principles of harmony govern music of whatever kind. It is still necessary, then, to establish the principles of war.

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

Geometry is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics the light in buildings can be drawn from fixed quarters of the sky. Difficult questions involving symmetry are solved by means of geometrical theories and methods.

The genius of architecture seems to have shed its maledictions over this land.

You don't need to spend a lot of money on stuff when you have amazing architecture.

Painting, sculpture and architecture are finished, but the art habit continues.

There is a Greco-Buddhist school of architecture and sculpture that you find everywhere in the world. It's fascinating, because Alexander died in 323 B.C. and Buddha existed around 500 B.C. But Alexander met Buddhist-type sages. And they had a different view of the world, as you know. They saw it in circular terms. They didn't need to conquer any land. And there are blond people who live in that region who are said to be descended from the soldiers who stayed. He left garrisons all over the world as he went.

I think I needed to really move past my first public work as memorialist, and be equally balanced. It's a bit unusual, to be working between the architecture, the art, and what I would say is a synthesis, the memorials - they're problem solving, but it's very symbolic. You get this triangle; I need to be balanced with those three. They're all equally a part of who I am. I love how different they are, and yet they're coming out the same thing, whatever it is.

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.

Art is about people. I think the discussion about whether architecture is art or not is lamebrain.

a perfect piece of architecture kindles that aimless reverie, which bears the soul we know not whither.

Persia is very different from the Arab Middle East in terms of architecture and language. Even though we think of them as one big Middle Eastern area, in truth, Persia's quite distinct.

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.

Architecture is like writing. You have to edit it over and over so it looks effortless

I believe that the way people live can be directed a little by architecture.

The only thing I learned from the architecture is keep the bathroom and the kitchen near each other, so you don't have to run pipes all over the place.

You look great," he said. It made her smile, even if it was a lie. "I'm as big as a house." He laughed. "I like houses. In fact, I'm thinking about architecture as a career.

Architecture is invention.

Las Vegas suggests that the thirst for places, for cities and gardens and wilderness, is unslaked, that people will still seek out the experience of wandering about in the open air to examine the architecture, the spectacles, and the stuff for sale, will still hanker after surprises and strangers. That the city as a whole is one of the most pedestrian-unfriendly places in the world suggests something of the problems to be faced, but that its attraction is a pedestrian oasis suggests the possibility of recovering the spaces in which walking is viable.

There is a profound ethic to architecture which is different from the other arts.