Quotes About Buildings

The reason I don’t worry about society is, nineteen people knocked down two buildings and killed thousands. Hundreds of people ran into those buildings to save them. I’ll take those odds every f*cking day.

We make our buildings, and then our buildings make and shape us.

To me, Los Angeles and California and executive power are about big, open warehouse buildings. Tech companies are buying oversized buildings, because they project growth immediately.

We build buildings which are terribly restless. And buildings don't go anywhere. They shouldn't be restless.

I'm very interested in buildings that adapt to changes in climatic conditions according to the seasons, buildings capable of responding to our physical and psychological needs in the way that clothing does. We don't turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected. Layering and changeability: this is the key.

We still have prostitutes standing on our corner, and people crapping round the back of buildings. The charms are still there.

The more I know about business, the more I'm convinced that it is conducted in homes and churches far more than in office buildings.

We shuffle out of office buildings after being laid-off by draconian bosses; we sit on hold for ten minutes only to be told by a supervisor that the charge on our cable bill can't be removed; we click a crying emoji on Facebook as our last whimper of protest. So rather than end the story ["Ice Age"] with the expected violence and destruction of evil, I wanted to focus on the way the characters end up sabotaging their own community though their attachments to the consumerism of the old world.

So what’s the use of repentance, and what do you care for goodness, and what if you should die in a quake, so who the hell cares? So I walked downtown, so these were the high buildings, so let the earthquake come, let it bury me and my sins, so who the hell cares? No good to God or man, die one way or another, a quake or a hanging, it didn’t matter why or when or how.

My project could be only to photograph as I felt and desired, to regulate a pleasant form of living, to get up in the morning-free, to feel the trees, the grass, the water, sky or buildings, people-everything that affects us; and to photograph that which I saw and have always felt.

We shape our buildings; thereafter they shape us.

We can change so many times in our lives. We're born into a family, and it's the only life we can imagine, but it changes. Buildings collapse. Fires burn. And the next second we're someplace else entirely, going through different motions and trying to keep up with this new person we've become.

I live in the Village right near NYU, which is taking over most of the Village. I've lived there for most of my time in New York. One of the things I like about the Village is, it's considered the kind of area where you can't have skyscrapers or, actually, many tall buildings. So you can see the sky which, I think, is a benefit.

Before Sept. 11, the idea that Americans would voluntarily agree to live their lives under the gaze of a network of biometric surveillance cameras, peering at them in government buildings, shopping malls, subways and stadiums, would have seemed unthinkable, a dystopian fantasy of a society that had surrendered privacy and anonymity.

I saw my town as if I had just arrived. It was as if I was waking up. You see houses and buildings every day, and you walk by them on your way to something else, and you hardly see. You hardly notice they're even there, mostly because there's something else going on right in front of your face, But when the town itself becomes the thing that is going on right in front of your face, it all changes, and you're not just looking at a house, but at what's happened in that house before you were born.

Symbols and emblems were everywhere. Buildings and pictures were designed to be read like books. Everything stood for something else; if you had the right dictionary, you could read Nature itself. It was hardly surprising to find philosophers using the symbolism of their time to interpret knowledge that came from a mysterious source.

The desert is a natural extension of the inner silence of the body. If humanity's language, technology, and buildings are an extension of its constructive faculties, the desert alone is an extension of its capacity for absence, the ideal schema of humanity's disappearance.

There was something unbearable in the things, in the people, in the buildings, in the streets that, only if you reinvented it all, as in a game, became acceptable. The essential, however, was to know how to play, and she and I, only she and I, knew how to do it.

Homes and buildings, many of which are old and drafty, eat up 40 percent of the energy America uses. Such inefficiencies perpetuate our reliance on foreign oil, imperiling our national security and increasing our contribution to climate change.

I used to read more when I was a kid than I do now. It was all sort of fuel for the fire to teach you how to think and how to make things and it informed the architecture that I was doing. It's better coming in with that history and that kind of knowledge and depth of understanding of humanity that is very important for building buildings - for understanding people and how they should live and how you could make your lives better and stuff like that.

It's a very cheery thing to come into London by any of these lines which run high and allow you to look down upon the houses like this." I thought he was joking, for the view was sordid enough, but he soon explained himself. "Look at those big, isolated clumps of buildings rising up above the slates, like brick islands in a lead-coloured sea." "The board-schools." "Light-houses, my boy! Beacons of the future! Capsules with hundreds of bright little seeds in each, out of which will spring the wiser, better England of the future.

Many of the projects I'm most proud of are tall buildings, especially the housing projects. In New York I have two: one in Kips Bay and one at New York University. At that time, those projects were most challenging.

The American dream is not about how much money you make or how many buildings have your name on it.

From this distance, in the dimness, the model looked surreal, made up of parts filled with buildings, bordered by long stretches of empty space. It reminded me of the way cities and towns look when you are flying at night. You can't make out much. But the places where people have come together, and stayed, are collections of tiny lights, breaking up the darkness.

Whenever I write lyrics, in the back of my mind I always see a guy driving to work, driving to a really bad job, one of those horrible institutions, or one of those low squat buildings in Los Angeles. I write with that person in my mind.

You can see the most beautiful things from the observation deck of the Empire State Building. I read somewhere that people on the street are supposed to look like ants, but that's not true. They look like little people. And the cars look like little cars. And even the buildings look little. It's like New York is a miniature replica of New York, which is nice, because you can see what it's really like, instead of how it feels when you're in the middle of it.

We often judge cities by great public buildings. But we admire great cities because people live there in a beautiful way. You have to think about how each person will live there; you can't just think about abstract ideas.

I run a taxpayer group - the most powerful guy in D.C., nonsense. OK? There are buildings with thousands of people in them, all lobbying for more spending and higher levels of spending and more government commitments. And there are a handful - a handful of groups that fight for less spending.

On the screen I saw tanks rolling through dusty streets, and fallen buildings, and forests of unfamiliar trees into which East Pakistani refugees had fled, seeking safety over the Indian border.

Architecture is not about designing somehting from a free, fanciful idea. It is about discovering and establishing one's own principle, some kind of regularity - finding an individual formula to apply to one's buildings.

There are a broad range of issues that need to be dealt with. We've got the president's name up on buildings in places where they could be a terrorist attack. This is a very precarious situation.

life's kind of like a painting. A really bizarre, abstract painting. You could look at it and think that all it is, is a blur. And you could continue living your life thinking that all it is, is just a blur. But if you really look at it, really see it, focus on it, and use your imagination, life can become so much more. The painting could be of the sea, the sky, people,buildings, a butterfly on a flower, or anything except the blur you were once convinced it was.

Reading those turgid philosophers here in these remote stone buildings may not get you a job, but if those books have forced you to ask yourself questions about what makes life truthful, purposeful, meaningful, and redeeming, you have the Swiss Army Knife of mental tools, and it's going to come in handy all the time.

It's not about doing over the living room of someone who has bad taste in color. This is about restoring historic buildings and instilling pride in a community, which can be done through designing new public spaces and social gathering spots.

That nothing is static or fixed, that all is fleeting and impermanent, is the first mark of existence. It is the ordinary state of affairs. Everything is in process. Everything - every tree, every blade of grass, all the animals, insects, human beings, buildings, the animate and the inanimate - is always changing, moment to moment.

I've never been in this part of Trenton before. I don't feel comfortable driving around buildings that haven't got gang slogans sprayed on them. Look at this place. No boarded-up windows. No garbage in the gutter. No brothers selling goods on the street. Don't know how people can live like this.

My buildings don't speak in words but by means of their own spaciousness.

For decades engineers have stood accused that their buildings do not have any cultural value. We have attempted to liberate engineering of this accusation. As National Socialists we are dedicated to working with boldness, but also with love of the Volk and our landscape in mind. These roads do not serve transportation alone, they also bind our Fatherland. In these highways our engineering will reflect the National Socialist movement.

She was a committed romantic and an anarcha-feminist. This was hard for her because it meant she couldn't blow up beautiful buildings. She knew the Eiffel Tower was a hideous symbol of phallic oppression but when ordered by her commander to detonate the lift so that no-one should unthinkingly scale an erection, her mind filled with young romantics gazing over Paris and opening aerograms that said Je t'aime.

Krishna children were taught that in the spiritual world there were no parents, only souls and hence this justified their being kept out of view from others, cloistered in separate buildings and sheltered from the evil material world.

I would not be at all surprised to find out . . . that the dimensions of buildings affect us in ways we don't guess.

Both of us [me and Donald Trump] were raised to believe that to whom much is given, much will be required. And so for the president-elect that meant that what - he describes himself this way, the kid from Queens would go to Manhattan Island and build the big buildings.

I think people need housing. And there's empty buildings, I think people should live in there. If you want to call them squatters, trespassers, hey, I call Wall Street thieves!

Vienna is cold, and dark, and sad. It is laid out as though for a royal parade; the streets are wide and they're flanked by monumental buildings, decorated with the faces of angry gods. And on the roof are statues of national heroes, wielding weapons of destruction.

The Aga Khan Award for Architecture seeks to make a better place in physical terms. This means trying to bring values into environments, buildings, and contexts that improve the quality of life for future generations.

Patrick started driving really fast, and just before we got to the tunnel. Sam stood up, and the wind turned her dress into ocean waves. When we hit the tunnel, all the sound got scooped up into a vacuum, and it was replaced by a song on the tape player. A beautiful song called “Landslide.” When we got out of the tunnel, Sam screamed this really fun scream, and there it was. Downtown. Lights on buildings and everything that makes you wonder. Sam sat down and started laughing. Patrick started laughing. I started laughing. And in that moment, I swear we were infinite.

I had visited New York at age 12, and I loved the big buildings and the swarms of people. At 23, I decided to try it. I was going to go for six months, and I ended up living there for 18 years before I moved to California, so I am living the American Dream.

Downtown. Lights on buildings and everything that makes you wonder. And in that moment, I swear we were infinite.