Quotes About Buildings

I think green buildings are extremely important but it's only part of the equation. A lot of people think that if I put a green building everything is going to be fine, but actually it's not just the green buildings we need, but green businesses, green governments, green economics. We have to extend the greening of buildings to our business and our lifestyles - that is the most important thing to do next.

A country whose buildings are of wood, can never increase in its improvements to any considerable degree.... Whereas when buildings are of durable materials, every new edifice is an actual and permanent acquisition to the state, adding to its value as well as to its ornament.

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

I have a good black friend who is a doctor, but he didn't become a doctor because he saw other black men who were doctors. He became a doctor because his mother cleaned office buildings at night, and because she loved her children. She grew bowlegged from cleaning office buildings at night, and in the process she taught him something about courage and bravery and dedication to others.

No architect should design buildings that import a huge amount of energy.

Architecture is not a private affair; even a house must serve a whole family and its friends, and most buildings are used by everybody, people of all walks of life. If a building is to meet the needs of all the people, the architect must look for some common ground of understanding and experience.

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.

If you look over the course of a hundred years, I think the gradual erosion of the consensus that's held our country together is probably more serious than a few bearded terrorists who fly into buildings.

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.

If a building makes us light up, it is not because we see order; any row of file cabinets is ordered. What we recognize and love is the same kind of pattern we see in every face, the pattern of our own life form. The same principles apply to buildings that apply to mollusks, birds or trees. Architecture is the play of patterns derived from nature and ourselves.

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.

I am weary seeing our laboring classes so wretchedly housed, fed, and clothed, while thousands of dollars are wasted every year over unsightly statues. If these great man must have outdoor memorials, let them be in the form of handsome blocks of buildings for the poor

The past is still visible. The buildings haven't changed, the layout of the streets hasn't changed. So memory is very available to me as I walk around.

Great buildings, like great mountains, are the work of centuries.

Construed as turf, home just seems a provisional claim, a designation you make upon a place, not one it makes on you. A certain set of buildings, a glimpsed, smudged window-view across a schoolyard, a musty aroma sniffed behind a garage when you were a child, all of which come crowding in upon your latter-day senses -- those are pungent things and vivid, even consoling. But to me they are also inert and nostalgic and unlikely to connect you to the real, to that essence art can sometimes achieve, which is permanence.

We make our buildings and afterwards they make us. They regulate the course of our lives.

Here in Barcelona, it's the architects who built the buildings that made the city iconic who are the objects of admiration - not a bunch of half-witted monarchs.

Let the painter composing narrative pictures take pleasure in wealth and variety, and avoid repeating any part that occurs in it, so that the uniqueness and abundance attract people to it and delight the eye of the observer. I say that a narrative painting requires (depending on the scene), wherever the eye falls, a mixture of men of diverse appearances, of diverse ages and dress, combined together with women, children, dogs, horses, buildings, fields, and hills.

I suppose I can live with missing decimals, missing floors to tall buildings, and floors that are named instead of numbered. A more serious problem is the limited capacity of the human mind to grasp the relative magnitudes of large numbers. Counting at the rate of one number per second...to count to a trillion takes 32,000 years, which is as much time as has elapsed since people first drew on cave walls.

High buildings have no genuine advantages, except in speculative gains for banks and land owners. They are not cheaper, they do not help create open space, they destroy the townscape, they destroy social life, they promote crime, they make life difficult for children, they are expensive to maintain, they wreck the open spaces near them, and they damage light and air and view.

When somebody is flying airplanes into buildings and killing innocent people in the name of God, it makes you question why do they have that interpretation and somebody else has another interpretation, and how many people of Muslim faith would agree with that, and what are the different aspects of different people's religions that is so divisive, rather than being unifying?

Experimental architecture by its very nature is more prone to the depredations of time and natural elements than buildings made from conventional materials through traditional methods. Avant-garde architects often simply do not know how the products of their imagination will perform when implemented, especially if untested components are involved.

Qatar does not have much history, it's a new emirate. So I couldn't draw on the history of the country; its history is really just being a desert. But I thought, the one thing I must learn about for this project is the Islamic faith. So I read about Islam and Islamic architecture, and the more I studied the more I realized where the best Islamic buildings were.

Don't say 'the White House wants.' Buildings can't want.

I think the world has mostly ended because the cities we wander through are as rotten as we are. Buildings have collapsed. Rusted cars clog the streets. Most glass is shattered and the wind drifting through the hollow high-rises moans like an animal left to die. I don't know what happened. Disease? War? Social collapse? Or was it just us? The Dead replacing the Living? I guess it's not so important. Once you're arrived at the end of the world, it hardly matters which road you took.

Architecture, either practically considered or viewed as an art of taste, is a subject so important and comprehensive in itself, that volumes would be requisite to do it justice. Buildings of every description, from the humble cottage to the lofty temple, are objects of such constant recurrence in every habitable part of the globe, and are so strikingly indicative of the intelligence, character, and taste of the inhabitants, that they possess in themselves a great peculiar interest for the mind.

Let's put it this way: One can be happy or unhappy in a building. But some buildings make us more depressed than others.

I stroll along serenely, with my eyes, my shoes, my rage, forgetting everything, I walk by, going through office buildings and orthopedic shops, and courtyards with washing hanging from the line: underwear, towels and shirts from which slow dirty tears are falling.

If you believe that the developing world deserves the same standards of living that we do in the developed world, then to achieve that, they need resources. They need the metals and the minerals to build the industries and the buildings and so forth, and the energy.

No wonder the film industry started in the desert in California where, like all desert dwellers, they dream their buildings, rather than design them.

High among the unpredictable variables that endanger the survival of worthy buildings are the vagaries of taste.

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 can hear you, the rest of the world can hear you and the people who knocked these buildings down will hear all of us soon.

The test of a democracy is not the magnificence of buildings or the speed of automobiles or the efficiency of air transportation, but rather the care given to the welfare of all the people.

I see water and buildings ... Oh my God! Oh my God.

Consider how badly-built suburbia is. Many business buildings are not designed to outlast their tax depreciation periods, and the McHouses are made of particle board, vinyl siding, and stapled-on trim. A lot of suburbia will simply become the slums of the future. Most of the rest will be salvage or ruins.

We can go for days, weeks, and even months without saying or thinking the word 'education.' And yet, day in and day out, we are educating others and being educated ourselves. In the narrower sense of education - those classrooms and buildings and campuses where teachers and taught are brought together for purposes stated and unstated, for outcomes intended and unintended - we have all been profoundly affected by the pattern of days essentially not of our own making.

The heart of Paris is like nothing so much as the unending interior of a house. Buildings become furniture, courtyards become carpets and arrases, the streets are like galleries, the boulevards conservatories. It is a house, one or two centuries old, rich, bourgeois, distinguished. The only way of going out, or shutting the door behind you, is to leave the centre.

My father died at 42, of a heart attack. My mother was 32 then. She never wanted to be a victim. And that really resonated as a nine-year-old child. And one of the most revealing things was, very soon after my father died - he was in real estate and he owned some modest buildings - they came to my mother, the men that worked for him, and they said, "You don't have to worry. We will run the business and we will take care of you." And my mother said, "No, you won't. You will teach me how to run the business and I will take care of it and my children."

For me, I guess I'm the acting equivalent of somebody that jumps off buildings and parachutes.

There is no logic that can be superimposed on the city; people make it, and it is to them, not buildings, that we must fit our plans.

I love church buildings, particularly cathedrals, and I like living in spaces that remind me of music or evoke that creative energy.

The fate of the architect is the strangest of all. How often he expends his whole soul, his whole heart and passion, to produce buildings into which he himself may never enter.

Oh, indeed there is a tie between Iraq and what happened on 9/11. It's not that Saddam Hussein was somehow himself and his regime involved in 9/11, but, if you think about what caused 9/11, it is the rise of ideologies of hatred that lead people to drive airplanes into buildings in New York.

The fact is that people who strap bombs to their bodies to blow up families at a Bar Mitzvah in Israel, plant bombs at a nightclub in Bali, or slit stewardesses' throats and ram airplanes filled with innocent Americans into office buildings do not do so for any reason related to poverty. They do so because they hold evil beliefs and have deformed consciences

I am an architect. I try to feel the transparency in contemporary buildings and I try to understand the transparency in Zen poetry. I just want to mix all those things.

The building is absolutely stunning. It is a magnificent and important piece of architecture that contributes greatly to the cultural landscape of Washington. It is one the best designed buildings in D.C. in the last decade.

For me, it feels like driving from truth into a lie, from adulthood to childhoold. I watch the land of pavement and glass and metal turn into an empty field. The snow is falling softly now, and I can faintly see the city's skyline up ahead, the buildings just a shade darker than the clouds.