Quotes About Buildings

After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.

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.

If there's a group like Amish people, that want to live their own lifestyle – they don't want to live in our city – they want to live out in the country, with their own projects. We’ll put up the buildings for them, design the buildings for them, design the food production systems for them – if they want us to. But we don’t control them.

I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.

I think that's an obligation you have, to give back no matter what happens. It actually ends up being easier when you're young than when you become successful. Suddenly you realize you've gone into a whole other realm of philanthropy, from just being a volunteer to being this person that dedicates buildings and saves lots of children in some faraway place.

Paris was a universe whole and entire unto herself, hollowed and fashioned by history; so she seemed in this age of Napoleon III with her towering buildings, her massive cathedrals, her grand boulevards and ancient winding medieval streets - as vast and indestructible as nature itself.

I have approached the buildings as psychological and poetic manifestations - rather than from the more technical viewpoints of the architect and historian (which mostly miss the living spirit behind the forms).

The people who run our cities dont understand graffiti because they think nothing has the right to exist unless it makes a profit... the people who truly deface our neighborhoods are the companies that scrawl giant slogans across buildings and buses trying to make us feel inadequate unless we buy their stuff.... any advertisement in public space that gives you no choice whether you see it or not is yours, it belongs to you ,, its yours to take, rearrange and re use.Asking for permission is like asking to keep a rock someone just threw at your head.

Buildings have been made because of man.

Modernism really started with people getting infatuated with the idea of "it's the twentieth century, is this suitable for the twentieth century." This happened before the First World War and it wasn't just the soldiers. You can see it happening if you read the Bloomsbury biographies. It was a reaction to a great extent against Victorianism. There was so much that was repressive and stuffy. Victorian buildings were associated with it, and they were regarded as very ugly. Even when they weren't ugly, people made them ugly. They were painted hideously.

I think you need to, as an architect, understand the essence of a place and create a building that feels like it resonates with the culture of a place. So my buildings in India or in Kansas City or in Arkansas or in Singapore, they come out different because the places are so different.

Conversion requires a subtler mind. Architects don't like it, architects want to create their own landmark buildings so that people a few years hence will say, 'Oh, that building there is being knocked down, who did that one?'

Buildings are forms of performances.

I think buildings should imitate ecological systems.

'The Panorama' is also the last place anywhere in New York where the World Trade Center still stands, whole, as it stood in the early morning of September 11. I can also see the corner where I saw the first tower fall and howled out loud. Seeing the buildings again here is uplifting, healing.

I visited Paterson many years ago - 20 some years ago as a kind of day trip because of William Carlos Williams, because of Allen Ginsberg having lived there. And I went to the Great Falls and sat really in the exact same spot as Adam Driver does as Paterson. And I walked around the factory buildings, and I was rereading - I was reading at the time the epic length poem "Paterson" by Williams.

Imagination bound us stronger than love. Within its limitless borders we launched ships and love affairs, discovered lost worlds, made buildings and babies, found husbands, wrote letters and Broadway plays. We made ourselves up everyday.

What did I think of Princeton? Well, the answer to that question requires a story. When I first arrived, I looked around me at the Gothic buildings - younger, I later learned, than many of the mosques of this city, but made through acid treatment and ingenious stone-masonry to look older.

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.

I never wanted to make portraits - to photograph celebrities, beautiful people, beautiful landscapes, beautiful buildings, or people in distressing situations.... I have always been interested in everyman - average, ordinary people in everyday situations.

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.

Worship will never end; whether there be buildings, they will crumble; whether there be committees, they will fall asleep; whether there be budgets, they will add up to nothing. For we build for the present age, we discuss for the present age, and we pay for the present age; but when the age to come is here, the present age will be done away.

It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.

From the early days of European migration to America, in the 17th Century, the prototype of buildings was based on English precedent, even if mostly translated into the locally available material in abundance: timber.

Chicago's such a great city because it's got so many different brilliantly architecturally looking buildings, and you can really modify that city.

Images in the 20th century had a unique power where image became divorced from reality, and often more important than reality. Buildings were judged more by the way they looked in magazines than by the satisfaction people felt when using them.

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.

Every time I've flown an aircraft, or visited a steelworks, or watched a panel-beater at work, I've learned something new that can be applied to buildings.

One day at Princeton, I noticed there were dead birds on the pavement between the campus buildings, where very large trees were. It turns out it was DDT. At the time, in the early '50s, no one thought DDT was dangerous to anybody but insects. I went down to the Daily Princetonian, the college paper, and tried to persuade them to do a story. They said, "Naw, there's nothing wrong." But that taught me a very important lesson. One, that newspaper people can get very jaded. Second, that you might know something, like an expert chemistry professor, you are not going to apply what you know.

Ask Hillary Clinton why she takes tens of millions of dollars from countries that hate women and disrespect women, that throw gays off of buildings.

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.

Modernist buildings exclude dialogue, and the void that they create around themselves is not a public space but a desertification

Well, they didn't lack for topics after Hiroshima. Why should 9/11 slow them down? I know it got a lot of press, but it's just a few large buildings and aircraft, it's not like D-Day and the Seige of Berlin.

All worldly pursuits have but one unavoidable and inevitable end, which is sorrow; acquisitions end in dispersion; buildings in destruction; meetings in separation; births in death. Knowing this, one should, from the very first, renounce acquisitions and storing-up, and building, and meeting; and, faithful to the commands of an eminent Guru, set about realizing the Truth. That alone is the best of religious observances.

I love Chicago. I lived there briefly for three months and kept a boat under one of those space-age buildings. It was very Jetsons.

The religions are the buildings or the institutions, the groups, but inside of that is what moves, is what's alive, is the beating heart of spirituality, and really, the heart's blood is the mystical experience. Not airy fairy vague mystical experience, but transformative, intimate experience that really touches your heart with love, and not just sex.

I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.

From 50 centuries, we can learn about the close relationship between garden design and urban design, because both arts involve the composition of buildings with paving, landform, water, vegetation and climate.

I got plenty of guesses wrong on things in the past as well. I don't want to pretend I have some great insight... But when the global financial crisis came along in 2008 it was scary times if you were in the middle of building $5 billion buildings. It wasn't perfect... I think that I am the luckiest person in Australia.

The cities drain the country of the best part of its population: the flower of the youth, of both sexes, goes into the towns, andthe country is cultivated by a so much inferior class. The land,--travel a whole day together,--looks poverty-stricken, and the buildings plain and poor.

I don't like the idea of being surrounded by hidden things; people you can't see in buildings and cars.

We are limited only by our lack of creativity. Our buildings should symbolize the exuberance of a free nation that encourages individual effort and creativity.

My mother and I took over abandoned buildings to sleep in.

Our roots are clinging, we shouldn't knock down so many old 'buildings.'

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'm battling monsters, I'm pulling you out of the burning buildings/ and you say I'll give you anything but you never come through.

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.

I don't see that any buildings should be excluded from the term architecture, as long as they are done properly.