Quotes About Buildings

What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.

When you travel, you can see lots of great buildings and monuments and stuff, but the best part of traveling is meeting people as you go. Those are the people who made the places you go to anyway. All my memories of traveling - yeah, there are some buildings or landscapes that I'll always remember - but I still think I remember the people I meet more than any of that.

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.

Our message will be that we're going to make federal government buildings a model - an energy-efficient model - and also start matching grants for cities and counties so that they can also do the same with their government buildings.

Old ideas can sometimes use new buildings. New ideas must use old buildings.

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.

Interest rates are going to go up because employment is going to go up. If employment goes up, then our apartments get filled. And if employment goes up, our office buildings get filled. The reality is that increased economic activity combined with increased interest rates is basically bullish for real estate.

I was the worst bricklayer in the world. I can show you buildings I worked on - they're a hazard. I closed a window one time. I forgot to set back a brick and I just kept going - there I was singing 'There's no business like show business'.

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.

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.

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.

It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.

My projects have typically taken a long time to complete. Buildings might take on average about five to seven years to finish, but in my case it's been longer, because the projects I have accepted within the past 15 years have been mostly government projects, and those involve some politics and funding issues, and approvals and so forth. So they're slower.

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

I'd get kicked out of buildings all day long, people would rip up my business card in my face. It's a humbling business to be in. But I knew I could sell and I knew I wanted to sell something I had created. I cut the feet out of those pantyhose and I knew I was on to something. This was it.

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.

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.

'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.

Eternity is not a long time; rather, it is another dimension. It is that dimension to which time-thinking shuts us. And so there never was a creation. Rather, there is a continuous creating going on. This energy is pouring into every cell of our being right now, every board and brick of the buildings we sit in, every grain of sand and wisp of wind.

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.

Architecture has its political Use; publick Buildings being the Ornament of a Country; it establishes a Nation, draws People and Commerce; makes the People love their native Country, which Passion is the Original of all great Actions in a Common-wealth.... Architecture aims at Eternity.

There are plenty of ruined buildings in the world but no ruined stones.

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?

There's no doubt in my mind over the next 25 years how we drive, how we build our houses, how we fly, how we build our buildings, will all change.

I'm not a builder of buildings, I'm a builder of collections.

First life, then spaces, then buildings - the other way around never works.

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

This project is so important because it's going to create an environment to inspire people. The RIBA believes that here in the UK we can design buildings and places that bring out the very best in people and motivate them. There is a real desire to see this project happen.

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.

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

Pertaining to a certain order of architecture, otherwise known as Normal American. Most of the public buildings of the United States are of the Ramshackle order, though some of our earlier architects preferred the Ironic. Recent additions to the White House in Washington are Theo-Doric, the ecclesiastic order of the Dorians. They are exceedingly fine and cost one hundred dollars a brick.

Have you noticed how nobody ever looks up? Nobody looks at chimneys, or trees against the sky, or the tops of buildings. Everybody just looks down at the pavement or their shoes. The whole world could pass them by and most people wouldn't notice.

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

So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.

The hidden village was something we found when we went to research in China we climbed a mountain in the Sichuan province where the panda sanctuary is based, and we climbed to this beautiful, mist-covered, almost primordial place and when we turned these corners these moss covered old buildings would come into view, revealing themselves and it was so beautiful and so unlike anything we'd seen that we literally took those moments and put them into the film [Kung Fu Panda 3].

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.

There's no worse feeling than seeing my buildings and realizing the mistakes.

Radical Muslims fly planes into buildings. Radical Christians kill abortion doctors. Radical Atheists write books.

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.

No, I'll take responsibility for my own life, I am going to make a decision. And you know, to this day, I would raise flags on all public buildings to celebrate the chance I had to make that decision.

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 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 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.

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.

Amid the moon and the stars, amid the clouds of the night, amid the hills which bordered on the sky with their magnificent silhouette of pointed cedars, amid the speckled patches of the moon, amid the temple buildings that emerged sparkling white out of the surrounding darkness - amid all this, I was intoxicated by the pellucid beauty of Uiko's treachery.

And lastly from that period I remember riding in a taxi one afternoon between very tall buildings under a mauve and rosy sky; I began to bawl because I had everything I wanted and knew I would never be so happy again.