Quotes About Buildings

There was a time in our past when one could walk down any street and be surrounded by harmonious buildings. Such a street wasn't perfect, it wasn't necessarily even pretty, but it was alive. The old buildings smiled, while our new buildings are faceless. The old buildings sang, while the buildings of our age have no music in them.

There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.

In Brazil, there is a fear and a denial of our past. Downtown Rio used to display the history of colonialism in Brazil. They had beautiful buildings and theaters, and there was a bakery that was threatened to be demolished, but people insisted against it. They laid down in front of it and said, "You're going to have to go over my body to destroy it." It frustrates me when I see people on Facebook posing in front of old buildings while on vacation, because they could've posed in front of equally beautiful buildings at home in Rio.

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.

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.

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

Building places that are worth living in and worth caring about require a certain attention to detail, and of a particular kind of detail that we have forgotten how to design and assemble. And that involves the relationship of the buildings to each other, the relationship of the buildings to the public space, which in America, comes mostly in the form of the street. Because it's only the exceptional places in America that have the village square or the New England green. You know. The street is mostly the public realm of America. And we have to design these things so that they reward us.

I don't think things necessarily should have a meaning. If stuff has a meaning then why do [writing] about it? If you're trying to say, 'Tall buildings are great' why not just leave it at that: "Tall buildings are great."

Italy is full of historical buildings. And Europe holds a great history of philosophy from Greece until today. I read all those books and see these buildings, and I think of where I stand when I design my architecture.

People's personalities, like buildings, have various facades, some pleasant to view, some not.

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.

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'.

The angel has confided in me that he is going to ask the Lord if he can become Spider-Man. [...] The children need heroes, he says. I think he just wants to swing from buildings in tight red jammies.

The deal was we had to have people accompanying us and they would ask us not to film something [in North Korea]. For example, we wanted to film at a certain place and there happened to be a building under construction and it didn't look as fancy as the other buildings, so they wanted us to shoot where everything looked finished and made a good impression of the cityscape.

In reality some images or drawings have a greater impact than many buildings that are built.

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.

Sam screamed the 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.

When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.

One or two of the trips were a bit scary. Soldiers had me at gun point on one trip, locked me in my van all night and escorted me in and out of buildings when I wanted to wash.

And as you got older, the training became more developed and precise. We did plays, we had voice classes with great dialect coaches. But I was never into it on a school level; it was this kind of private little thing I did. At school I was a rugby guy. At school I was a rugby guy. I was causing trouble with my mates and skating and tagging buildings, and smoking bongs.

Buildings are forms of performances.

The difference between regulated architects and unregulated designers is, unlike buildings, letterheads don't fall down and kill people.

I feel this way about it. World trade means world peace and consequently the World Trade Center buildings in New York ... had a bigger purpose than just to provide room for tenants. The World Trade Center is a living symbol of man's dedication to world peace ... beyond the compelling need to make this a monument to world peace, the World Trade Center should, because of its importance, become a representation of man's belief in humanity, his need for individual dignity, his beliefs in the cooperation of men, and through cooperation, his ability to find greatness.

The church is like any large corporation in one respect. In its early days, either the early church or the early years of Microsoft, you see all kinds of creativity, innovation, invention, people have nothing to lose, they're trying to find what works. Then you wake up and you're a vast enterprise, and it's very hard, when you have all kinds of buildings and structures and hierarchy and so on, to hang on to these very creative impulses that helped you get your great success in the first place. As a church we're going to have to figure a way out from under this.

It is important to reflect on the kindness of others. Every aspect of our present well-being is due to others' hard work. The buildings we live and work in, the roads we travel, the clothes we wear, and the food we eat, are all provided by others. None of them would exist but for the kindness of so many people unknown to us.

You cannot separate the buildings out from the infrastructure of cites and the mobility of transit.

I grew up in New York City where there is no night sky. Nobody has a relationship with the sky, because, particularly in the day, there was air pollution and light pollution, and you look up, and your sight line terminates on buildings. You know the sun and maybe the moon, and that's about it. So what happens is that I am exposed to the night sky as you would see it from a mountaintop, and I'm just struck by it. Suppose I grew up on a farm where I had that sky every night of my life - then you're not going to be struck by it. It's just the wallpaper of your nighttime dome.

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.

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.

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.

I am telling you that the child will not out live the buildings. Do you understand that wheras women may touch the immortal by giving birth, men--great men-- must build monuments and seek fame?

Humans think they are smarter than dolphins because we build cars and buildings and start wars etc., and all that dolphins do is swim in the water, eat fish and play around. Dolphins believe that they are smarter for exactly the same reasons.

Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens I have seen, that I believe I have seen, that I long to see, surrounded by simple walls, columns, arcades or the facades of buildings - sheltered places of great intimacy where I want to stay for a long time.

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.

From a sequence of these individual patterns, whole buildings with the character of nature will form themselves within your thoughts, as easily as sentences.

I never wavered in my certainty that God did not exist. I was simply liberated by the thought that there might be a way to engage with religion without having to subscribe to its supernatural content - a way, to put it in more abstract terms, to think about Fathers without upsetting my respectful memory of my own father. I recognized that my continuing resistance to theories of an afterlife or of heavenly residents was no justification for giving up on the music, buildings, prayers, rituals, feasts, shrines, pilgrimages, communal meals and illustrated manuscripts of the faiths.

For the Spartans, it wasn’t walls or magnificent public buildings that made a city; it was their own ideals. In essence, Sparta was a city of the head and the heart. And it existed in its purest form in the disciplined march of a hoplite phalanx on their way to war!

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.

There are masses of people who need affordable housing in New York. I think that, politically, it is very difficult to give preference to artists over another group. Now, could there be an impressive envisioning process where developers would be asked to collaborate with urban designers? Maybe envision a large-scale development with local shops, dense housing, maybe a few towers, maybe a few mid-rise buildings, and art workshops in the mix? That would be great. I don't see a call for those proposals. But I think that it would not be outrageous to propose that kind of vision.

And just as your beautiful skyscrapers were destroyed and caused your grief, beautiful buildings and precious homes crumbled over their owners in Lebanon, Palestine, and Iraq by American weapons.... Americans should feel the pain they have inflicted on other peoples of the world, so as when they suffer, they will find the right solution and the right path.

Babe, you've destroyed a car, burned down two buildings, stapled a guy's nuts, and you have sixteen stitches in your leg. Take a night off. Have a glass of wine, watch some television, and go to bed early." -Ranger

Of everything that man erects and builds in his urge for living nothing is in my eyes better and more valuable than bridges. They are more important than houses, more sacred than shrines. Belonging to everyone and being equal to everyone, useful, always built with a sense, on the spot where most human needs are crossing, they are more durable than other buildings and they do not serve for anything secret or bad.

There are currently more political parties in Iraq than unbombed buildings to hold them.

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.

Music was literally in the air at the time, the Vienna of 1780. Everybody played music, classical music. There were in fact so many musicians that in apartment buildings people had to come up with a schedule - you practice at 5 p.m., I'll practice at 6 p.m. That way the music didn't collide with one another.

Our sense of being a person can come from being drawn into a wide social unit; our sense of selfhood can arise through the little ways in which we resist the pull. Our status is backed by the solid buildings of the world, while our sense of personal identity often resides in the cracks

As a child I drew objects that caught my eye outside the window of my room - the dry twigs, leaves and lizard-like creatures crawling about, the servant chopping firewood and, of course, and number of crows in various postures on the rooftops of the buildings opposite.