Architecture Quotes - Page 2

The secret of architectural excellence is to translate the proportions of a dachshund into bricks, mortar and marble.

They can do without architecture who have no olives nor wines in the cellar

A stab had clearly once been made at de-uglifying these public spaces by painting a corridor a jaunty yellow. This was because, it turned out, babies come here to have their brains tested and someone thought the yellow might calm them. But I couldn’t see how. Such was the oppressive ugliness of this building it would have been like sticking a red nose on a cadaver and calling it Ronald McDonald.

No house should ever be on a hill or on anything. It should be of the hill. Hill and house should live together each the happier for the other.

The architect, like other workers in our endeavor, is facing the inevitability of a change of profession: he [sic] will no longer be a builder of forms alone, but a builder of complete ambiances.

I saw cities, and roads of marvelous construction. I saw cruelty and greed, but I've seen them here too. I saw a people live a life that was strange in many ways, but also much the same as anywhere else.""Then why are they so cruel?" There was an earnestness to the girl's face, an honest desire to know. "Cruelty is in all of us," he said. "But they made it a virtue.

Literature, although it stands apart by reason of the great destiny and general use of its medium in the affairs of men, is yet an art like other arts. Of these we may distinguish two great classes: those arts, like sculpture, painting, acting, which are representative, or as used to be said very clumsily, imitative; and those, like architecture, music, and the dance, which are self-sufficient, and merely presentative.

I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels

Thus nature provides a system for proportioning the growth of plants that satisfies the three canons of architecture. All modules are isotropic and they are related to the whole structure of the plant through self-similar spirals proportioned by the golden mean.

Patterns cannot be weighed or measured. Patterns must be mapped.

It shows a mediocre architect at the top of his game [on the Beetham Tower in Manchester]

Our sadness won’t be of the searing kind but more like a blend of joy and melancholy: joy at the perfection we see before us, melancholy at an awareness of how seldom we are sufficiently blessed to encounter anything of its kind. The flawless object throws into perspective the mediocrity that surrounds it. We are reminded of the way we would wish things always to be and of how incomplete our lives remain.

Good architecture lets nature in.

Why can't we have those curves and arches that express feeling in design? What is wrong with them? Why has everything got to be vertical straight unbending only at right angles - and functional?

That’s Manhattan today—all the money goes up top, while the infrastructure wastes away from neglect. The famous skyline is a cheap trick now, a sleight-of-hand to draw your eye from the truth, as illusory as a bodybuilder with osteoporosis.

The Australian is forcefully loquacious, until the moment of expressing any emotion. He is aggressively committed to equality and equal-opportunity for all men, except for black Australians. He has high assurance in anything he does combined with a gnawing lack of confidence in anything he thinks.

Life is architecture and architecture is the mirror of life.

I call architecture 'petrified music'.

Viewed from a certain distance and under good light, even an ugly city can look like the promised land.

It is obvious that an imagined world, however different it may be from the real one, must have something - a form - in common with it.

In the 1970s, while researching in the Library of Congress, I found an obscure history of religious architecture that assumed a fact as if it were common knowledge: the traditional design of most patriarchal buildings of worship imitates the female body. Thus, there is an outer and inner entrance, labia majora and labia minora; a central vaginal aisle toward the altar; two curved ovarian structures on either side; and then in the sacred center, the altar or womb, where the miracle takes place - where males gives birth.Though this comparison was new to to me, it struck home like a rock down a well. Of course, I thought. The central ceremony of patriarchal religions is one in which men take over the yoni-power of creation by giving birth symbolically. No wonder male religious leaders so often say that humans were born in sin - because we were born to female creatures. Only by obeying the rules of the patriarchy can we be reborn through men. No wonder priests and ministers in skirts sprinkle imitation birth fluid over our heads, give us new names, and promise rebirth into everlasting life. No wonder the male priesthood tries to keep women away from the altar, just as women are kept away from control of our own powers of reproduction. Symbolic or real, it's all devoted to controlling the power that resides in the female body.

Sunset’s the best time to take a stroll down Mouffetard, the ancient Via Mons Cetardus. The buildings along it are only two or three stories high. Many are crowned with conical dovecotes. Nowhere in Paris is the connection, the obscure kinship, between houses very close to each other more perceptible to the pedestrian than in this street.Close in age, not location. If one of them should show signs of decrepitude, if its face should sag, or it should lose a tooth, as it were, a bit of cornicing, within hours its sibling a hundred metres away, but designed according to the same plans and built by the same men, will also feel it’s on its last legs.The houses vibrate in sympathy like the chords of a viola d’amore. Like cheddite charges giving each other the signal to explode simultaneously.

Buildings should be good neighbours.

A house can have integrity, just like a person,' said Roark, 'and just as seldom.

Home development is about wishful thinking. It's about capturing a dream.

Old houses mended Cost little less than new before they're ended.

No architecture can be truly noble which is not imperfect.

Modern architecture only becomes modern with its engagement with the media.

Writing on architecture is not like history or poetry.

I’m relieved to seethat even brilliant physicists make mistakes.”Kohler looked over. “What do you mean?”“Whoever wrote that note made a mistake. That column isn’t Ionic. Ionic columns are uniform in width. That one’s tapered. It’s Doric—the Greek counterpart. A common mistake.”Kohler did not smile. “The author meant it as a joke, Mr. Langdon. Ionic means containing ions—electrically charged particles. Most objects contain them.

A city is not an accident but the result of coherent visions and aims.

We therefore find that the triangles and rectangles herein described, enclose a large majority of the temples and cathedrals of the Greek and Gothic masters, for we have seen that the rectangle of the Egyptian triangle is a perfect generative medium, its ratio of five in width to eight in length 'encouraging impressions of contrast between horizontal and vertical lines' or spaces; and the same practically may be said of the Pythagorean triangle

It is my trade," he said. "I work for the bean family, and every day there are deaths among the beans, mostly from thirst. They shrivel and die, they go blind in their one black eye, and I put them in one of these tiny coffins. Beans, you know, are beautifully shaped, like a new church, like modern architecture, like a planned city

I blame what happened next on the door. The one right across the hall from me, a mere three feet away. I love doors. All of them, without exception. Doors lead to things and I’ve never met one I haven’t wanted to open. All the same, if that door hadn’t been so old and decorative, so decidedly closed, if a thread of light hadn’t positioned itself with such wretched temptation across its middle, highlighting the keyhole and its intriguing key, perhaps I might have stood a chance; remained twiddling my thumbs until Percy came to collect me. But it was and I didn’t; I maintain that I simply couldn’t. Sometimes, you can tell just by looking at a door there’s something interesting behind it.

Stop worrying about missed opportunities and start looking for new ones.

...but there were four things I taught Walter to consider: 1) That it was Cain who built the first City, 2) That there is a true Science in the World called Scientia Umbrarum which, as to the publick teaching of it, has been suppressed but which the proper Artificer must comprehend, 3) That Architecture aims at Eternity and must contain the Eternal Powers: not only our Altars and Sacrifices, but the Forms of our Temples, must be mysticall, 4) That the miseries (If the present Life, and the Barbarities of Mankind, the fatall disadvantages we are all under and the Hazard we run of being eternally Undone, lead the True Architect not to Harmony or to Rationall Beauty but to quite another Game. Why, do we not believe the very Infants to be the Heirs of Hell and Children of the Devil as soon as they are disclos'd to the World? I declare that I build my Churches firmly on this Dunghil Earth and with a full Conception of Degenerated Nature. I have only room to add: there is a mad-drunken Catch, Hey ho! The Devil is dead! If that be true, I have been in the wrong Suit all my Life.

(Cedric Price produced the Potteries Thinkbelt) ...project which questioned most of the cherished establishment premises of university education and substituted in their place their complete inversion.

Early in life I had to choose between arrogance and hypocritical humility. I chose honest arrogance and have seen no occasion to change.

He didn't like religion, hadn't liked it for years, but he adored churches, loved them like old scientific instruments whose time is long past but are nevertheless fascinating and strange.

We are not the stuff that abides, but patternsthat perpetuate themselves.

It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.

When the great sixteenth-century Ottoman architect Sinan would start building a new mosque, he would make sure both the design and the project were in harmony with the city's history and the city's spirit [Jehane Noujaim, "Tahrir Square, Cairo: Lost and Found in the Square"].

Ah to build to build! That is the noblest of all the arts.

It is hard not to see into the future, faced with today's blind architecture - a thousand times more stupid and more revolting than that of other ages. How bored we shall be inside!

But I don’t understand. Why do you want me to think that this is great architecture? He pointed to the picture of the Parthenon.That, said the Dean, is the Parthenon.- So it is.- I haven’t the time to waste on silly questions.- All right, then. - Roark got up, he took a long ruler from the desk, he walked to the picture. - Shall I tell you what’s rotten about it?- It’s the Parthenon! - said the Dean.- Yes, God damn it, the Parthenon!The ruler struck the glass over the picture.- Look,- said Roark. - The famous flutings on the famous columns – what are they there for? To hide the joints in wood – when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

What are you thinking?” he asked in a disarmingly gentle tone.“That the city looks different depending on whom I’m seeing it with.”He nodded easily, as if this same thought had occurred to him. “I notice different things,” I continued. “Like with you, I pay more attention to the details of the buildings – the textures, the colors, the people standing in front of them. The reflections are different.”“Reflections?” he asked quietly.“They are.” I watched our bodies morph and distort in the window of an empty bank. “You’re there,” I said. “That’s how they’re different.

I don't know who you are," she thought, "but whoever you are, you're one hell of a player.

The yard was a little centre of regeneration. Here, with keen edges and smooth curves, were forms in the exact likeness of those he had seen abraded and time-eaten on the walls. These were the ideas in modern prose which the lichened colleges presented in old poetry. Even some of those antiques might have been called prose when they were new. They had done nothing but wait, and had become poetical. How easy to the smallest building; how impossible to most men.

You cannot defend your design without knowing what you're designing for.

In architecture the pride of man his triumph over gravitation his will to power assume a visible form. Architecture is a sort of oratory of power by means of forms.

The first treatise on the interior of the body, which is to say, the treatise that gave the body an interior , written by Henri De Mondeville in the fourteenth century, argues that the body is a house, the house of the soul, which like any house can only be maintained as such by constant surveillance of its openings. The woman’s body is seen as an inadequate enclosure because its boundaries are convoluted. While it is made of the same material as a man’s body, it has ben turned inside out. Her house has been disordered, leaving its walls full of openings. Consequently, she must always occupy a second house, a building to protect her soul. Gradually this sense of vulnerability to the exterior was extended to all bodies which were then subjected to a kind of supervision traditionally given to the woman. The classical argument about her lack of self-control had been generalized.

For us to deem a work of architecture elegant, it is hence not enough that it look simple: we must feel that the simplicity it displays has been hard won, that it flows from the resolution of demanding technical or natural predicament. Thus we call the Shaker staircase in Pleasant Hill elegant because we know--without ever having constructed one ourselves--that a staircase is a site complexity, and that combinations of treads, risers and banisters rarely approach the sober intelligibility of the Sharkers' work. We deem a modern Swiss house elegant because we not how seamlessly its windows have been joined to their concrete walls, and how neatly the usual clutter of construction has been resolved away. We admire starkly simple works that we intuit would, without immense effort, have appeared very complicated. (p 209)

Again, we find that the space standards of twenty-first century luxury are below the required minimum for dockworkers in 1962.

We form a mental map, and then that shape, shapes us

I don't know what London's coming to — the higher the buildings the lower the morals.

Writing about music is like dancing about architecture.

Integrating the beauty of seasonal change into the residence was a concept that remains true even today even in the more cramped, inner city machiya.

Let's do it right. This is for the ages.

Architecture (is) a theatre stage setting where the leading actors are the people and to dramatically direct the dialogue between these people and space is the technique of designing.

A building is a string of events belonging together.