Zitat des Tages über Architekten / Architects:
It's hardly even noticeable that so many artists, designers and architects live here. It isn't reflected in the cityscape or in the museums. Many of the artists, for example, exhibit around the world, just not in Berlin.
Architects have to become more aware of exactly what is involved in designing barrier-free buildings and homes.
I feel most strongly about Jerusalem, because architects ultimately have to address that city.
The only legitimate artists in England are the architects.
When you are overworked and exhausted, there is a sense of kind of delirium and that's why I think architects do all-nighters and they kind of do those deadlines. For four days I remember doing four nights in one row with no sleep. I mean nobody, unless you are crazy, would do that, but you are totally focused on the project.
The magic was in the Marshall Plan itself. It provided an opportunity for appealing and constructive work. In a sense, the mission chiefs were given the opportunity to help act as architects for the new Europe that was envisioned.
The Renaissance is studded by the names of the artists and architects, with their creations recorded as great historical events.
All clients think that they are architects.
Half of architecture students are women, and you see respected, established female architects all the time.
Architects often have a mindset where you solve a problem, so you have a set of needs that you have to address. Often I feel that my projects have to have concrete applications.
Normally, architects render a service. They implement what other people want. This is not what I do. I like to develop the use of the building together with the client, in a process, so that as we go along we become more intelligent.
Architects in the past have tended to concentrate their attention on the building as a static object. I believe dynamics are more important: the dynamics of people, their interaction with spaces and environmental condition.
I always think of buildings in their settings, but so do other architects.
Everything man is doing in architecture is to try to go against nature. Of course we have to understand nature to know how far we have to go against nature. The secret, I think, of the future is not doing too much. All architects have the tendency to do too much.
I'm often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That's impossible. And today nobody expects architects to have these grand visions any more.
Western governments have generally tried to contain genocide by appeasing its architects. But the sad record of the last century shows that the walls the United States tries to build around genocidal societies almost inevitably shatter.
Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact.
Architects today tend to depreciate themselves, to regard themselves as no more than just ordinary citizens without the power to reform the future.
Architects are not clients. We can't build without something to built.
Women are the real architects of society.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
Believe me, that was a happy age, before the days of architects, before the days of builders.
It's time architects start designing for our ears as well as our eyes.
Architects design buildings; that's what we do, so we have to go with the flow; and, even though I'm still an old Leftie, global capitalism does have its good side. It's broken down barriers - the Berlin Wall, the Soviet Union - it's raised a lot of people up economically, and for architects, it has meant that we can work around the world.
Architects design houses. I live in a home.
I don't know any architects that I respect who don't have their own voice. I think the difference between architecture and the other arts is your immersion in reality.
We experience every space in five senses, so it's strange that architects design just for the eyes.
Avant-garde architects have never been able to depend on the support of the establishment, since the customary patrons of this most conservative and slowly moving art form have historically been resistant to innovation and experiment.
Most architects say: I want to use this type of glass, even if it's too reflective or doesn't let enough light in. However, the use of a certain type of glass might change the comfort level.
All architects want to live beyond their deaths.
We create our own government. We are responsible for its beauty and for its ugliness. We are responsible for its glories and for its failures and, most important, we are responsible for amending those failures no matter who are their most immediate architects.
Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.
We are called to be architects of the future, not its victims.
A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.
Those of us raised in modern cities tend to notice horizontal and vertical lines more quickly than lines at other orientations. In contrast, people raised in nomadic tribes do a better job noticing lines skewed at intermediate angles, since Mother Nature tends to work with a wider array of lines than most architects.
There's this very vulnerable planet of ours with finite resources. Architects and designers have, I think, a fair responsibility for conserving energy and materials, and making things durable.