The dialogue of architecture has been centered too long around the idea of truth.
Underwater, I experience space with my body. I'll see a school of fish gathering and moving together and I'll exclaim, 'This is architecture.'
At this present time, matter is still the best way to think of architecture, but I'm not so sure for very long. The computer is radicalizing the way we think about our world.
I feel however, that we architects have a special duty and mission... (to contribute) to the socio-cultural development of architecture and urban planning.
The Egyptian contribution to architecture was more concerned with remembering the dead than the living.
The 'International Style of Modernism' came with the advent of building services. In the end, the architecture became like a container space, essentially like a boring box with a basement full of machinery to make it inhabitable. As a result, buildings literally started to look identical all over the planet.
Perhaps because my town was so naturally gothic in its architecture and relative isolation - the roads often closed in winter - my stories tended toward the ghostly and the creepily suspenseful right from the get-go.
I was always fascinated by graphic art and typography and architecture. And so I was constantly cutting things and making blocks and making buildings out of shoeboxes.
We all love musical architecture; there's no doubt about that.
When Washington visited Portsmouth in 1789, he was not much impressed by the architecture of the little town that had stood by him so stoutly in the struggle for independence.
One of the dilemmas of architecture in general is that there is a Catch-22 - you can't actually get to be commissioned to do certain types of building until you've already built that type of building. So it seems to be incredibly hard to get going.
My assumption was that all indigenous architecture would be more fractal. My reasoning was that all indigenous architecture tends to be organized from the bottom up. As it turns out, though, my reasoning was wrong.
The fossil fuel industry has taken control of, and powered up, architecture and methods originally built by the tobacco industry and others to attack and deny science.
When I was 18, I lived in Greenwich Village, New York, for nine months. At that time, I wanted to change the world, not through architecture, but through painting. I lived the artist's life, mingling with poets and writers, and working as a waiter. I was intrigued by the aliveness of the city.
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and crafts - as inseparable components of a new architecture.
I didn't even have a clear idea of why I wanted to go to Oxford - apart from the fact I had fallen in love with the architecture. It certainly wasn't out of some great sense of academic or intellectual achievement. In many ways, my education only began after I'd left university.
In a way I spend my entire life stealing from everything - from the past, from cities I love, from where I grew up - grabbing things, taking not only from architecture but from Italy, art, writing, poetry, music.
The essence of architecture is form and space, and light is the essential element to the key to architectural design, probably more important than anything. Technology and materials are secondary.
Architecture is a discourse; everything is a discourse. Fashion discourse is actually a micro-discourse, because it's centered around the body. It is the most rapidly developing form of discourse.
I have a preference for rough architecture, real, inexpensive, unfinished.
I've always liked traveling around Europe and seeing the architecture. The buildings in capital cities have been there for hundreds and hundreds and hundreds of years. Some look better than the new ones.
In a place like the Greek Theater in L.A., to try and create a close connection with the audience seems almost antithetical to the architecture of the building.
Chandeliers are marvels of drop-dead showiness, the jewellery of architecture.
I love the architecture magazines and all of the French magazines for decoration or whatever. I end up enjoying them more sometimes than the fashion magazines.
The oldest book I have is a treatise on architecture from the 17th century.
All architecture has a public nature, I believe, so I would like to make a public space.
People wouldn't know this about me, but I adore ball gowns. I love their cut, their architecture and the thought of the hands of so many seamstresses working on them.
You need a prince to make a town in an intellectual sense. Developers want to make money. If they cared about architecture, they'd become architects. I've had so many projects that never came off because they had no sponsor, and not because they were utopian. I just want to build a town that's normal.
The bungalow had more to do with how Americans live today than any other building that has gone remotely by the name of architecture in our history.
I never studied sculpture, engineering or architecture. In fact, after college I applied to seven art schools and was rejected by all seven.
Tuscany is so full of history and beauty - you meet wonders of art and architecture on almost every corner. But I love the region's homier aspects: the special sweetness of the tomatoes, the soft mozzarella, the heady scents of basil and garlic everywhere.
One my favorite things is to go to the provinces of Russia and see the 18th century wood churches with the onion dome architecture. These humble wonders of incredible imagination of architects that were obviously not living in places like Paris or London, but they've created these amazing churches.
Our utilitarian structures will mature into architecture only when, through their fulfillment of function, they become carriers of the will of the age.
The Green Climate Fund is very much a strategic building block in the architecture for financing sustainable development.
Grenfell, the building set on fire with the help of its own face, is a scene of a complex injustice: one that is moral, economic, political, and aesthetic. Not only was the cladding unsafe, it was ugly; not only was it ugly, it was untrue both to the architecture of the building it covered and untrue to its responsibility to human safety.
I have a traditional view of the afterlife... heaven, hell and judgments. But the accounts of those places are scant, and I believe it's on purpose. We aren't supposed to try to figure out the architecture of the afterlife, since the big game is here in this life.
