Quotes of All Topics . Occasions . Authors
I became a fanatic of the architecture of Le Corbusier and I visited almost all his buildings and read all his books. Only later on did I discover that all the things that impressed me in his books, particular his ideology, he had picked up from Auguste Perret.
Too many architects are just trying to make all of their buildings look like a brand, and that may be good for business, but that is terrible for the cities because they lose character. If I go to Paris, I go to see the beauty of Paris and the coherence of Paris.
Route 192 is its own thing, and you can't find that anywhere else. The colors and shapes of the buildings, the way that all the small businesses in a way feed off of the parks and sort of rip off the themes of Disney - you're not going to find that anywhere else.
! discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.
Architects have to become designers of eco-systems. Not just designers of beautiful facades or beautiful sculptures, but systems of economy and ecology, where we channel the flow not only of people, but also the flow of resources through our cities and buildings.
Cities offer us powerful leverage on our most stubborn, wasteful practices. Long commutes in our cars, big power bills from our energy-hogging buildings, shopping trips to buy stuff that'll spend a few short months in our homes and long centuries in our landfills.
Take the perspective of a journalist or scientist. Really study what's around you. What are people wearing, what do the interiors of buildings look like, what noises do you hear? If you bring your analytical powers to bear, you can make almost anything interesting.
I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.
Films and gramophone records, music, books and buildings show clearly how vigorously a man's life and work go on after his 'death,' whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death according to our view!
I just like artist-driven projects, but for artists themselves: artist spaces, artist mentor programs, and artists buying buildings and making lofts. Doing whatever we can do. Because at the end of the day, I really think that we as a community only have each other.
When I started my own practice, I was criticized, not because I was doing product design but because, like Le Corbusier, I was insisting on paintings in all of my buildings. I would paint wall murals in the houses that I designed, just as he did in the '20s and '30s.
We wanted a world that looked like our world. In the original 'Flintstones,' low flat buildings filled the city and suburbs. Now, high-rise buildings and apartments exist next to the family neighborhoods. Part of the 'Flintstone' fun remains its parallel of our world.
I worked with women who were nurses and workers, women who worked in hotels, janitors who basically cleaned buildings, worked two jobs just to support their family. And, it really taught me a lot about how much opportunity I had to do anything I wanted to with my life.
Basically with everything, I choose my criteria based on what can be easy. If I made the real world the setting, I'd have to draw looking at reference materials for stuff like buildings and vehicles. When you do that, people complain even if it's just a little bit off.
Dublin dwindles so beautifully; there is no harsh separation between it and the country. It fades away, whereas London seems to devour the country; an army of buildings come and take away a beautiful park, and you never seem to get quite out of sight of a row of houses.
In the event of fire in any of the public buildings troops would be of vast service in the protection of public property, and should insurrection break out the protection of life and property would be more safe guarded by our company of regulars, than by the whole City.
You have to blast to build in Manhattan. And the buildings went up in Manhattan because of the power of that bedrock. Once you dig that foundation - and they dig with dynamite - and once you dynamite out and you secure that foundation, that building isn't going anywhere.
Good buildings make and are made by their settings, and they are appropriately different in different locations. Climate, culture, topography and materials have helped create regional architectural languages that seem curiously right for their locations and for all times.
When an author creates a town in her novels, she spends a great deal of time visualizing the streets and buildings, landmarks and topography. And while the town becomes real in her imagination, it's rare for an author to see the place she's created actually spring to life.
I moved from a mountain with one traffic light to New York City when I was 17, and it was an amazing, eye opening, creative adventure. I would walk through the streets of Manhattan looking up at these huge buildings, amazed that I didn't know a single person in any of them.
Great architects like Taut, Mendelsohn, and Gropius built some astonishing buildings which were to change the way architects around the world thought. Brecht and Weill forever changed musical theatre; Kaethe Kollwitz and others changed German perceptions of the purposes of art.
The recession of the late 1980s was a very visible humiliation. Cities across Britain had become the victims of botched battlefield surgery - surgery that involved the ripping up of factories, the flattening of buildings, and the razing of the Victorian heritage of heavy labour.
Donald Trump is an archetypal grifter. Using the presidency to promote your golf courses, hotels, and real estate business is grifting. So is getting people to pay a premium for buildings with your name in big, gold letters. Licensing your name is what every grifter dreams about.
In what was called the second siege of Leningrad, thousands died, but Putin and his partners in crime got rich. Then Putin killed even more Russians when he had the FSB explode bombs in apartment buildings in Moscow in 1999 to give himself the pretext to seize dictatorial powers.
A war, with its attendant human suffering, must, when that evil is unavoidable, be made to fragment more than buildings: It must shatter the foundations of thought and re-create. Only in this way does every individual share in the cataclysm and understand the purpose of sacrifice.
I remember coming back to the U.K. after spending five months in Charlotte for 'Homeland,' and I just found myself just wandering around London. There's nothing like it - the buildings, the architecture, the sense of history, the sense of culture - there really is nothing like it.
My office has a view of low-cost housing, old East German prefabricated apartment buildings. It isn't an attractive view, but it's very helpful, because it reminds me to ask myself, whenever there is a decision to be made, whether the people who live there can afford our decisions.
I used to walk in the burnt up Harlem of the '80s, and I'd look at brownstones that were dilapidated or apartment buildings, thinking 'Whoever designed this and built this did not want it to look like this.' So, I used to visualize one day being able to contribute and build in Harlem.
Detroit's a good investment because, first of all, the entry fee for everything is lower. And, you've got the talent that is here that is ambitious and motivated, so you're going to get in on a much lower cost structure in every way, shape, or form from labor to buildings to whatever.
For me, riding a two-wheeler bike was very risky. Counting the pedal strokes before turning a corner and learning to hear the sounds coming from buildings, grass and the climbing frame made all the difference to basic survival and ensured that I didn't end up head-first in the sandpit.
This is going to make me sound ancient, but I remember Juhu Beach when there weren't any buildings on it. You'd go through countryside and arrive at this amazing beach. I remember driving from Delhi to the Qutab Minar through countryside. Mehrauli was a little village - that's all gone.
I think you need to, as an architect, understand the essence of a place and create a building that feels like it resonates with the culture of a place. So my buildings in India or in Kansas City or in Arkansas or in Singapore, they come out different because the places are so different.
The human animal originally came from out-of-doors. When spring begins to move in his bones, he just must get out again. Moreover, as civilization, cement pavements, office buildings, radios have overwhelmed us, the need for regeneration has increased, and the impulses are even stronger.
It's such a great city, visually. You can't get that kind of look in Canada that you can get in Boston: the old-brick historical buildings, the winding streets, the old but funky neighborhoods like Southie and Somerville. You can't get that elsewhere. It's a very unique place in that way.
Once I tried to make a standardization of staircases. Probably that is one of the oldest of the standardizations. Of course, we design new staircase steps every day in connection with all our houses, but a standardized step depends on the height of the buildings and on all kinds of things.
In the name of 'mutual assistance,' the Soviet Union would occupy Latvia until 1991, and it continues to occupy Latvia: in the obedient, epic lines at the post office, in the fug of coal smoke outside cities, in the notorious apartment buildings made of bricks of radioactive compressed ash.
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.
Images in the 20th century had a unique power where image became divorced from reality, and often more important than reality... Buildings were judged - at least by members of our own profession - more by the way they looked in magazines than by the satisfaction people felt when using them.
One of the general considerations about new buildings is that people tend to say that anything new is a monstrosity. And then after a while they either accept them or they go on thinking that they are monstrosities. Reactions vary. This depends to some extent on the quality of the building.
For more than 40 years, I have advocated the creation of a 'round the clock' community. This would mean, at the least, housing, schools and shops of various kinds alongside the commercial buildings. That kind of community had appeared in lower Manhattan in nascent form before Sept. 11, 2001.
'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.
There is one timeless way of building. It is a thousand years old, and the same today as it has ever been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way.
I think that the point of being an architect is to help raise the experience of everyday living, even a little. Putting a window where people would really like one. Making sure a shaving mirror in a hotel bathroom is at the right angle. Making bureaucratic buildings that are somehow cheerful.
I run a taxpayer group - the most powerful guy in D.C., nonsense. OK? There are buildings with thousands of people in them, all lobbying for more spending and higher levels of spending and more government commitments. And there are a handful - a handful of groups that fight for less spending.
I did a cake for the 60th birthday of Elton John, for Britney Spears' 27th birthday and for the 'Circus' album she put out - the cake had circus themes. I prepared a cake for a surprise 82nd birthday event for the architect Frank Gehry; the cake was comprised of mini-replicas of his buildings.
If there really was a crisis, and if this crisis was caused by our emissions, you would at least see some signs. Not just flooded cities, tens of thousands of dead people, and whole nations leveled to piles of torn down buildings. You would see some restrictions. But no. And no one talks about it.
I'm very interested in buildings that have meaning for a particular place. I suppose it feels slightly rude to me if the imposed style that lands in a place is almost stronger than the place. For me it's about inventing a solution for each place; if people then want to know who did it, then great.
When I was very young, most of my childhood heroes wore capes, flew through the air, or picked up buildings with one arm. They were spectacular and got a lot of attention. But as I grew, my heroes changed, so that now I can honestly say that anyone who does anything to help a child is a hero to me.
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
I came to London constantly, working with Ninja Theory on 'DmC Devil May Cry,' and I kind of fell in love with this amazing architecture, where you have these buildings that have clearly been around a long time, and they have this amazing gothic look, and then on the first floor, it's a McDonald's!