Best 673 of Architecture quotes - MyQuotes
Design is fluid. It's liquid. It moves like water and fills every space...
Immature artists imitate. Mature artists steal.
Alexander Mccall Smith
...Pat wondered what inspiration an artist might find in the attempts of twenty-first-century architects to impose their phallic triumphs on the cityscape. Had any artist ever painted a contemporary glass block, for instance, or any other product of architectural brutalism that had laid its crude hands here and there upon the city?...If a building did not lend itself to being painted, then surely that must be because it was inherently ugly, whatever its claims to utility. And if it was ugly, then what was it doing in this delicately beautiful city?
The Fujiyama of Architecture?at once a lofty mountain and a national shrine.
Certainly architecture is concerned with much more than just its physical attributes. It is a many-layered thing. Beneath and beyond the strata of function and structure, materials and texture, lie the deepest and most compulsive layers of all.
Every city is a ghost. New buildings rise upon the bones of the old so that each shiny steel bean, each tower of brick carries within it the memories of what has gone before, an architectural haunting. Sometimes you can catch a glimpse of these former incarnations in the awkward angle of a street or filigreed gate, an old oak door peeking out from a new facade, the plaque commemorating the spot that was once a battleground, which became a saloon and is now a park.
Lycurgus was of opinion that ornaments were so far from advantaging them in their counsels, that they were rather an hindrance, by diverting their attention from the business before them to statues and pictures, and roofs curiously fretted, the usual embellishments of such places amongst the other Greeks.
I would have liked maybe to be in architecture or painting, something connected to the fine arts.
Are not the worst examples of architecture to be found in private enterprise in cheap jerry-built homes?
There is much to learn from architecture before it became an expert's art.
The suburb was the major element of Australian society.
It is perhaps the principal admirableness of the Gothic schools of architecture, that they receive the results of the labour of inferior minds; and out of fragments full of imperfectionraise up a stately and unaccusable whole.
The [commercial] strip is marketed with the come-on of comfort (the Comfort Inn) and with the promise of a home on the road, a home where nobody knows your name and they're glad to see you as long as you can pay. The strip lives in the contradiction of the name Home Depot—domesticity on a gargantuan scale. Home—"a person's native place," "at ease," "deep; to the heart," says the dictionary, and Depot, "a storehouse or a 'warehouse.'" (Warehouse of the Heart?)
No architecture can be truly noble which is not imperfect.
If you're inclined to dismiss L.A. as a place of unrelenting vapidity and generic 1980s architecture, then you're doing yourself and L.A. a huge disservice, and you're just not looking hard enough.
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.
When an architect is asked what his best building is, he usually answers, "The next one.
I only like decoration if it plays second to the architecture of a dress.
When the old way of seeing was displaced, a hollowness came into architecture. Our buildings show a constant effort to fill that void, to recapture that sense of life which was once to be found in any house or shed. Yet the sense of place is not to be recovered through any attitude, device, or style, but through the principles of pattern, spirit, and context." - Jonathan Hale, The Old Way of Seeing, 1994
I have to tell you about these things from the past, because they are so important. The really important things usually lie in the distant past. And until you know about them, if you'll forgive my saying so, you will always to some extent a mere newcomer in my life. When I was at High School my favourite pastime was walking. Or rather, loitering. If we are talking about my adolescence, it's the more accurate word. Systematically, one by one, I explored all the districts of Pest. I relished the special atmosphere of every quarter and every street. Even now I can still find the same delight in houses that I did then. In this respect I've never grown up. Houses have so much to say to me. For me, they are what Nature used to be to the poets - or rather, what the poets thought of as Nature. But best of all I loved the Castle Hill District of Buda. I never tired of its ancient streets. Even in those days old things attracted me more than new ones. For me the deepest truth was found only in things suffused with the lives of many generations, which hold the past as permanently as mason Kelemen's wife buried in the high tower of Deva.
My furniture is an exercise in architecture or architectural mood.
Architecture isn't just about creating new buildings, sometimes its about retuning what's already there.
In time, all great masterpieces turn into shameless creatures who laugh at their creators.
So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.
Space architectures capable of supporting a permanent human presence on Mars are extraordinarily complex, with many different interdependent systems.
There are 360 degrees, so why stick to one?
When you feel the architecture just click, as though it couldn't have been anything else, it's due to a true understanding of the site and the plan and section.
Architecture enable you to accommodate complexity and change. If you don't have Enterprise Architecture, your enterprise is not going to be viable in a increasingly complex and changing external environment.
Minimalism is not defined by what is not there but by the rightness of what is and the richness with which this is experienced.
Robert Louis Stevenson
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.
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.
The only way a man could defy time was to leave behind buildings that would not die.
Our architecture reflects truly as a mirror.
We are all affected by Le Corbusier, Frank Lloyd Wright, Alvar Aalto, and Mies van der Rohe. But no less than Bramante, Borromini, and Bernini. Architecture is a tradition, a long continuum. Whether we break with tradition or enhance it, we are still connected to that past. We evolve.
I love antique architecture, so if I have any indulgences, I have owned and renovated and reconstructed a lot of old houses.
We must change life,' the poet [Rimbaud] had written, and so the Situationists set out to transform everyday life in the modern world through a comprehensive program that included above all else the construction of 'situations' -- defined in 1958 as moments of life 'concretely and deliberately constructed by the collective organization of a unitary ambiance and a play of events' -- but that also necessary entailed the supersession of philosophy, the realization of art, the abolition of politics, and the fall of the 'spectacle-commodity economy.
That's the motivation of an artist - to seek attention of some kind.
The architecture we remember is that which never consoles or comforts us.
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.
Art is subject to arbitrary fashion.
I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
The speed of change makes you wonder what will become of architecture.
Inside the building, the sun lights up segments of the rotting wooden floor through the many holes in the roof. As I look for her, I register things: the soggy floorboards. The smell of almonds, like her. An old claw-footed bathtub in a corner. So many holes everywhere that this place is simultaneously inside and outside.
I like to play with architecture! It's my favorite game.
Architecture should be rooted in the past, and yet be part of our own time and forward looking.
The rules of navigation never navigated a ship. The rules of architecture never built a house.
Time extracts various values from a painter's work. When these values are exhausted the pictures are forgotten, and the more a picture has to give, the greater it is.
The hand expresses what the heart already knows.
We shouldn’t abbreviate the truth but rather get a new method of presentation.
Painting, sculpture and architecture are finished, but the art habit continues.