Best 33 quotes of Jonathan Meades on MyQuotes

As a driver I have come to believe that the person just in front of me and the person just behind me are always just about to do something really stupid. Tense is not the right word, but I am very hyper-aware of such things.

As primitive as digital can be, there is nothing automatic in the methods I use, it's all basically done by hand. I know nothing about computers. I don't like computers. I use them for writing because I have to. I have never had a conversation about computers in my life.

At any point in the world's history most architecture is going to be bad but I think there's been a collective mentality since the late Conservative years - the end of Thatcher/start of Major and certainly continued throughout New Labour and continuing now - that new is necessarily better, so there is this neophilia which isn't the vanguard of progress, it's just the vanguard of the construction industry enjoying itself.

Brummies run themselves down, they're very self-deprecating. Whereas Yorkshire people certainly aren't.

Conversion requires a subtler mind. Architects don't like it, architects want to create their own landmark buildings so that people a few years hence will say, 'Oh, that building there is being knocked down, who did that one?'

Going on things like rollercoasters is not really up my street I guess. I don't feel like I need to do stunts. I'm too scared and I don't think it's my job.

I didn't know what I wanted to do when I was a child. I did want to be a cartographer but that was partly because I liked Ordnance Survey maps and when I used to go to my grandparents' house from Southampton Station one went past the headquarters of the Ordnance Survey.

I don't believe in synergy. I believe that things have to be specific to the medium that they're in.

I don't know about virtual world, I think it's more a kind of parallel world. I think the advantages and disadvantages of technology are hugely exaggerated. It doesn't make that much difference. Sure if you've got a mobile phone, you use that over your landline. But I think that life goes on and we absorb stuff.

I don't like the theatre. I like plays in which the audience is addressed by the actors. I don't like seeing people talking to each other on stage as if there isn't an audience.

I don't think things necessarily should have a meaning. If stuff has a meaning then why do [writing] about it? If you're trying to say, 'Tall buildings are great' why not just leave it at that: "Tall buildings are great.

If you believe in the existence of fairies at the bottom of the garden you are deemed fit for the bin. If you believe in parthenogenesis, ascension, transubstantiation and all the rest of it you are deemed fit to govern the country.

If you have slightly pathological interest in all the components of places, it forces you to engage with them in a way that perhaps otherwise you wouldn't, and that's the only way I can put it.

If you're going to write about something it becomes a damn sight more interesting than if you're not going to write about it, because you engage with it actively in a way that you wouldn't if you were just passing through or if you were going to St Helens to visit family or if it was a place that made you resentful because you'd always wanted to escape from there.

I genuinely find it difficult to think of places that I'd never want to see again. It might be because part of my career has been concerned with writing about topography.

I like extremely effeminate dogs like terriers or schnauzers. I make an exception for giant schnauzers and big poodles. Basically, I like dogs which can be dyed day-glo colours.

I like irrational things. I like scenarios where I can think, 'It would be great if at this point we could do x.' And there doesn't have to be a reason for 'x'.

I like looking at the countryside as well as anyone... a little countryside goes a long way, but it's almost like the DNA of a civilisation is in its cities.

I'm a very, very unreckless person. I mean, I look left, I look right, I look left, I look right, then I repeat the process and then I decide not to cross the road at the last minute.

In creating a building, architects do think they're making the world a better place. And then they hope to make the world an even better place by making another thing which will be even bigger than the last thing... and it is part of the pathology of being an architect to believe thus, and they do believe it, despite all the evidence to the contrary.

I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.

I think television is a medium which has the potential to do great things but has been traduced by these... terrible people who rise through the ranks.

I think the French agonise more about being French, I don't think English think about being English that much. I think the Scottish think about being Scottish and the Welsh think about being Welsh, but the English don't really care. But the French think about it all the time, it's an absolute preoccupation.

I think the only remotely interesting drug was acid. I had a slightly peculiar attitude towards it I think. Just about everything about hippydom I hated.

One doesn't mind adverse criticism so long as it isn't stupid.

The construction industry likes nothing more than a blank canvas onto which they can impose a brand new building, because that way they can make more money.

The only bright feature of cultural relativism's triumph is that it has become establishment orthodoxy and will thus one day be derided, resisted and overthrown.

There is a tradition of television which isn't dross and stands up. Betjeman's programmes, which were made for 2/6d with one man and a cine camera, were amazing to watch because he was such a great talker.

Vertigo doesn't apply in planes for some reason. You think it's some kind of magic and you don't know how it's keeping you up, but when you're on a cliff top it's a different matter.

When I first started writing in my early 20s it was literary criticism for a very eccentric magazine called Books And Bookmen, which allowed me to write, more or less anything.

When I started writing fiction it always seemed in retrospect (I didn't realise at the time) that it was always caused by environments rather than by incidents and characters.

While I'm sure people in Britain have money worries, they don't have them like the French do. The French, however much money they have, are worried. They're a very stressed people. It seems to be a very essential component of the national psyche.

The two Mast Houses just within the Victory Gate of Portsmouth Dockyard are raised above the water on piloti. They are structures of remarkable grace, clinker-built, painted the palest green. They are vast, as they needed to be. Their survival is an industrial site devoted for a century to the servicing of mastless vessels is a matter for celebration. The use of which the more southerly is put is a matter for obloquy: the Mary Rose Shop is a repository of tawdry, insipid tat. It's the sort of stuff to make me wince- a dismal, timid inventory of mediocrity. Bad taste is forgivable. It's no taste which is so disheartening.