Architecture

In my early 20s I was so miserable doing construction, I wanted something that paid money. I liked nice stuff. I liked cars and architecture, and things that cost money. I wanted to not swing a hammer, and make money... and not do stuff that was dirty. I attempted to get into comedy. I started to do stand-up, but I wasn't very good at it.

Architecture arouses sentiments in man. The architect's task therefore, is to make those sentiments more precise.

Does it follow that the house has nothing in common with art and is architecture not to be included in the arts? Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art.

I see the Beijing National Stadium as an architectural project. I accepted Herzog and De Meuron's invitation to collaborate on the design, and our proposal won the competition. From beginning to end, I stayed with the project. I am committed to fostering relationships between a city and its architecture.

To work in architecture you are so much involved with society, with politics, with bureaucrats. It's a very complicated process to do large projects. You start to see the society, how it functions, how it works. Then you have a lot of criticism about how it works.

In fact, it will be very easy to climb the building because of its shape and architecture.

Architecture students are generally given theoretical projects, often located at distant locations, and told to come up with a design.

I was always really geeky about design and buildings. Always into architecture as a kid.

I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.

The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.

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.

I take a lot from everywhere. I take from music, architecture, novels, and plays. Anywhere that hits you.

I am but an architectural composer.

I have designed the most buildings of any living American architect.

I love '70s organic architecture. I am very influenced by the time when I grew up.

If I weren't involved with food, I'd be working in architecture. Design is that critical to me.

Architecture belongs to culture, not to civilization.

Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.

Architecture is not merely national but clearly has local ties in that it is rooted in the earth.

God created paper for the purpose of drawing architecture on it. Everything else is, at least for me, an abuse of paper.

Just as it takes time for a speck of fish spawn to develop into a fully grown fish, so, too, we need time for everything that develops and crystallizes in the world of ideas. Architecture demands more of this time than other creative work.

The ultimate goal of the architect...is to create a paradise. Every house, every product of architecture... should be a fruit of our endeavour to build an earthly paradise for people.

The very essence of architecture consists of a variety and development reminiscent of natural organic life. This is the only true style in architecture.

We should concentrate our work not only to a separated housing problem but housing involved in our daily work and all the other functions of the city.

Zaha Hadid's Maxxi Museum is proof that Rome and contemporary architecture are no longer a paradox. The building is characteristic Hadid - with curving lines and organic shapes - and the permanent collection already boasts works by Francesco Clemente, William Kentridge, and Gerhard Richter.

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.

I loved medieval architecture when I was very small, I don't know why.

Music, architecture and pictures have always been my passions, and all that material wealth has meant for me, is being able to have some of the pictures I liked.

It was nice to finish up Stanford. I think I always felt that I would be there for four years and graduate, and definitely didn't want to leave early. A degree was definitely a plus, and I was having a lot of fun in school. But after football, you know, I don't know. I really did enjoy studying architecture, it was a blast.

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 think New Orleans is such a beautiful city. It looks like a fairytale when you walk through the French Quarter or the Garden District. There is such a lush sense of color, style, architecture - and the people themselves.

Architecture is about aging well, about precision and authenticity. There is much more to the success of a building than what you can see. I'm not suggesting that gestural architecture is always superficial, but solid reasoning has its place.

Tension is an interesting quality - and architecture must have it. There should be elements of the inexplicable, the mysterious, and the poetic in something that is perfectly rational.

The secret of good architecture is having more than meets the eye.

There's no architect who doesn't want to build a library - and I am no different. With so much scrutiny now attached to reading - because of technology and how we approach it as a social activity - that is a very exciting area in architecture.

When you have rules to abide by, does that curtail you as a designer, or set you free? People think of classical architecture visually, but I think the brilliant part of it is actually spatial.

I'm not an interior decorator, I'm a designer, and that includes the architecture. The package must be strong and controlled, the rooms aligned, and the windows positioned to make sense with the furniture. Fluff it up, and you've got big trouble.

Charles was very intent to use his years as Prince of Wales to make his mark while he still had freedom of maneuver that he wouldn't have as King. The first subject he really went for was architecture. It made an impact.

Architecture is a ride - a physical ride and an intellectual ride.

I like to think about machines and technology in relation to landscape and architecture.

I didn't know what architecture was except that I lived in a house. I don't even think that I knew the word for a long time. My dad funneled me into engineering because it was his background.

The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.

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.'

Color in certain places has the great value of making the outlines and structural planes seem more energetic.

Those who look for the laws of Nature as a support for their new works collaborate with the creator.

I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.

And when an architect has designed a house with large windows, which is a necessity today in order to pull the daylight into these very deep houses, then curtains come to play a big role in architecture.

Architecture tends to consume everything else, it has become one's entire life.

I don't see that any buildings should be excluded from the term architecture, as long as they are done properly.

If architecture had nothing to do with art, it would be astonishingly easy to build houses, but the architect's task - his most difficult task - is always that of selecting.

If a building becomes architecture, then it is art.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.

I was a student at Columbia College, actually, in the Architecture school. Paul would drive in from Queens, showing me these new songs. I can't remember us working it out.

Architecture doesn't come from theory. You don't think your way through a building.

Does an architecture to assuage the spirit have a place?

Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.

Rationalism is the enemy of art, though necessary as a basis for architecture.

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.

The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line.

The new architecture of transparency and lightness comes from Japan and Europe.

The way of architecture is the quiet voice that underlies it and has guided it from the beginning.

Vitality is radiated from exceptional art and architecture.

Today's developer is a poor substitute for the committed entrepreneur of the last century for whom the work of architecture represented a chance to celebrate the worth of his enterprise.

We are stymied by regulations, limited choice and the threat of litigation. Neither consultants nor industry itself provide research which takes architecture forward.

Whenever we witness art in a building, we are aware of an energy contained by it.

A building has integrity just like a man. And just as seldom.

I don't build in order to have clients. I have clients in order to build.

I quit college. I was studying architecture for about a year.

When you found a company, you have the original vision, you make all the original decisions, you know every employee, you kind of know every aspect of the product architecture and its limitations.

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.

If you're into architecture and you're from the West, everything is hors d'oeuvres for working to rebuild the Temple. Ultimately you're led there. You can't escape it.

You can just drift unhappily towards this vision of heaven on earth, and ultimately that is what architecture is a vision of: Heaven on earth, at it's best.

What has happened to architecture since the second world war that the only passers-by who can contemplate it without pain are those equipped with a white stick and a dog?

I never talked about architecture with my father, which I regret.

My apartment reflects my views as an architect. It is minimal, austere. The architecture doesn't impose itself upon you. The apartment is a stage for other things to take place.

The general public will almost always stand behind the traditionalists. In the public eye, architecture is about comfort, about shelter, about bricks and mortar.

The ultimate pleasure of architecture lies in the most forbidden parts of the architectural act, where limits are perverted and prohibitions are transgressed.

The common thread for everything I do is this idea of a Web-services architecture. What does that mean? It means taking components of software and systems and having them be self-describing, so that you can aim them, ask them what their capabilities are, and communicate with them using a standard protocol.

Architecture is restricted to such a limited vocabulary. A building is either a high-rise or a perimeter block or a town house.

For me, architecture is the means, not the end. It's a means of making different life forms possible.

I believe that architecture, as anything else in life, is evolutionary. Ideas evolve, they don't come from outer space and crash into the drawing board.

I think architecture is rarely the product of a single ideology. It's more like it can be shaped by a really big idea. It can accommodate a lot of life forms.

In the big picture, architecture is the art and science of making sure that our cities and buildings fit with the way we want to live our lives.

I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.

I'm drawn to furniture design as complete architecture on a minor scale.

Bridges are perhaps the most invisible form of public architecture.

I always wanted to be an actor, but I always loved design, and growing up in New Orleans there was such great style, great architecture. I would decorate my little apartment in New York over and over again, because it only had a couple of rooms. And I did it for friends and family on the side just for fun.

Architects of grandeur are often the master builders of disillusionment.

I love architecture almost as much as I love my musicals.

The Internet has created an incredible democratization of the architecture industry.

The artistic part of us all - I think that the easiest way to appreciate this - is through architecture. Architecture is very impressive, the beauty of buildings, temples.

I'd like to do a lot of things - whether in design or architecture or business.

If you have an architecture of control, let's say, where you select in advance everything that's going to affect your life, then you're going to live in a very small world that will have an echo chamber feature... Pandora, which I love, actually feeds into that.

I would have liked maybe to be in architecture or painting, something connected to the fine arts.

I always look forward to the next project. That is one of the wonderful things about architecture - you always can hope for another project to design.

When I started designing in school, I discovered that I had a knack for it. I fell completely in love with architecture, and I remain in love with it.

In architecture the idea degenerated. Design allows a more direct and pleasurable route.

I do believe architecture, and all art, should be content-driven. It should have something to say beyond the sensational.

I'd been to Stourhead and was inspired by the perfect parity between architecture and art, in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.

If you look at any leaf on any tree branch, it's similar to but not exactly a repetition of the previous branch. So the new science of complexity or showing how an architecture can be produced just as quickly, cheaply and efficiently by using computer production methods to get the slight variation, the self-similarity.

Mies van der Rohe's architecture and modern architecture in general suffered from not only being repetitive, but not explaining to the populous what the different rooms were for.

Modern Architecture died in St. Louis, Missouri, on July 15, 1972, at 3.32 p.m. (or thereabouts), when the infamous Pruitt Igoe scheme, or rather several of its slab blocks, were given the final coup de grace by dynamite.

There's something very special about seeing history so clearly in front of you through that architecture that you just don't get in the U.S. If I was asked to choose where I'd most like to live, I would always choose London.

I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

I love architecture.

In the '60s when I was a student, there was this campaign to destroy 75 percent of the old buildings in Paris, replacing them with modern architecture. I realized this as a dangerous utopia. This modern vision did not understand the richness of the city. Thankfully, such destruction did not happen.

Architecture has a strong link with the movies in terms of time progression, sequencing, framing, all of that.

We need to rediscover the essence of the meaning of 'the use.' Architecture is, above all, here for a better living. Every gesture, every shape must be justified by various reasons that would reinforce their reason to be, their use, and will give more sense to their beauty.

A dress is a piece of ephemeral architecture, designed to enhance the proportions of the female body.

Istanbul is inspiring because it has its own code of architecture, literature, poetry, music.

Architecture aims at Eternity.

'Clothespin' was the first city monument on a large scale that could compete with the architecture around it.

The thing I love about Rome is that is has so many layers. In it, you can follow anything that interests you: town planning, architecture, churches or culture. It's a city rich in antiquity and early Christian treasures, and just endlessly fascinating. There's nowhere else like it.

As a general rule, when a new industry takes root, and the first products emerge in a wave, almost always the architecture of the product will be proprietary and interdependent in character.

Fashion is architecture: it is a matter of proportions.

I like the architecture of lingerie.

Architecture is inhabited sculpture.

The Classic games were Classic because, like classical music or architecture, they strove to give life and weight to ideals of order and proportion, to provide a vision of timelessness. In 'Double Dragon,' we can see the cracks in the brick, the mold growing on the drainage pipes, the unmistakable deterioration of the world we live in.

I'm somebody who likes codes and ciphers and chases and artwork and architecture, and all the things you find in a Robert Langdon thriller.

Make big plans, aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence.

Cities are the greatest creations of humanity.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

To provide meaningful architecture is not to parody history but to articulate it.

Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built.

I graduated from university with a degree in architecture and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around.

The overall experience Skype provided was superior to other folks because of the underlying architecture and the ability to provide a superior experience.

I studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.

I love antique architecture, so if I have any indulgences, I have owned and renovated and reconstructed a lot of old houses.

It is not the beauty of a building you should look at, its the construction of the foundation that will stand the test of time.

A building is no good if someone's got to explain to you why it's good. You can't say you don't know enough about architecture - that's ridiculous. It's got to work on many levels.

Britain loves a bargain, but you don't get good, lasting architecture on the cheap.

Architecture has curled up in a ball and it's about itself. It has found itself either as a freakshow, where you're not sure if it's good or bad but at least it's interesting, or at the behest of forces of commerce.

I don't think architecture is radical. How can something that takes years and costs millions be radical?

I like to be surrounded by books. My wife Evelyn has a Ph.D. in comparative literature, so we have a lot of her Spanish and German literature books which are wasted on me, plus a lot of novels and books on art and architecture shared by us both. Evelyn used to edit an art magazine called 'FMR,' so we have a common interest in design.

I suppose I'm trying to build an architecture that's as timeless as possible, although we're all creatures of our age.

Seeing architecture differently from the way you see the rest of life is a bit weird. I believe one should be consistent in all that one does, from the books you read to the way you bring up your children. Everything you do is connected.

The difference between good and bad architecture is the time you spend on it.

I am exhausted by traditional memoir. I am exhausted by the architecture of the conventional novel.

In Los Angeles, by the time you're 35, you're older than most of the buildings.

There is a lot of bad architecture. What we need more is to look at how our landscape should look in the next decades.

Newport Center has become a Mediterranean town. The climate here is the same as the Mediterranean's, and so is the architecture. This center exudes a radiance, an energy. It will become a special way of life for everyone.

I love building spaces: architecture, furniture, all of it, probably more than fashion. The development procedure is more tactile. It's about space and form and it's something you can share with other people.

The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously, art, architecture, film, music and literature.

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.

I don't really get into architecture in the hotel room. But maybe a little Feng Shui here and there.

I got a New York designer to build my dream store here, which is a little bit of Florence in New York. It's like the Duomo on Madison. I got inspired by Santa Maria Novella and all the Renaissance architecture.

Architecture is undistinguished, sometimes derelict, but occasionally, as in 'Post and Beam,' there is something arresting in a setting... the building behind the Cathedral.

In architecture, Palladio is the game. It means hard thought all through - if it is labored, it fails.

There will never be great architects or architecture without great patrons.

Princeton is a sublime undergraduate university. It has a good architecture school.

Even at the United Nations, where legend has it that the building was designed so that there could be no corner offices, the expanse of glass in individual offices is said to be a dead giveaway as to rank. Five windows are excellent, one window not so great.

With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.

Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.

Prose is architecture, not interior decoration, and the Baroque is over.

The two elements the traveler first captures in the big city are extra human architecture and furious rhythm. Geometry and anguish.

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.

Architecture should speak of its time and place, but yearn for timelessness.

Architecture has always been a very idealistic profession. It's about making the world a better place, and it works over the generations because people go on vacation and they look for it.

Chicago's one of the rare places where architecture is more visible.

I don't want to do architecture that's dry and dull.

I think people care. If not, why do so many people spend money going on vacations to see architecture? They go to the Parthenon, to Chartres, to the Sydney Opera House. They go to Bilbao... Something compels them, and yet we live surrounded by everything but great architecture.

It's not new that architecture can profoundly affect a place, sometimes transform it. Architecture and any art can transform a person, even save someone.

Look, architecture has a lot of places to hide behind, a lot of excuses. 'The client made me do this.' 'The city made me do this.' 'Oh, the budget.' I don't believe that anymore.

Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.

There are a lot of questions about whether architecture is art. The people who ask that think pretty tract houses are architecture. But that doesn't hold up.

Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity.

The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.

Architecture can't fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn't real.

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.

My hope is that light, flexible architecture might bring about a new and open society.

My architecture is the architecture of survival.

Everyone should be able to build, and as long as this freedom to build does not exist, the present-day planned architecture cannot be considered art at all.

I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.

I like things that are kind of eclectic, when one thing doesn't go with another. That's why I love Rome. The town itself is that way. It's where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That's my style, and that's what my work is about.

I was planning to go into architecture. But when I arrived, architecture was filled up. Acting was right next to it, so I signed up for acting instead.

There are no rules of architecture for a castle in the clouds.

Every one who has a heart, however ignorant of architecture he may be, feels the transcendent beauty and poetry of the mediaeval churches.

Yet for my part, deeply as I am moved by the religious architecture of the Middle Ages, I cannot honestly say that I ever felt the slightest emotion in any modern Gothic church.

To go back to architecture, what's organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm. Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale and the small scale.

A structure becomes architectural, and not sculptural, when its elements no longer have their justification in nature.

I am a failed architect, if I'm honest. I got a degree in art history and was about to get another degree, in architecture, but realized I would be terrible at building things because I've got really bad spatial awareness.

I founded a club, which is called the Brutally Early Club. It's basically a breakfast salon for the 21st century where art meets science meets architecture meets literature.

I always point out to my Passover guests that the Hebrews were not living in isolation. They were at the crossroads of several great, elaborate cultures with their own mythology and religion and art and architecture and cultural belief. In fact, so many of the mythologies of the world describe the same events, just from different points of view.

After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.

The Romans were not inventors of the supporting arch, but its extended use in vaults and intersecting barrel shapes and domes is theirs.

As a designer, the mission with which we have been charged is simple: providing space at the right cost.

The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person, and in the end they unite.

I don't find Hollywood interesting, so I'm thinking of studying architecture instead.

A city building, you experience when you walk, a suburban building, you experience when you drive.

Every building is a prototype. No two are alike.

I strive for an architecture from which nothing can be taken away.

It's my goal to make a building as immaterial as possible. Architecture is a very material thing. It takes a lot of resources, so why not eliminate what you don't need as long as you're able to achieve the same result?

The architecture profession has lost a lot of its integrity, especially in the USA. The general architect here has no scruples, no ambitions.

They can do without architecture who have no olives nor wines in the cellar.

Our overriding goal in restructuring our financial architecture should be that taxpayers never again have to save a failing financial institution.

Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent - not with how things are but with how they might be - in short, with design.

Theater publicly reveals the human condition through appealing to both intellect and emotion. Architecture, whether lowly or exalted, can do the same.

When I was in architecture school at Princeton, the worst thing you could say about someone was that they were eclectic.