Architecture Quotes
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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.
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All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.
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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.
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I was always interested in architecture, but the editors of the magazines who demanded these subjects for the illustrations of Hopper wanted people waving with their arms.
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'Clothespin' was the first city monument on a large scale that could compete with the architecture around it.
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My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman..
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Architecture starts when you carefully put two bricks together. There it begins.
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Architecture is art, nothing else.
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Architecture wrote the history of the epochs and gave them their names.
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In pure architecture the smallest detail should have a meaning or serve a purpose.
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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.
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I grew up in a modernist house, in a modernist culture. There was a love for modernism everywhere - the furniture, the books, the food, even the cutlery. So I learned very early to appreciate the value of design and the value of architecture.
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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.
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The difference between good and bad architecture is the time you spend on it.
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When I went to school at Emerson, I was completely charmed living there and loved the architecture of the Back Bay.
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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.
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For me, architecture is not just creating a space to protect people but to make them dream as well.
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By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
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In retrospect, the pace of change in the arts and industry in the nineteenth century seems pretty glacial. Painting, music, the novel, architecture were all evolving, but at a pretty observable pace.
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Chroniclers of the role of paper in history are given to extravagant pronouncements: Architecture would not have been possible without paper. Without paper, there would have been no Renaissance. If there had been no paper, the Industrial Revolution would not have been possible. None of these statements is true.
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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.
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Architecture is restricted to such a limited vocabulary. A building is either a high-rise or a perimeter block or a town house.
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As a student, I hadn't really been interested in architecture at all, but when I started teaching, it grew into me - rather than me growing into it.
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London is a city that sleeps too much. This is the mould of its quality. A magnetic contract: to reinvent itself on the other side of dream, each day. And such dreams, smouldering against the tidal spine of the river, telling and retelling the tales that must be told to manifest a city's bones. Whispering the night architecture back into stone.
