Quotes about architecture

A collection of quotes on the topic of architecture, art, use, work.

Quotes about architecture

“The history of the castle at Wiśnicz Nowy is enlivened by many legends. Many well-known artists visited the castle in centuries past. Till now, many elements of old architecture (towers, chapel) have survived, together with some details of interior design.”

Marek Żukow-Karczewski (1961) Polish historian, journalist and opinion journalist

The castle of Kmita and Lubomirski at Wiśnicz Nowy, "Aura" 2, 1991-02, p. 18-20. http://agro.icm.edu.pl/agro/element/bwmeta1.element.agro-bd5a073d-07bd-4353-9edc-6bf8ea3d43c5?q=de70f1df-826d-4538-9cee-535aa9902521$5&qt=IN_PAGE

History, Past

“Architecture starts when you carefully put two bricks together. There it begins.”

Ludwig Mies van der Rohe (1886–1969) German architect

“Fashion is architecture. It is a matter of proportions.”

Coco Chanel (1883–1971) French fashion designer

As quoted in Coco Chanel : Her Life, Her Secrets (1971) by Marcel Haedrich

Fashion

“There is no art more akin to mysticism than architecture. Abstract, geometrical, musical and yet dumb, passionless, it depends entirely upon symbolism, form and suggestion. Simple lies, and the harmonious combination and numerical relations between these, present something mysterious and at the same time incomplete.”

Alexander Herzen book My Past and Thoughts

My Past and Thoughts(1852-1870)

Time, Dependency, Art, Music

“We need houses as we need clothes, architecture stimulates fashion. It’s like hunger and thirst — you need them both.”

Karl Lagerfeld (1933–2019) German fashion designer

Hunger, Fashion, Housing, Clothes

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

Frank Gehry (1929) Canadian-American (b.1929)

Source: Kim Johnson Gross, ‎Jeff Stone, ‎Julie V. Iovine (1993) Home. p. 43.

Time

“Just when you think that you thought that the guys in Billy Talent partied and did coke and had sex with all these hookers, we actually talk about architecture and, eh…history.”

Ben Kowalewicz (1975) musician

From "The Diary of Billy Talent":

Sex, Guy, History, Thinking

“Some authors regard morality in the same light as we regard modern architecture. Convenience is the first thing to be looked for.”

Luc de Clapiers, Marquis de Vauvenargues (1715–1747) French writer, a moralist

Source: Reflections and Maxims (1746), p. 166.

Light

“Architecture is the will of an epoch translated into space.”

Ludwig Mies van der Rohe (1886–1969) German architect

“A modern, harmonic and lively architecture is the visible sign of an authentic democracy.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

In 'The Observer' (London), 'Sayings of the Week'

Democracy

“If Nature had been comfortable, mankind would never have invented architecture”

Oscar Wilde book The Decay of Lying

The Decay of Lying (1889)
Context: If Nature had been comfortable, mankind would never have invented architecture... In a house, we all feel of the proper proportions. Everything is subordinated to us, fashioned for our use and our pleasure.

Nature

“I don’t think pro bono work [in architecture] is very common and that is because sustainable and resilient architecture is not currently viewed as a necessity. Unfortunately, it takes large scale disasters to expose the failures and negligence in design and construction.”

Jiri Lev (1979)

Source: The Australian Architects Offering Pro-Bono Design Services to Bushfire Survivors https://hivelife.com/architects-assist/.

Thinking, Failure

“Venice by moonlight is an enchanted city; the floods of silver light upon the moresco architecture, the perfect absence of all harsh sounds of carts and carriages, the never-ceasing music on the waters, produced an effect on the mind which cannot be experienced, I am sure, in any other city in the world.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Source: Letter to Isaac Disraeli (c. 8 September 1826), quoted in William Flavelle Monypenny and George Earle Buckle, The Life of Benjamin Disraeli, Earl of Beaconsfield. Volume. I. 1804–1859 (1929), p. 108

Light, Perfection, Water, World

“Architecture is the masterly, correct and magnificent play of masses brought together in light.”

Le Corbusier (1887–1965) architect, designer, urbanist, and writer

Vers une architecture [Towards an Architecture] (1923)
Context: Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.

Light

“Building a temple didn't mean you believed in gods, it just meant you believed in architecture.”

Terry Pratchett book Making Money

Source: Making Money

God

“Literature, at least good literature, is science tempered with the blood of art. Like architecture or music.”

Carlos Ruiz Zafón book The Angel's Game

Source: The Angel's Game

Art, Music, Literature, Science

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

Frank Lloyd Wright (1867–1959) American architect (1867-1959)

Art, Soul

“Writing about music is like dancing about architecture.”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer

Music, Dance

“Stories are compasses and architecture, we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice.”

Rebecca Solnit book The Faraway Nearby

Source: The Faraway Nearby

World, Sea

“Work on a good piece of writing proceeds on three levels: a musical one, where it is composed; an architectural one, where it is constructed; and finally, a textile one, where it is woven.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Source: One Way Street And Other Writings

Music

“Most of what you see in architecture are watered-down ideas of sculptors who have come before.”

Richard Serra (1939) American sculptor

Charlie Rose interview (2001)

Idea, Water

“A man that has a taste of music, painting, or architecture, is like one that has another sense, when compared with such as have no relish of those arts.”

Joseph Addison (1672–1719) politician, writer and playwright

No. 93 (16 June 1711).
The Spectator (1711–1714)

Art, Music, Sense, Painting

“Painting can never show her nose in company with architecture without being snubbed.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote c. 1840; as cited by by Charles Rob Leslie Vol. 1, (1860), p. 208; as quoted in The Life of J. M. W. Turner - Founded on Letters and Papers Furnished by His Friends and Fellow Academicians, Walter Thornbury; Cambridge University Press, 2013, p. 244
Turner's remark in the 1840's, when the new built Houses of Parliament in London were to be decorated with pictures
1821 - 1851

Painting

“This morning at Flanders Field, I was reminded of how war between peoples sent a generation to their deaths in the trenches and gas of the First World War. And just two decades later, extreme nationalism plunged this continent into war once again -- with populations enslaved, and great cities reduced to rubble, and tens of millions slaughtered, including those lost in the Holocaust. It is in response to this tragic history that, in the aftermath of World War II, America joined with Europe to reject the darker forces of the past and build a new architecture of peace. Workers and engineers gave life to the Marshall Plan. Sentinels stood vigilant in a NATO Alliance that would become the strongest the world has ever known. And across the Atlantic, we embraced a shared vision of Europe -- a vision based on representative democracy, individual rights, and a belief that nations can meet the interests of their citizens through trade and open markets; a social safety net and respect for those of different faiths and backgrounds.”

Barack Obama (1961) 44th President of the United States of America

2014, Address to European Youth (March 2014)

Life, Death, War, People

“The rules of logic are to mathematics what those of structure are to architecture.”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

1900s, "The Study of Mathematics" (November 1907)

Mathematics

“I used to worship the mighty genius of Michael Angelo — that man who was great in poetry, painting, sculpture, architecture — great in every thing he undertook. But I do not want Michael Angelo for breakfast — for luncheon — for dinner — for tea — for supper — for between meals. I like a change, occasionally.”

Mark Twain book The Innocents Abroad

Source: The Innocents Abroad (1869), Ch. 27

Change, Tea, Painting

“This most modern art discipline - Social Sculpture / Social Architecture - will only reach fruition when every living person becomes a creator, a sculptor, or architect of the social organism.”

Joseph Beuys (1921–1986) German visual artist

1970's, I Am Searching For Field Character,' 1973/74

Art, Personality

“Will the world enter a new phase of isolation, nationalization, ideologization? As a paradoxical counterplay to the onset of globalization? That would require new architecture or author architecture to degenerate into a kind of "parallel architecture," which it already is to a certain extent today.”

Jacques Herzog (1950) Swiss architect

places.designobserver.com http://places.designobserver.com/feature/an-interview-with-jacques-herzog/32118/.

World

“It is a question of building which is at the root of the social unrest of today: architecture or revolution.”

Le Corbusier (1887–1965) architect, designer, urbanist, and writer

Vers une architecture [Towards an Architecture] (1923)

Question

“Buddhism is returning home to India after a long exile of a thousand years and, like the proverbial prodigal son, is being received with open arms. Religious tolerance of the average Hindu partly explains the warm reception. But a more important reason is the fact that Buddha and Buddhism form an intimate part of Hindu consciousness. Buddha was a Hindu. Buddhism is Hindu in its origin and development, in its art and architecture, iconography, language, beliefs, psychology, names, nomenclature, religious vows and spiritual discipline…. Hinduism is not all Buddhism, but Buddhism forms part of the ethos which is essentially Hindu”

Ram Swarup (1920–1998) Indian historian

Buddhism vis-a-vis Hinduism (1958, revised 1984)

Art, Home, Parting

“One time I even said to him [ Joseph Beuys ], 'Architecture is a catastrophe in Germany; we've got to change that.' And he told me, 'Go ahead, you can always sign for me if you ever need to.' I've never taken him up on the offer, though!”

Isa Genzken (1948) German sculptor

after 2010, Isa Genzken, the artist who doesn't do interviews' (2014)

Change, Time

“Have I not also done a great service in having brought into France the fashion of good building, done away with barbarous manners, and great gaping joints in masonry, shown to all how one should observe the measures of architecture, and made the best workmen of the day, as they admit themselves? Let people recollect how they built when I began Saint-Maur for my lord the Cardinal du Bellay …Moreover, let it be recollected that all I have ever done has been found to be very good and to give great contentment to all.”

Philibert de l'Orme (1514–1570) French architect of the Renaissance.

Livre d'architecture as quoted by Edward Fenton, "Messer Philibert Delorme" The Metropolitan Museum of Art Bulletin Vol. 13, No. 4, Dec., 1954

People, Fashion

“It has become obvious to the new architect that by virtue of his work he is taking an active part in the building of a new world. For us the work of an artist has no value 'as such'; it does not represent an end in itself; it has no intrinsic beauty. The value of a work of art is determined by its relationship to the community... The artist, or the creative worker, invents nothing; there is no such thing as divine inspiration. Thus we understand by the term 'reconstruction' the conquest of the unresolved, of the 'mysterious,' and the chaotic. In our [Russian] architecture, as in our entire life, we are striving to create a social order, i. e., to raise the instinctive to a conscious level.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

Quote from: 'Ideological Superstructure'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Life, World, Beauty, Art

“Only when architect, bricklayer and tenant are a unity, or one and the same person, can we speak of architecture. Everything else is not architecture, but a criminal act which has taken on form.”

Friedensreich Hundertwasser (1928–2000) Austrian artist

Mould Manifesto against Rationalism in Architecture (1958)

Personality

“The purpose of architecture is to transmute the emptiness into space, that is into something which our minds can grasp as an organized unity.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

quote, p. 384
posthumous publications, El Lissitzky, El Lissitzky : Life, Letters, Texts (1967; 1980)

“A bicycle shed is a building; Lincoln Cathedral is a piece of architecture. Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aesthetic appeal.”

Nikolaus Pevsner (1902–1983) German-born British scholar

An Outline of European Architecture (Harmondsworth: Penguin, [1942] 1957), p. 23.

“To accomplish the majestically practical work, to shape the whole architecture like a statue, base nothing on impossible modifications of human nature; await nothing from pity.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XXII - Light

Nature

“Architecture is my first love, if you want to talk about what moves me — the ordering of space, the visual pleasure, architecture's power to construct our days and nights.”

Barbara Kruger (1945) American artist

Source: Art in America, Vol. 85, Nr. 10-12 (1997), p. 96

Love, Pleasure, Night

“The ultimate goal of all visual artistic activity is construction! Architects, painters and sculptors must learn again to know and understand the multi-faceted form of building in its entirety as well as its parts. Only then will they of their own accord fill their works with the architectonic spirit they have lost in the art of the salon. Let us establish a new guild of craftsmen without the presumption of class distinctions building a wall of arrogance between craftsmen and artists. Together let us call for, devise and create the construction of the future, comprising everything in one form: architecture, sculpture and painting.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

Manifesto (1919)

Art, Understanding, Learning, Future

“I am essentially a recluse who will have very little to do with people wherever he may be. I think that most people only make me nervous—that only by accident, and in extremely small quantities, would I ever be likely to come across people who wouldn't. It makes no difference how well they mean or how cordial they are—they simply get on my nerves unless they chance to represent a peculiarly similar combination of tastes, experiences, and heritages; as, for instance, Belknap chances to do... Therefore it may be taken as axiomatic that the people of a place matter absolutely nothing to me except as components of the general landscape and scenery. Let me have normal American faces in the streets to give the aspect of home and a white man's country, and I ask no more of featherless bipeds. My life lies not among people but among scenes—my local affections are not personal, but topographical and architectural. No one in Providence—family aside—has any especial bond of interest with me, but for that matter no one in Cambridge or anywhere else has, either. The question is that of which roofs and chimneys and doorways and trees and street vistas I love the best; which hills and woods, which roads and meadows, which farmhouses and views of distant white steeples in green valleys. I am always an outsider—to all scenes and all people—but outsiders have their sentimental preferences in visual environment. I will be dogmatic only to the extent of saying that it is New England I must have—in some form or other. Providence is part of me—I am Providence—but as I review the new impressions which have impinged upon me since birth, I think the greatest single emotion—and the most permanent one as concerns consequences to my inner life and imagination—I have ever experienced was my first sight of Marblehead in the golden glamour of late afternoon under the snow on December 17, 1922. That thrill has lasted as nothing else has—a visible climax and symbol of the lifelong mysterious tie which binds my soul to ancient things and ancient places.”

H.P. Lovecraft (1890–1937) American author

Letter to Lillian D. Clark (29 March 1926), quoted in Lord of a Visible World: An Autobiography in Letters edited by S. T. Joshi, p. 186
Non-Fiction, Letters

Love, Life, People, Family

“I am probably the least sensuous of all living beings; being almost exclusively visual and quasi-abstract in imagination, and tending to view and enjoy all things as a passive, detached, and sometimes remote spectator. Those arts which appeal most to the ideational imagination—the sense of drama, pageantry, historic flux, collective organisation, or escape from the natural limitations of time, space, and natural law—are undoubtedly those which appeal chiefly to me. Even my strong love of architectural and decorative beauty is probably largely dependent upon the historical bearings of the forms and motifs in which I delight. I am not wholly insensible to abstract form, but seem to relish the associative element in art more instantly and acutely than the lyrical or mathematical element... I don't really revel in anything unless it reminds me of something else either real or visionary—unless it opens up visual avenues of linked pseudo-recollections leading to sensations of ego-expansion and liberation... usually bringing in the element of time, somehow based on the past, and harbouring hints of an elusive, intangible kind of adventurous expectancy.”

H.P. Lovecraft (1890–1937) American author

Letter to Virgil Finlay (25 September 1936), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, p. 310
Non-Fiction, Letters

Love, Law, Beauty, Art

“The ancient Romans built their greatest masterpieces of architecture for wild beasts to fight in.”

Voltaire (1694–1778) French writer, historian, and philosopher

Les anciens Romains élevaient des prodiges d'architecture pour faire combattre des bêtes.
Letter addressed to "un premier commis" [name unknown] (20 June 1733), from Oeuvres Complètes de Voltaire: Correspondance [Garnier frères, Paris, 1880], vol. I, letter # 343 (p. 354)
Citas

Fight

“It has been the error of schools to teach astronomy, and all the other sciences and subjects of natural philosophy, as accomplishments only; whereas they should be taught theologically, or with reference to the Being who is the Author of them: for all the principles of science are of divine origin. Man cannot make, or invent, or contrive principles; he can only discover them, and he ought to look through the discovery to the Author.
When we examine an extraordinary piece of machinery, an astonishing pile of architecture, a well-executed statue, or a highly-finished painting where life and action are imitated, and habit only prevents our mistaking a surface of light and shade for cubical solidity, our ideas are naturally led to think of the extensive genius and talent of the artist. When we study the elements of geometry, we think of Euclid. When we speak of gravitation, we think of Newton. How, then, is it that when we study the works of God in creation, we stop short and do not think of God? It is from the error of the schools in having taught those subjects as accomplishments only and thereby separated the study of them from the Being who is the Author of them.”

Thomas Paine (1737–1809) English and American political activist

1790s, Discourse to the Theophilanthropists (1798)

Life, God, School, Error

“Holiness is the architectural plan upon which God buildeth up His living temple.”

Charles Spurgeon (1834–1892) British preacher, author, pastor and evangelist

Gleanings Among the Sheaves, Holiness, reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 369.

God

“I was planning to go into architecture. But when I arrived [to sign up for courses], architecture was filled up. Acting was right next to it. So I signed up for acting instead.”

Tom Selleck (1945) American actor

Televised interview broadcast the day before Laguna Heat was shown on cable TV.

“Because we live in such a mind-dominated culture, most modern art, architecture, music, and literature are devoid of beauty, of inner essence, with very few exceptions.”

Eckhart Tolle book The Power of Now

Source: The Power of Now (1997)

Beauty, Art, Music, Literature

“The greatest products of architecture are less the works of individuals than of society; rather the offspring of a nation's effort, than the inspired flash of a man of genius…”

Victor Hugo book The Hunchback of Notre Dame

Source: The Hunchback of Notre-Dame

Effort

“Such was a poet and shall be and is
-who'll solve the depths of horror to defend a sunbeam's architecture with his life: and carve immortal jungles of despair to hold a mountain's heartbeat in his hand.”

E.E. Cummings (1894–1962) American poet

Life, Mountain, Despair

“The decorator of Las Colimas must have been a great admirer of both early Aztec and late Taco Bell architectural styles.”

Ilona Andrews American husband-and-wife novelist duo

Source: Magic Bites

“There are only four great arts: music, painting, sculpture, and ornamental pastry- architecture being perhaps the least banal derivative of the latter.”

Julia Child My Life in France

Source: My Life in France

Art, Music, Painting

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

Ernest Hemingway book Death in the Afternoon

Source: Death in the Afternoon (1932), Ch. 16

“Italian cities have long been held up as ideals, not least by New Yorkers and Londoners enthralled by the ways their architecture gives beauty and meaning to everyday acts.”

Rebecca Solnit (1961) Author and essayist from United States

Source: Wanderlust: A History of Walking

Beauty, Way

“Every man's work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself.”

Samuel Butler book The Way of All Flesh

Source: The Way of All Flesh (1903), Ch. 14
Context: Every man’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself, and the more he tries to conceal himself the more clearly will his character appear in spite of him.

Back To Work, Music, Literature

“We travel for romance, we travel for architecture, and we travel to be lost.”

Ray Bradbury (1920–2012) American writer

Travel

“A classic,' suggested Anthony, 'is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion.”

F. Scott Fitzgerald book The Beautiful and Damned

Source: The Beautiful and Damned

Books, Fashion, Success

“Talking about music is like dancing about architecture.”

Steve Martin (1945) American actor, comedian, musician, author, playwright, and producer

Funny, Music, Dance

“I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels”

Rebecca Solnit (1961) Author and essayist from United States

Source: Storming the Gates of Paradise: Landscapes for Politics

Thinking

“The most natural Beauty in the World is Honesty, and Moral Truth. For all Beauty is Truth. True Features make the Beauty of a Face; and true Proportions the Beauty of Architecture; as true Measures that of Harmony and Musick.”

Anthony Ashley-Cooper, 3rd Earl of Shaftesbury (1671–1713) English politician and Earl

Vol. 1, p. 77; "Sensus Communis".
Characteristicks of Men, Manners, Opinions, Times (1711)

Truth, World, Beauty, Nature

“I see the task of architecture as the defense of the authenticity of human experience.”

Juhani Pallasmaa (1936) Finnish architect

Encounters (2006).

“Decoration. Very rapidly executed, at one go, spontaneously [reflection of making a mural on the site for the terrace plaza hotel in Cincinnati]. What takes a long time in my case is the work of silent reflection; it is impossible for me to predict the duration of this preparatory period. You have to keep in mind that it is by no means a matter of just doing a large picture, and though it will not be possible to paint a true mural by attacking the wall directly, in fresco, to do so will require persistence while maintaining, as much as possible, the spirit of the great tradition of mural painting. I shall have to go to Cincinnati in advance as soon as I can, to view the architecture and its environs, because otherwise I would only create an easel painting in large format.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

In a letter to Pierre Matisse, 26 January 1946; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 70
1940 - 1960

Time, Painting

“As a noun, design is the named (although sometimes unnamable) structure or behavior of a system whose presence resolves or contributes to the resolution of a force or forces on that system. A design thus represents one point in a potential decision space. A design may be singular (representing a leaf decision) or it may be collective (representing a set of other decisions).
As a verb, design is the activity of making such decisions. Given a large set of forces, a relatively malleable set of materials, and a large landscape upon which to play, the resulting decision space may be large and complex. As such, there is a science associated with design (empirical analysis can point us to optimal regions or exact points in this design space) as well as an art (within the degrees of freedom that range beyond an empirical decision; there are opportunities for elegance, beauty, simplicity, novelty, and cleverness).
All architecture is design but not all design is architecture. Architecture represents the significant design decisions that shape a system, where significant is measured by cost of change.”

Grady Booch (1955) American software engineer

Grady Booch (2006) " On design https://www.ibm.com/developerworks/community/blogs/gradybooch/entry/on_design?lang=en" cited in: Frank Buschmann, ‎Kevlin Henney, ‎Douglas C. Schmidt (2007) Pattern-Oriented Software Architecture, On Patterns and Pattern Languages. p. 214

Beauty, Art, Behavior, Optimism

“So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal.”

Frank Lloyd Wright (1867–1959) American architect (1867-1959)

An Organic Architecture (1939)

“I think of novelists that I really return to and admire, you can almost sense that the book is somehow ahead of them, just a little bit ahead of them, no? You could write from the front: you could pull the book; there are masters that do that, and you can admire the architecture of it. […] I suppose what I look for as a reader is a writer who's risky, who's putting themselves in a position that's vulnerable, where the text knows a little bit more, is a bit ahead of them. And so I aspire to write those books, and that's why I suppose I put myself in that position.”

Hisham Matar (1970) American writer

at 43:30.
Blue Metropolis Festival (2013)

Books, Thinking, Sense

“God made Homo sapiens a problem-solving creature. The trouble is that He gave us too many resources: too many languages, too many phases of life, too many levels of complexity, too many ways to solve problems, too many contexts in which to solve them, and too many values to balance.
First came the law, accounting, and history which looks backward in time for their values and decision-making criteria, but their paradigm (casuistry) cannot look forward to predict future consequences. Casuistry is overly rigid and does not account for statistical phenomena. To look forward man used two thousand years to evolve scientific method - which can predict the future when it discovers the laws of nature. In parallel, man evolved engineering, and later, systems engineering, which also anticipates future conditions. It took man to the moon, but it often did, and does, a poor job of understanding social systems, and also often ignores the secondary effects of its artifacts on the environment.
Environmental impact analysis was promoted by governments to patch over the weakness of engineering - with modest success - and it does not ignore history; but by not integrating with system design, it is also an incomplete philosophy. System design and architecture, or simply design, like science and engineering is forward-looking, and provides man with comforts and conveniences - if someone will tell them what problems to solve, and which requirements to meet. It rarely collects wisdom from the backward-looking methodologies, often overlooks ordinary operating problems in designing its artifacts, whether autos or buildings, and often ignores the principles of good teamwork.”

Arthur D. Hall (1925–2006) American electrical engineer

Source: Metasystems Methodology, (1989), p.xi cited in Philip McShane (2004) Cantower VII http://www.philipmcshane.ca/cantower7.pdf

Life, Wisdom, God, Law

“[Zachman reasons that] an analogous set of architectural representations is likely to be produced in building any complex product.”

John Zachman (1934) American computer scientist

Source: A Framework for Information Systems Architecture, 1987, p. 281 as cited in: San Murugesan, Yogesh Deshpande (2001) Web Engineering: Managing Diversity and Complexity of Web. p, 126

“I had some good opportunities. I was lucky to have had the chance to do things differently. Architecture is about surprise.”

Oscar Niemeyer (1907–2012) Brazilian architect

Quoted in "Architect of Optimism," Angel Gurria-Quintana, Financial Times (2007-04-13).

Chance

“But architecture is necessarily complex and contradictory in its very inclusion of the traditional Vitruvian elements of commodity, firmness, and delight. And today the wants of program, structure, mechanical equipment, and expression, even in single buildings in simple contexts, are diverse and conflicting in ways previously unimaginable.”

Robert Venturi book Complexity and Contradiction in Architecture

1. Nonstraightfoward Architecture: A Gentle Manifesto
Complexity and Contradiction in Architecture (1966)

Way

““How dare you contradict their opinions! You are only a common servant.”
“Yes, miss,” he said wearily.
“You should be dismissed for being insolent to your betters.”
There was a long pause, and then Baine said, “All the diary entries and dismissals in the world cannot change the truth. Galileo recanted under threat of torture, but that did not make the sun revolve round the earth. If you dismiss me, the vase will still be vulgar, I will still be right, and your taste will still be plebeian, no matter what you write in your diary.”
“Plebeian?” Tossie said, bright pink. “How dare you speak like that to your mistress? You are dismissed.” She pointed imperiously at the house. “Pack your things immediately.”
“Yes, miss,” Baine said. “E pur si muove.”
“What?” Tossie said, bright red with rage. “What did you say?”
“I said, now that finally have dismissed me, I am no longer a member of the servant class and am therefore in a position to speak freely,” he said calmly.
“You are not in a position to speak to me at all,” Tossie said, raising her diary like a weapon. “Leave at once.”
“I dared to speak the truth to you because I felt you were deserving of it,” Baine said seriously. “I had only your best interests at heart, as I have always had. You have been blessed with great riches; not only with the riches of wealth, position, and beauty, but with a bright mind and a keen sensibility, as well as with a fine spirit. And yet you squander those riches on croquet and organdies and trumpery works of art. You have at your disposal a library of the great minds of the past, and yet you read the foolish novels of Charlotte Yonge and Edward Bulwer-Lytton. Given the opportunity to study science, you converse with conjurors wearing cheesecloth and phosphorescent paint. Confronted by the glories of Gothic architecture, you admire instead a cheap imitation of it, and confronted by the truth, you stamp your foot like a spoilt child and demand to be told fairy stories.””

Connie Willis book To Say Nothing of the Dog

Source: To Say Nothing of the Dog (1998), Chapter 22 (p. 374)

Truth, World, Beauty, Art

“The term architecture is used here to describe the attributes of a system as seen by the programmer, i. e., the conceptual structure and functional behavior, as distinct from the organization of the data flow and controls, the logical design, and the physical implementation. i. Additional details concerning the architecture”

Fred Brooks (1931) American computer scientist

Gene Amdahl, Gerrit Blaauw, and Fred Brooks (1964) "Architecture of the IBM System." in: IBM Journal of Research and Development Vol 8 (2) p. 87-101.

Behavior

“And now, Uastis, get up. This room is architecturally designed to please the eye, and your present position mars it for me.”

Tanith Lee book The Birthgrave

Book Two, Part III “The Dark City”, Chapter 2 (p. 191)
The Birthgrave (1975)

“In the early ‘80’s, there was little interest in the idea of Enterprise Reengineering or and the use of formalisms and models was generally limited to some aspects of application development within the Information Systems community. The subject of "architecture" was acknowledged at that time, however, there was little definition to support the concept. This lack of definition precipitated the initial investigation that ultimately resulted in the "Framework for Information Systems Architecture." Although from the outset, it was clear that it should have been referred to as a "Framework for Enterprise Architecture," that enlarged perspective could only now begin to be generally understood as a result of the relatively recent and increased, worldwide focus on Enterprise "engineering."”

John Zachman (1934) American computer scientist

Source: Concepts of the Framework for Enterprise Architecture, 1993, p. 1

Communication, Idea, Support, Time

“Writing about music is like dancing about architecture — it's a really stupid thing to want to do.”

Elvis Costello (1954) English singer-songwriter

This has commonly been paraphrased "Talking about music is like dancing about architecture." More info at "Alan P. Scott : Talking about music..." http://home.pacifier.com/~ascott/they/tamildaa.htm Also, Costello has denied http://quoteinvestigator.com/2010/11/08/writing-about-music/ having coined this, in an interview in Q magazine, tentatively attributing the quote instead to Martin Mull. <br class="br">Misattributed

Stupidity, Music, Dance

“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.”

H. Havelock Ellis (1859–1939) British physician, writer, and social reformer

Source: The Dance of Life http://www.gutenberg.net.au/ebooks03/0300671.txt (1923), Ch. 2

Lie, Art, Dance, Personality

“Most professional women can recount ‘horror stories’ about discrimination they have suffered during their careers. My stories include social trivia as well as grand trauma. But some less common forms of discrimination came my way when, in mid-career, I married a colleague and we joined our professional lives just as fame (though not fortune) hit him. I watched as he was manufactured into an architectural guru before my eyes and, to some extent, on the basis of our joint work and the work of our firm.”

Denise Scott Brown (1931) American architect

"Sexism and the star system in architecture"

Women, Way, Suffering

“Per definition, architecture is a service for the whole human being. As such, architecture includes a material and an immaterial aspect; ist has to meet rational and irrational requirements.”

Justus Dahinden (1925) Swiss architect

Architektur versteht sich als Dienstleistung für den ganzen Menschen. Als solche hat sie eine materielle und eine immaterielle Komponente; es sind rationale und irrationale Bedürfnisse zu befriedigen.
Man and Space - Mensch und Raum 2005

“I was twenty-one when I first went to New York, and I was so fascinated by the architecture and glad that something like that existed and that I was able to have this visual experience that I thought to myself, this is where I want to live. To me, New York had a direct link with sculpture – that must have been it. Although at twenty-one I wasn't a sculptress yet, I was just starting my studies and I didn't even know what I wanted to do... New York is a city of incredible stability and solidity. And then the height of the buildings – that impressed me, like the people who always seemed a bit happier than the Germans in the street. When I came back to Germany it seemed to me that it wasn't particularly nice, my visual surroundings – it was all so dreary. And modernism hardly features at all in Germany. Okay, there was Bauhaus and there was this and that, but modernism is practically non-existent in architecture.”

Isa Genzken (1948) German sculptor

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

People, Study

“CIMOSA provides a Reference Architecture (known as the CIMOSA cube) from which particular enterprise architectures can be derived. This Reference Architecture and the associated enterprise modelling framework are based on a set of modelling constructs, or generic building blocks, which altogether form the CIMOSA modelling languages.”

Peter Bernus (1949) Hungarian-Australian computer scientist

Peter Bernus, Kai Mertins, Günter Schmidt (1998) Handbook on Architectures of Information Systems. p. 244

“My aim has always been modest; I wanted to transform the arranged marriage (of art and architecture) into a love match.”

Marcelle Ferron (1924–2001) Canadian artist

Original in French: Mon propos a toujours été modeste, je voulais transformer ce mariage de raison en un mariage d'amour. <br class="br">Cited at : Ferron, Marcelle; Prix Paul-Émile-Borduas 1983; Catégorie : Culturelle http://www.prixduquebec.gouv.qc.ca/recherche/desclaureat.php?noLaureat=183 at prixduquebec.gouv.qc.ca, 2012-10-29

Love, Marriage, Art

“The strengthening of the human rights enforcement system is necessary to counter the prevalent architecture of corporate impunity.”

Alfred de Zayas (1947) American United Nations official

Report of the Independent Expert on the promotion and protection of all human rights, civil, political, economic, social and cultural rights, including the right to development https://documents-dds-ny.un.org/doc/UNDOC/GEN/G16/151/19/PDF/G1615119.pdf?OpenElement. <br class="br">2016, Report submitted to the UN Human Rights Council

“His wastefulness showed most of all in the architectural projects. He built a palace, stretching from the Palatine to the Esquiline, which he called…"The Golden House". The following details will give some notion of its size and magnificence. The entrance-hall was large enough to contain a huge statue of himself, 120 feet high…Parts of the house were overlaid with gold and studded with precious stones and mother-of pearl. All the dining-rooms had ceilings of fretted ivory, the panels of which could slide back and let a rain of flowers, or of perfume from hidden sprinklers, shower upon his guests. The main dining-room was circular, and its roof revolved, day and night, in time with the sky. Sea water, or sulphur water, was always on tap in the baths. When the palace had been decorated throughout in this lavish style, Nero dedicated it, and condescended to remark: "Good, now I can at last begin to live like a human being!"”
Non in alia re tamen damnosior quam in aedificando domum a Palatio Esquilias usque fecit, quam…Auream nominavit. De cuius spatio atque cultu suffecerit haec rettulisse. Vestibulum eius fuit, in quo colossus CXX pedum staret ipsius effigie…In ceteris partibus cuncta auro lita, distincta gemmis unionumque conchis erant; cenationes laqueatae tabulis eburneis versatilibus, ut flores, fistulatis, ut unguenta desuper spargerentur; praecipua cenationum rotunda, quae perpetuo diebus ac noctibus vice mundi circumageretur; balineae marinis et albulis fluentes aquis. Eius modi domum cum absolutam dedicaret, hactenus comprobavit, ut se diceret quasi hominem tandem habitare coepisse.

Sueton book The Twelve Caesars

Source: The Twelve Caesars, Nero, Ch. 31

Flowers, Water, Time, Parting

“Architecture as the wall between the inside and the outside becomes the spatial record of this resolution and its drama. And by recognizing the difference between the inside and the outside, architecture opens the door once again to an urbanistic point of view.”

Robert Venturi book Complexity and Contradiction in Architecture

9. The Inside and the Outside
Complexity and Contradiction in Architecture (1966)

“Architecture begins where engineering ends.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

In Architects on Architecture, Speech, Harvard Department of Architecture (Paul Heyer (ed.))

“A man walks down the street
It’s a street in a strange world
Maybe it’s the third world
Maybe it’s his first time around …
He looks around around
He sees angels in the architecture
Spinning in infinity
He says Amen and Hallelujah.”

Paul Simon (1941) American musician, songwriter and producer

You Can Call Me Al
Song lyrics, Graceland (1986)

World, Angels, Time

“The role of the 'representational arts' - painting, sculpture, and even architecture…. has ended, as it is no longer necessary for the consciousness of our age, and everything art has to offer can simply be classified as a throwback.”

Lyubov Popova (1889–1924) Russian artist

Quote, c. 1921; from Lyubov' Popova, in 'Commentary on Drawings', trans. ed. James West, in Art Into Life: Russian Constructivism, 1914-1932; catalogue for exhibition Rizzoli, New York: 1990, p. 69 (Popova's original text, in the Manuscript Division, State Tretiakov Gallery, Moscow, f. 148, ed. khr. 17, 1. 4.)

Age, Art, Painting

“The world is changing dramatically and architecture, and especially cities, need to move with these changes. What can we do to help as architects? Architecture as a way of thinking — as the title of our first exhibition in 1989 suggested — is more relevant than ever.”

Jacques Herzog (1950) Swiss architect

places.designobserver.com http://places.designobserver.com/feature/an-interview-with-jacques-herzog/32118/.

World, Way, Thinking, Change

“The very system of education which was deemed essential for forging bonds of unbroken alliance with the British power succeeded in unleashing revolutionary ideas and thoughts, which ultimately helped to throw off the yoke of alien rule in India. If we take a dispassionate view of what happened during the last one century, we must acknowledge that this has been an era in which good has been mixed with evil. The contact between the Indian mind and western thought and civilisation did not enslave the soul of India. In every domain of thought, in arts and architecture, in science, in history, philosophy and letters, in social services and in religious thought, great Indians gave their best, maintaining their stamp of originality as well as imbibing and assimilating fruits of western skill and knowledge. Though the number of Indians affected by such spread of knowledge was comparatively small, many of them assumed a much needed political leadership and became the instruments of agitation and mass movements, leading ultimately to the political liberation of their country. The cultural Renaissance preceded and created the silent Revolution.”

Syama Prasad Mookerjee (1901–1953) Indian politician

Speech delivered at Delhi University Convocation on 13th December 1952.

Education, Art, Soul, History

“Cubism demonstrated in its constructions its modernity in relation to scale, but in painting and contre-relief we have in front of us an absolute scale which is this - forms in their natural size in the ratio 1 : 1. If however we wish to transform the contre-relief into an architectural structure and therefore enlarge it by one hundred times, then the scale ceases to be absolute and becomes relative in the ratio of 1 : 100. Then we get the American statue of liberty in whose head there is room for four men and from whose hand the light streams out.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Suprematism' in World Reconstruction (1920)

Men, Nature, Light, Time

“Convinced as I am and as I am from my government that the world needs a new moral architecture over all, I believe that this should be the first topic to debate in our world of today - ethics, and moral…[Capitalism is] an infernal machine that produces every minute an impressive amount of poor, 26 million poor in 10 years are 2.6 million per year of new poor, this is the road, well, the road to hell.”

Hugo Chávez (1954–2013) 48th President of Venezuela

Hugo Chávez http://www.thefinancialexpress-bd.com/index.php?ref=MjBfMDNfMThfMTNfMV8yN18xNjM1MDI= <br class="br">Unknown year

World, Hell

“Speech structures the abyss of mental and acoustic space…it is a cosmic, invisible architecture of the human dark.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 13

“The creation and implementation of integrated information systems involves a variety of collaborators including people from specialist departments, informatics, external advisers and manufacturers. They need clear rules and limits within which they can process their individual sub-tasks, in order to ensure the logical consistency of the entire project. Therefore, an architecture needs to be established to determine the components that make up the information system and the methods to be used to describe it. The ARIS architecture developed in this book is described in concrete terms as an information model within the entity-relationship approach. This information model provides the basis for the systematic and rational application of methods in the development of information systems. It also serves as the basis for a repository in which the enterprise's application - specific data, organization and function models can be stored. The ARIS architecture constitutes a framework in which integrated applications systems can be developed, optimized and converted into EDP - technical implementations. At the same time, it demonstrates how business economics can examine and analyze information systems in order to translate their contents into EDP-suitable form.”

August-Wilhelm Scheer (1941) German business theorist

August-Wilhelm Scheer, I. Cameron (1992) Architecture of integrated information systems: foundations of enterprise modelling. Abstract.

People, Books, Optimism, Business

“Our forefathers and ancestors of all times have been of this nature and disposition, that, upon the winning of a battle, they have chosen rather, for a sign and memorial of their triumphs and victories, to erect trophies and monuments in the hearts of the vanquished by clemency than by architecture in the lands which they had conquered. For they did hold in greater estimation the lively remembrance of men purchased by liberality than the dumb inscription of arches, pillars, and pyramids, subject to the injury of storms and tempests, and to the envy of everyone.”

Francois Rabelais book Gargantua and Pantagruel

Source: Gargantua and Pantagruel (1532–1564), Gargantua (1534), Chapter 50 : Gargantua's speech to the vanquished.

Men, Nature, Memory, Time

“All the revision in the world will not save a bad first draft: for the architecture of the thing comes, or fails to come, in the first conception, and revision only affects the detail and ornament, alas!”

T. E. Lawrence (1888–1935) British archaeologist, military officer, and diplomat

Letter to Bruce Rogers (20 August 1931)

World

“Proun is the the Step-over from the art of painting to Architecture [original text in German:] (Umsteige-station von Malerei nach Architectur).”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

quote, 1925: in 'Kunstismen' ('Artisms', art magazine published by Lissitzky and Hans Arp, 1925); as quoted in: Richtingen in de Hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien; W.L & J. Brusse N.V. Rotterdam, 1935 (transl: Anne Porcelijn), p. 99
1915 - 1925

Art, Painting

“The new architecture has suppressed monotonous repetition and destroyed the equality of two symmetrical halves. It does not allow for continuous repetition. A block of houses is as much a whole as an independent house. Balance and symmetry are two entirely different things. In place of symmetry the new architecture proposes a balanced relationship of unequal parts or parts which differ [in position, proportion, size and materials] in functional character.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from his unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

Parting, Housing

“Those who expect from a people like the Hindus a species of composition of precisely the same character as the historical works of Greece and Rome commit the very gregarious error of overlooking the peculiarities which distinguish the natives of India from all other races, and which strongly discriminate their intellectual productions of every kind from those of the West. Their philosophy, their poetry, their architecture, are marked with traits of originality; and the same may be expected to pervade their history, which, like the arts enumerated, took a character from its intimate association with the religion of the people. It must be recollected, moreover,… that the chronicles of all the polished nations of Europe, were, at a much more recent date, as crude, as wild, and as barren, as those of the early Rajputs.” … “My own animadversions upon the defective condition of the annals of Rajwarra have more than once been checked by a very just remark: ‘When our princes were in exile, driven from hold to hold, and compelled to dwell in the clefts of the mountains, often doubtful whether they would not be forced to abandon the very meal preparing for them, was that a time to think of historical records?’ ”… “If we consider the political changes and convulsions which have happened in Hindustan since Mahmood’s invasion, and the intolerant bigotry of many of his successors, we shall be able to account for the paucity of its national works on history, without being driven to the improbable conclusion, that the Hindus were ignorant of an art which has been cultivated in other countries from almost the earliest ages. Is it to be imagined that a nation so highly civilized as the Hindus, amongst whom the exact sciences flourished in perfection, by whom the fine arts, architecture, sculpture, poetry, music, were not only cultivated, but taught and defined by the nicest and most elaborate rules, were totally unacquainted with the simple art of recording the events of their history, the character of their princes and the acts of their reigns?”

James Tod (1782–1835) 1782-1835, English officer of the British East India Company and an Oriental scholar

[The fact appears to be that] “After eight centuries of galling subjection to conquerors totally ignorant of the classical language of the Hindus; after every capital city had been repeatedly stormed and sacked by barbarous, bigoted, and exasperated foes; it is too much to expect that the literature of the country should not have sustained, in common with other interests, irretrievable losses.”
James Tod, Annals and Antiquities of Rajasthan, Routledge and Kegan Paul (London,l829,1957), 2 vols., I quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 3

People, Age, Religion, Art

“The operational sciences hoped to nourish business management, which however largely ignored them, and the latter continues to be undernourished by the business schools which are fairly broad but shallow everywhere. By over focus on short-range financial values, business management in the United States has lost a dozen major markets to the Japanese, added pollution in all its forms, and enriched itself out of all proportion to its value as just one factor of production.
Action science, developed by the social sciences over many years in relative isolation from the applied physical sciences, and which might otherwise have humanized them and made engineering more productive, was doomed to fail by being on one end of the two-culture problem wherein science and the humanities do not even speak the same language.
I could go on listing a few dozen paradigms: art, law, computer software design, medicine, politics, and architecture, each addressed to a certain context, level, or phase, each good in itself, but each limited to the fields of its origin and its purposes. The methodological problem is the same as if, in designing any large system, each subsystem designer were left to design each subsystem to the best requirements he knew. The overall requirement might not be met; overall harmony could not be achieved, and conflict could ensue to cause failure at the system level.
What is envisioned is a new synthesis, a unified, efficient, systems methodology (SM): a multiphase, multi-level, multi-paradigmatic creative problem-solving process for use by individuals, by small groups, by large multi-disciplinary teams, or by teams of teams. It satisfies human needs in seeking value truths by matching the properties of wanted systems, and their parts, to perform harmoniously with their full environments, over their entire life cycles”

Arthur D. Hall (1925–2006) American electrical engineer

Source: Metasystems Methodology, (1989), p.xi-xii, cited in Philip McShane (2004) Cantower VII http://www.philipmcshane.ca/cantower7.pdf

Life, Truth, School, Law

“As so often I have pointed out, intuition is a level of the highest range. In details, I don’t have to think or to worry about the realization of my interpretation; no, it’s something that spreads out of my artistic all-compassion. Probably I have to be sorry for it, but this is my deepest artistic conviction for the rightness of an interpretation - interpretation as a summary of something unique and whole, not of a combining of details. Intuition is a level that includes all levels of emotion, intelligence, structure, and architecture. And I’m also confronted with the question of poetry and poesy, something that is so often neglected - especially in Bach.”

Burkard Schliessmann classical pianist

Talkings on Bach

Intelligence, Question, Thinking

Gene Amdahl (1922–2015) American physicist

Gene Amdahl, Gerrit Blaauw, and Fred Brooks (1964) " Architecture of the IBM System http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.72.7974&rep=rep1&type=pdf." in: IBM Journal of Research and Development Vol 8 (2) p. 87-101

Behavior

“The older disciplines of Architecture and Manufacturing have accumulated considerable bodies of product knowledge through disciplined management of the "product definition" design artifacts. This has enabled enormous increases in product sophistication and the ability to manage high rates of product change over time. Similarly, disciplined production and management of "Enterprise definition" (i. e. the set of models identified in the Framework for Enterprise Architecture) should provide for an accumulation of a body of Enterprise knowledge to facilitate enormous increases in Enterprise sophistication and accommodation of high rates of Enterprise change over time.”

John Zachman (1934) American computer scientist

Source: Concepts of the Framework for Enterprise Architecture, 1993, p. 3

Knowledge, Change, Time

“When in Italy [Klee stayed in Italy, in 1901], I learned to understand architectural monuments... Even the dullest will understand that the obvious commensurability of parts, to each other and to the whole, corresponds to the hidden numerical proportions that exist in other artificial and natural organisms. It is clear that these figures are not cold and dead, but full of the breath of life; and the importance of measurements as an aid to study and creation becomes evident.”

Paul Klee (1879–1940) German Swiss painter

Quote (December 1903), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444
1903 - 1910

Life, Understanding, Nature, Study