Quotes about architecture
page 2

“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

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

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

World, Art, Science, Painting

“# Macrosocial systems. These include systems in communities and industrial sectors, and institutions operating at the overall level of a society. They constitute what I have called "domains". (Trist, 1976a; 1979a). One may regard media as socio-technical systems. McLuhan (1964) has shown that the technical character of different media has far-reaching effects on users. The same applies to architectural forms and the infrastructure of the built environment. Although these are not organizations, they are socio-technical phenomena. They are media in Heider's (1942) as well as McLuhan's sense.”

Eric Trist (1909–1993) British scientist

Source: The evolution of socio-technical systems, (1981), p. 11

Communication, Sense

“It is a pity the universe doesn't use a segmented architecture with a protected mode!”

Rick Cook (1944) American writer

Wizard's Bane (1989)

Universe

“Our time has produced a need for contrast. This has been achieved not only in the external appearance of plastic expressions of coulor and matter, but also, and chiefly, in the tempo of life and in the techniques related to the daily, mechanical functions of life; namely standing, walking, driving, to lying and sitting – in short, every action which determines the content of architecture.”

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

1926 – 1931
Source: 'Painting: from composition towards counter-composition'; in 'Painting and plastic art', De Stijl, series XIII, 73-4, 1926, pp. 17–18

Life, Lying, Appearance, Time

“I have always accepted and respected all other schools of architecture, from the chill and elemental structures of Mies van der Rohe to the imagination and delirium of Gaudi. I must design what pleases me in a way that is naturally linked to my roots and the country of my origin.”

Oscar Niemeyer (1907–2012) Brazilian architect

Quoted in "Gordon Bunshaft and Oscar Niemeyer: Pritzker Architecture Prize Laureates 1988" http://www.pritzkerprize.com/bunnei.htm#...about%20Oscar%20Niemeyer, pritzkerprize.com (1988).

School, Way, Imagination, Nature

“The good taste we speak of, which is that of literature, is not limited to what we call the sciences, but extends itself imperceptibly to other arts, such as architecture, painting, sculpture, and music. 'Tis the same discerning faculty which introduces universally the same elegance, the same symmetry, and the same order in the disposition of the parts; which inclines us to a noble simplicity, to natural beauties, and a judicious choice of ornaments. On the other hand, the depravation of taste in arts has been always a mark and consequence of the depravation of taste in literature. … The good taste of literature reaches also to public customs, and the manner of living. An habit of consulting the best rules upon one subject, naturally leads to the doing it also upon others.”

Charles Rollin (1661–1741) French historian

The Method of Teaching and Studying the Belles Lettres, Vol. I, The Third Edition (1742), Part II, Ch. 2: 'General Reflections upon what is called good Taste', pp. 45–46

Beauty, Art, Music, Literature

“Architecture worth great attention. As we double our numbers every 20 years we must double our houses. Besides we build of such perishable materials that one half of our houses must be rebuilt in every space of 20 years. So that in that term, houses are to be built for three fourths of our inhabitants. It is then among the most important arts: and it is desireable to introduce taste into an art which shews so much.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Hints to Americans travelling in Europe, letter to John Rutledge, Jr. (June 19, 1788); in The Papers of Thomas Jefferson, ed. Julian P. Boyd (1956), vol. 13, p. 269
1780s

Art, Housing

“Perhaps it is the fate of all theorists to view the ripples from their works with mixed feelings. I have sometimes felt more comfortable with my critics than with those who have agreed with me. The latter have often misapplied or exaggerated the ideas and methods of this book to the point of parody. Some have said the ideas are fine but don't go far enough. But most of the thought here was intended to be suggestive rather than dogmatic, and the method of historical analogy can be taken only so far in architectural criticism.”

Robert Venturi book Complexity and Contradiction in Architecture

Note to the Second Edition of Complexity and Contradiction in Architecture (1977)
Complexity and Contradiction in Architecture (1966)

Fate, Books, Feeling, Idea

“My ambition has always been to reduce a building’s support to a minimum. The more we diminish supporting structures, the more audacious and important the architecture is. That has been my life’s work.”

Oscar Niemeyer (1907–2012) Brazilian architect

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

Life, Support

“The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural… Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.”

Ben Nicholson (1894–1982) British painter

"Notes on Abstract Art" in Herbert Read's Ben Nicholson: Paintings, Reliefs, Drawings (London, 1948)

Music, Painting

“The neurochemistry of the brain is astonishingly busy, the circuitry of a machine more wonderful than any devised by humans. But there is no evidence that its functioning is due to anything more than the 1014 neural connections that build an elegant architecture of consciousness.”

Carl Sagan book Cosmos

Source: Cosmos (1980), p. 278

Business

“It is only the advent of an automated model storage facility or repository that brings any of this into the realm of feasibility and makes architecture a reality. It does not mean to suggest that all of these ideas will be immediately available in any particular repository product. It only means that they come into the realm of feasibility as repository technology becomes a reality.”

John Zachman (1934) American computer scientist

Source: Extending and Formalizing the Framework for Information Systems Architecture, 1992, p. 615

Idea, Reality

“Furthermore, we are instructed, when we do come across instances of temple destruction, as in the case of Aurangzeb, we have to be circumspect in inferring what has happened and why…. the early monuments – like the Quwwat-ul-Islam mosque in Delhi – had to be built in ‘great haste’, we are instructed…Proclamation of political power, alone! And what about the religion which insists that religious faith is all, that the political cannot be separated from the religious? And the name: the Quwwat-ul-Islam mosque, the Might of Islam mosque? Of course, that must be taken to be mere genuflection! And notice: ‘available materials were assembled and incorporated’, they ‘clearly came from Hindu sources’ – may be the materials were just lying about; may be the temples had crumbled on their own earlier; may be the Hindus voluntarily broke their temples and donated the materials? No? After all, there is no proof they didn’t! And so, the word ‘plundered’ is repeatedly put within quotation marks!
In fact, there is more. The use of such materials – from Hindu temples – for constructing Islamic mosques is part of ‘a process of architectural definition and accommodation by local workmen essential to the further development of a South Asian architecture for Islamic use’. The primary responsibility thus becomes that of those ‘local workmen’ and their ‘accommodation’. Hence, features in the Qutb complex come to ‘demonstrate a creative response by architects and carvers to a new programme’. A mosque that has clearly used materials, including pillars, from Hindu temples, in which undeniably ‘in the fabric of the central dome, a lintel carved with Hindu deities has been turned around so that its images face into the rubble wall’ comes ‘not to fix the rule’. ‘Rather, it stands in contrast to the rapid exploration of collaborative and creative possibilities – architectural, decorative, and synthetic – found in less fortified contexts.’ Conclusions to the contrary have been ‘misevaluations’. We are making the error of ‘seeing salvaged pieces’ – what a good word that, ‘salvaged ’: the pieces were not obtained by breaking down temples; they were lying as rubble and would inevitably have disintegrated with the passage of time; instead they were ‘salvaged ’, and given the honour of becoming part of new, pious buildings – ‘seeing salvaged pieces where healthy collaborative creativity was producing new forms’.”

Arun Shourie (1941) Indian journalist and politician

Eminent Historians: Their Technology, Their Line, Their Fraud

Faith, Religion, Error, Lying

“Human cognition constitutes a natural information processing system that has evolved to mimic the architecture of biological evolution… Both evolution by natural selection and human cognition can be characterised by a series of basic principles. In the case of human cognition, these are:
The information store principle dealing with human long-term memory;
The borrowing and reorganising principle dealing with how we characteristically obtain information from other people;
The randomness as genesis principle dealing with how we create novel information;
The narrow limits of change principle dealing with the role of a limited working memory in processing novel information;
The environmental linking and organising principle that explains how we use organised information held in long-term memory to determine how we interact with our environment.”

John Sweller (1946) educational psychologist

John Sweller, "Evolutionary bases of human cognitive architecture: implications for computing education." Proceedings of the fourth international workshop on computing education research. ACM, 2008.

People, Nature, Memory, Change

“There may be millions of fine thoughts, and the account of the experience on which they are based, all encased within stone walls of acceptable architectural form; but if the scholar can get at only one a week by diligent search, his syntheses are not likely to keep up with the current scene.”

Vannevar Bush book As We May Think

As We May Think (1945)

“A city’s architecture is always a bit like a constructed, psychological version of its people.”

Jacques Herzog (1950) Swiss architect

elbphilharmonie.de https://www.elbphilharmonie.de/elbphilharmonie-projekt-herzogdemeuron.en.

People

“When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.”

Carlo Carrà (1881–1966) Italian painter

Quote in: The Painting of Sounds, Noises and Smells Carlo Carrà, (1913); as cited & translated in: Mary Ann Caws (2001) Manifesto: A Century of Isms. p. 203
1910's

People, Music, Thinking

“Opera, next to Gothic architecture, is one of the strangest inventions of western man. It could not have been foreseen by any logical process.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: Civilisation (1969), Ch. 9: The Pursuit of Happiness

“A few centuries ago… the indigenous and often primitive architectural forms of that time had become suited to local climate through a long process of trial and error.”

Ken Kern American writer

The Owner Built Home: A How-to-do-it Book (1972)

Error, Time

“The field of Architecture has given rise to a second major principle relating to the Life Cycle of Systems. This principle has emerged from the observation that temporary buildings erected to house Navy personnel in World War I continued to see yeoman service in World War II as well as in subsequent ventures, and are now a permanent, if fading, feature of Constitution Avenue in Washington… We conclude: A temporary patch will very likely be permanent.”

John Gall (1925–2014) American physician

Source: Systemantics: the underground text of systems lore, 1986, p. 36

Life, War, World, Housing

“The whole system of symbolism impressed on the art and the life of the Middle Ages must awaken the admiration of poets in all times. In reality, what colossal unity there is in Christian art, especially in its architecture! These Gothic cathedrals, how harmoniously they accord with the worship of which they are the temples, and how the idea of the Church reveals itself in them! Everything about them strives upwards, everything transubstantiates itself; the stone buds forth into branches and foliage, and becomes a tree; the fruit of the vine and the ears of corn become blood and flesh; the man becomes God; God becomes a pure spirit. For the poet, the Christian life of the Middle Ages is a precious and inexhaustibly fruitful field. Only through Christianity could the circumstances of life combine to form such striking contrasts, such motley sorrow, such weird beauty, that one almost fancies such things can never have had any real existence, and that it is all a vast fever-dream the fever-dream of a delirious deity. Even Nature, during this sublime epoch of the Christian religion, seemed to have put on a fantastic disguise; for oftentimes though man, absorbed in abstract subtilties, turned away from her with abhorrence, she would recall him to her with a voice so mysteriously sweet, so terrible in its tenderness, so powerfully enchanting, that unconsciously he would listen and smile, and become terrified, and even fall sick unto death.”

Heinrich Heine (1797–1856) German poet, journalist, essayist, and literary critic

Religion and Philosophy in Germany, A fragment https://archive.org/stream/religionandphilo011616mbp#page/n5/mode/2up, p. 26

Life, Death, God, Age

“The fact that, from 1938 onwards, I concentrated more on the interpretation of personal ideas was primarily the result of my departure from Italy. In Switzerland, Belgium, and Holland where I successively established myself, I found the outward appearance of landscapes and architecture to be less striking than those which are particularly to be seen in the southern part of Italy. Thus I felt compelled to withdraw from the more or less direct and true-to-life illustrating of my surroundings.”

M. C. Escher (1898–1972) Dutch graphic artist

Escher's note in a 1960 book introduction; as cited in 'Metamorphosis', in Biography of M.C. Escher http://im-possible.info/english/articles/escher/escher.html 1950's

Life, Idea, Departure, Appearance

“First were the thick stone walls, the arches, then the domes and vaults — of the architect, searching out for wider spaces.
Now it is concrete-reinforced that gives our imagination flight with its soaring spans and uncommon cantilevers. Concrete, to which architecture is integrated, through which it is able to discard the foregone conclusions of rationalism, with its monotony and repetitious solutions.
A concern for beauty, a zest for fantasy, and an ever-present element of surprise bear witness that today's architecture is not a minor craft bound to straight-edge rules, but an architecture imbued with technology: light, creative and unfettered, seeking out its architectural scene.”

Oscar Niemeyer (1907–2012) Brazilian architect

Acceptance speech, Pritzker Architecture Prize http://www.pritzkerprize.com/bunnei.htm#Oscar%20Niemeyer's%20Acceptance%20Speech (1988).

Beauty, Imagination, Search, Light

“The moral ideal has disappeared in all that has to do with international relations. The gain-seeking impulse supported by brute force has taken its place, and so far as the surface of things is concerned human civilization has gone back a full thousand years. Inconceivable though it be, we are brought face to face in this twentieth century with governments of peoples once great and highly civilized, whose word now means absolutely nothing. A pledge is something not to be kept, but to be broken. Cruelty and national lust have displaced human feeling and friendly international co-operation. Human life has no value, and the savings of generations are wasted month by month and almost day by day in mad attempts to dominate the whole world in pursuit of gain.
How has all this been possible? What has happened to the teachings and inspiring leadership of the great prophets and apostles of the mind, who for nearly three thousand years have been holding before mankind a vision of the moral ideal supported by intellectual power? What has become of the influence and guidance of the great religions Christian, Moslem, Hebrew, Buddhist with their counsels of peace and good-will, or of those of Plato and of Aristotle, of St. Augustine and of St. Thomas Aquinas, and of the outstanding captains of the mind Spanish, Italian, French, English, German who have for hundreds of years occupied the highest place in the citadel of human fame? The answer to these questions is not easy. Indeed, it sometimes seems impossible.
Are we, then, of this twentieth century and of this still free and independent land to lose heart and to yield to the despair which is becoming so widespread in countries other than ours? Not for one moment will we yield our faith or our courage! We may well repeat once more the words of Abraham Lincoln: "Most governments have been based on the denial of the equal rights of men, ours began by affirming those rights. We made the experiment, and the fruit is before us. Look at it think of it!"
However dark the skies may seem now, however violent and apparently irresistible are the savage attacks being made with barbarous brutality upon innocent women and children and non-combatant men, upon hospitals and institutions for the care of the aged and dependent, upon cathedrals and churches, upon libraries and galleries of the world s art, upon classic monuments which record the architectural achievements of centuries we must not despair. Our spirit of faith in the ultimate rule of the moral ideal and in the permanent establishment of liberty of thought, of speech, of worship and of government will not, and must not, be permitted to weaken or to lose control of our mind and our action.”

Nicholas Murray Butler (1862–1947) American philosopher, diplomat, and educator

Liberty-Equality-Fraternity (1942)

Life, Women, Men, Children

“When taken as a way of modeling cognitive architecture, connectionism really does represent an approach that is quite different from that of the classical cognitive science that it seeks to replace. Classical models of the mind were derived from the structure of Turing and Von Neumann machines. They are not, of course, committed to the details of these machines as exemplified in Turing's original formulation or in typical commercial computers—only to the basic idea that the kind of computing that is relevant to understanding cognition involves operations on symbols.. In contrast, connectionists propose to design systems that can exhibit intelligent behavior without storing, retrieving, or otherwise operating on structured symbolic expressions. The style of processing carried out in such models is thus strikingly unlike what goes on when conventional machines are computing some function.”

Jerry Fodor (1935–2017) American philosopher

Jerry A. Fodor, and Zenon W. Pylyshyn. "Connectionism and cognitive architecture: A critical analysis." Cognition 28.1-2 (1988): 3-71.

Way, Behavior, Intelligence, Idea

“The world of architecture – and of works conceived for architecture – tends towards beauty. True beauty tends towards ugliness and panic.”

Bram van Velde (1895–1981) Dutch painter

short quotes, May 1972; p. 87
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

World, Beauty

“(Enterprise Architecture is) the set of descriptive representations (i. e., models) that are relevant for describing an Enterprise such that it can be produced to management's requirements (quality) and maintained over the period of its useful life.”

John Zachman (1934) American computer scientist

Zachman (1987) cited in: Antonio Laganà, Marina L. Gavrilova, Vipin Kumar (2004) Computational Science and Its Applications -- ICCSA 2004. p. 604

Life

“The free placement of the means of expression is a privilege enjoyed exclusively by painting [different opinion with Theo van Doesburg]] ]. The sister arts, sculpture and architecture, are more restricted in this respect. The other arts enjoy even less scope in their employment of the means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, c. Oct. 1917; as cited in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London, 1963 (transl. Daphne Woodward), p. 237
1910's

Art, Sister, Painting

“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

Life, God, People, Truth

“Architecture is treated as crystallisation; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance.”

Georg Wilhelm Friedrich Hegel book Lectures on Aesthetics

Die Architektur ist dann die Kristallisation, die Skulptur die organische Figuration der Materie in ihrer sinnlich-räumlichen Totalität; die Malerei die gefärbte Fläche und Linie; während in der Musik der Raum überhaupt zu dem in sich erfüllten Punkt der Zeit übergeht; bis das äußere Material endlich in der Poesie ganz zur Wertlosigkeit herabgesetzt ist. Part III https://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm Lectures on Aesthetics (1835)

Music, Time, Painting

“For it is not metres, but a metre-making argument, that makes a poem, — a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.”

Ralph Waldo Emerson Music

1840s, Essays: Second Series (1844), The Poet

Nature, Passion, Animals

“The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism, art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

As quoted in Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 194
1921 - 1930

Art, Decision, Painting

“Enterprise architecture (EA) promotes the belief that an enterprise, as a complex system, can be designed or improved in an orderly fashion achieving better overall results than ad-hoc organisation and design. EA is a co-operative effort of designers, analysts and managers and uses enterprise models in the process… enterprise models carry meaning. This resulted in requirements for the enterprise engineering process, which—if not met—can limit the viability of the process. The analysis of the same factors resulted in requirements for improved Enterprise Modelling Tools.”

Peter Bernus (1949) Hungarian-Australian computer scientist

Peter Bernus (2003) "Enterprise models for enterprise architecture and ISO9000: 2000." Annual Reviews in Control 27.2 : 211-220.

Fashion, Effort

“You can't make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it's a sculpture he has to first of all sense gravity. He's got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It's not architecture. It's rhythm and dance and everything. It's do with swimming and movement and air and sea and all our well-being. Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 21

Way, Feeling, Sense, Dance

“There would be dreamers of dreams and seers of visions and hearers of voices; readers of the entrails of beasts and interpreters of the flight of birds; there would be burning bushes and stone tablets on mountain-tops, and inspired words dictated to aged disciples on lonely islands. There would arise special castes of men and women, learned in these sacred matters; and these priestly castes would naturally emphasize the importance of their calling, would hold themselves aloof from the common herd, endowed with special powers and entitled to special privileges. They would interpret the oracles in ways favorable to themselves and their order; they would proclaim themselves friends and confidants of the god, walking with him in the night-time, receiving his messengers and angels, acting as his deputies in forgiving offenses, in dealing punishments and in receiving gifts. They would become makers of laws and moral codes. They would wear special costumes to distinguish them, they would go through elaborate ceremonies to impress their followers, employing all sensuous effects, architecture and sculpture and painting, music and poetry and dancing, candles and incense and bells and gongs.”

Upton Sinclair book The Profits of Religion

Book One : The Church of the Conquerors, "The Priestly Lie"
The Profits of Religion (1918)

Women, Men, God, Age

“Europe' in anything other than the geographical sense is a wholly artificial construct. It makes no sense at all to lump together Beethoven and Debussy, Voltaire and Burke, Vermeer and Picasso, Notre Dame and St Paul's, boiled beef and bouillabaisse, and portray them as elements of a 'European' musical, philosophical, artistic, architectural or gastronomic reality. If Europe charms us, as it has so often charmed me, it is precisely because of its contrasts and contradictions, not its coherence and continuity.”

Margaret Thatcher book Statecraft: Strategies for a Changing World

Source: Statecraft: Strategies for a Changing World, p. 328

Music, Reality, Sense

“The true architectural art, that art toward which I would lead you, rests, not upon scholarship but upon human powers; and, therefore, it is to be tested, not by the fruits of scholarship, but by the touch-stone of humanity.”

Louis Sullivan (1856–1924) American architect

Source: Kindergarten Chats (1918), Ch. 10 : A Roman Temple

Art

“Function and purpose define architecture as a practical arrangement, while form defines architecture as a manifestation of apparition. The world of appariation that we cannot exist without (Max Horkheimer), is a psychological issue related to form.”

Justus Dahinden (1925) Swiss architect

Man and Space - Mensch und Raum 2005

World

“The weird thing about houses is that they almost always look like nothing is happening inside of them, even though they contain most of our lives. I wondered if that was sort of the point of architecture.”

John Green book The Fault in Our Stars

Hazel Grace Lancaster, p. 139
The Fault in Our Stars (2012)

Housing

“I think all these new sculptors [after World War 2. ] – he Anthony Caro is not all that young though – are taking stand against abominable architecture since the war and I think rightly so. But again I feel it's not enough to be against something. You have to do something that will damn well replace it. Where do you put these sculptures?... I like to think that time is timeless and I wouldn't want to make a work which wouldn't last for more than ten years – nor a work that wouldn't go anywhere. It would make me terrible mad. Mind you, I have to wait to find for my work. It doesn't happen all that easily, but it does happen. It slips in somewhere. Before the war the architects were very much one with the sculptors, painters, everybody. We thought alike. Then the war was over.... the architects gave up coming to look at sculpture and painting.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 22

War, World, Feeling, Thinking

“People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming. But the generic city, the general urban condition, is happening everywhere, and just the fact that it occurs in such enormous quantities must mean that it's habitable. Architecture can't do anything that the culture doesn't. We all complain that we are confronted by urban environments that are completely similar. We say we want to create beauty, identity, quality, singularity. And yet, maybe in truth these cities that we have are desired. Maybe their very characterlessness provides the best context for living.”

Rem Koolhaas (1944) Dutch architect (b.1944)

From Bauhaus to Koolhaas Interview in Wired magazine http://www.wired.com/wired/archive/4.07/koolhaas.html (4 July 1996)

People, Truth, Beauty, Thinking

“Gormenghast, that is, the main massing of the original stone, taken by itself would have displayed a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellings that swarmed like an epidemic around its outer walls.”

Mervyn Peake book Titus Groan

Source: Titus Groan (1946), Chapter 1 “The Hall of the Bright Carvings” (p. 9; opening words)

“Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived.”

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

As quoted in An Organic Architecture (1970)

Life, World

“It's very simple and it has nothing to do with identifiable goals. It is to keep thinking about what architecture can be, in whatever form. That is an answer, isn't it? I think that S, M, L, XL has one beautiful ambiguity: it used the past to build a future and is very adamant about giving notice that this is not the end. That's how it felt to me, anyway. That is in itself evidence of a kind of discomfort with achievement measured in terms of identifiable entities, and an announcement that continuity of thinking in whatever form, around whatever subject, is the real ambition.”

Rem Koolhaas (1944) Dutch architect (b.1944)

Rem Koolhaas Interview with Jennifer Sigler in Index Magazine http://www.indexmagazine.com/interviews/rem_koolhaas.shtml, (2000)

Beauty, Thinking, Past, Future

“This book [full of linoleum prints] will be an alphabet of pictorial elements without text, which shall aim at establishing a larger scale of painting, a closer contact between the artist and the wall, and a new spirit of art accompanying architecture.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

In the introduction, (written in 1951) of his not published book: "Line Form and Color"; as quoted in "Ellsworth Kelly, a Retrospective", ed. Diane Waldman, Guggenheim museum, New York 1997, p. 22
1950 - 1968

Books, Art, Painting

“I’m very skeptical in approaching Bach as a clean slate. To understand Bach, one has to be at home in the whole literature of art and interpretation; one must have great experience in performing the complete literature, from Bach until the early avantgarde. I’m absolutely convinced that only by this deep knowledge one can feel the all-embracing range of effects that are compressed in Bach and his music - and how later generations have been inspired. Only by this experience you can give the Bach interpretation a new balance and tension. In the case of the Goldberg Variations we are confronted with these all-emotional effects, and I’m also skeptical whether this all-embracing range can be touched by much too young players, on harpsichord as well as on piano. Knowing the true worth of this condensed and nearly welded-in polyphonic structure and singular musical architecture, one ultimately knows that it is impossible to play with the variations, meaning to change voices, or make doublings. Then the music itself would be robbed of its true worth and sense, which can only be revealed by bringing out the embedded simplicity, which however is transformed to an electrified, heated atmosphere. One has to respect the internal strength.”

Burkard Schliessmann classical pianist

Talkings on Bach

Art, Music, Feeling, Home

“A [figure] interests me when I can bring architecture out of it.”

Aristide Maillol (1861–1944) sculptor from France

as quoted in ’A sculpture of interior Solitude’, by Angelo Carnafa, Associated University Presse, 1999, p. 167

“But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness."”

Robert Morgan (1943) American art historian

This is part of the pity of Modernism, one of the sacrifices it enjoins... Clement Greenberg, Robert C. Morgan in: Clement Greenberg, Late Writings in Detached Observations http://books.google.co.in/books?id=8wFNAAAAYAAJ, University of Minnesota Press, 30 January 2007, p. 70

Art, Parting

“In the Far West, the United States of America openly claimed to be custodians of the whole planet. Universally feared and envied, universally respected for their enterprise, yet for their complacency very widely despised, the Americans were rapidly changing the whole character of man’s existence. By this time every human being throughout the planet made use of American products, and there was no region where American capital did not support local labour. Moreover the American press, gramophone, radio, cinematograph and televisor ceaselessly drenched the planet with American thought. Year by year the aether reverberated with echoes of New York’s pleasures and the religious fervours of the Middle West. What wonder, then, that America, even while she was despised, irresistibly moulded the whole human race. This, perhaps, would not have mattered, had America been able to give of her very rare best. But inevitably only her worst could be propagated. Only the most vulgar traits of that potentially great people could get through into the minds of foreigners by means of these crude instruments. And so, by the floods of poison issuing from this people’s baser members, the whole world, and with it the nobler parts of America herself, were irrevocably corrupted.
For the best of America was too weak to withstand the worst. Americans had indeed contributed amply to human thought. They had helped to emancipate philosophy from ancient fetters. They had served science by lavish and rigorous research. In astronomy, favoured by their costly instruments and clear atmosphere, they had done much to reveal the dispositions of the stars and galaxies. In literature, though often they behaved as barbarians, they had also conceived new modes of expression, and moods of thought not easily appreciated in Europe. They had also created a new and brilliant architecture. And their genius for organization worked upon a scale that was scarcely conceivable, let alone practicable, to other peoples. In fact their best minds faced old problems of theory and of valuation with a fresh innocence and courage, so that fogs of superstition were cleared away wherever these choice Americans were present. But these best were after all a minority in a huge wilderness of opinionated self-deceivers, in whom, surprisingly, an outworn religious dogma was championed with the intolerant optimism of youth. For this was essentially a race of bright, but arrested, adolescents. Something lacked which should have enabled them to grow up. One who looks back across the aeons to this remote people can see their fate already woven of their circumstance and their disposition, and can appreciate the grim jest that these, who seemed to themselves gifted to rejuvenate the planet, should have plunged it, inevitably, through spiritual desolation into senility and age-long night.”

Olaf Stapledon book Last and First Men

Source: Last and First Men (1930), Chapter II: Europe’s Downfall; Section 1, “Europe and America” (p. 33)

Fate, People, Pleasure, Youth

“But the projects with which the architects of Russian proletarian architecture present us are not only based on pure imagination, but their construction would, if they were fitted for realization, entail enormous waste of space and materials. The dwelling complex 'Wolkenbügel' [architecture, designed by Lissitzky, with the help of [ w:Emil Roth - Swiss architect, 1924] (assuming that one could live here without either freezing or melting!), shaped like a 4, stands in a very un-constructive way on three legs in which the elevators are located. The latter take up as much space as would one or more skyscrapers. And these 'architects' are to teach the West what architecture is!”

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

Quote of Theo van Doesburg, in Architecture and revolution — Revolutionary architecture? Utopian designs by Tatlin, Lissitzky, and others, Theo van Doesburg, in 'Het Bouwbedrijf' (1928)
1926 – 1931

Way, Imagination, Help

“Plastic expression in architecture is inconceivable without colour. Colour and light complete one another. Without colour architecture is expressionless, blind... If the Functionalists wish to suppress colour completely, then this merely proves that they never understood the importance of colour as an ‘architectural’ element, as a means of plastic expression, no matter whether used with iron, glass, or concrete.”

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

Quote in van Doesburg's his article: 'Space – time and colour', in 'De Stijl', Aubette Issue, series xv, 87-9, 1928, pp. 26–27
1926 – 1931

Light

“Mary's treatment of respectable and law-abiding people who had no favors to ask, and were reasonably confident of getting to heaven by the regular judgment, without expense, rankled so deeply that three hundred years later the puritan reformers were not satisfied with abolishing her, but sought to abolish the woman altogether as the cause of all evil in heaven and on earth. The puritans abandoned the New Testament in order to go back to the beginning, and renew the quarrel with Eve. This is the Church's affair, not ours, and the women are competent to settle it with Church or State, without help from outside; but honest tourists are seriously interested in putting the feeling back into the dead architecture where it belongs.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Women, People, Law, Feeling

“Architecturally, the town looked like the worst of all possible cheap-and-sleazy tract developments, but the psychic texture it projected was even more depressing, more like that of one of those ghastly retirement communities, one of the innumerable Leisure Worlds or Sun Manors, those childless joyless retreats where colonies of that other kind of living dead collected to await the last trumpet.”

Robert Silverberg (1935) American speculative fiction writer and editor

Short fiction, Born with the Dead (1974)

World, Communication, Sun, Dead

Zenon Pylyshyn (1937) Canadian philosopher

Jerry A. Fodor, and Zenon W. Pylyshyn. "Connectionism and cognitive architecture: A critical analysis." Cognition 28.1-2 (1988): 3-71.

Way, Behavior, Intelligence, Idea

“.. modern destruction begins where architectural structure is opened up and set into motion by colour relationships. The colour-planes, however, are always in orthogonal relationship.”

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

Quote in Van Doesburg's article: 'Aantekeningen bij Bijlage 12 (Notes), De Zaag en de goudvischkom van P.Alma', by Theo van Doesburg; in art-magazine 'De Stijl' 1 8, June 1918, p. 93
1912 – 1919

“The new vision…. does not proceed from a fixed point. Its viewpoint is everywhere, and not limited to any one position [in space]. Nor is it bound by space or time (in accordance with the theory of relativity) [of Einstein ]. In practice, the viewpoint is in front of the plane… Thus this new vision sees architecture as a multiplicity of planes; again flat. This multiplicity composes itself (in an abstract sense) into a flat image [in contrast to Theo van Doesburg who emphasized the dynamic position of the viewer – a central idea of Futurism in 1919].”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote, 1919, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 148
1910's

Idea, Sense, Time, Future

“The spire is the simplest part of the romanesque or gothic architecture, and needs least study in order to be felt. It is a bit of sentiment almost pure of practical purpose. It tells the whole of its story at a glance, and its story is the best that architecture had to tell, for it typified the aspirations of man at the moment when man's aspirations were highest.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Study, Parting

“Dots are just one example of an element in Lascaux art, and in all cave art… This is a profusion of nonrepresentational, geometric patterns. In addition to dots, there are grids and chevrons, curves and zigzags, and more. …The coincidence of these geometric motifs with representational images is one of the most puzzling aspects of Upper Paleolithic art. …images, six different kinds in all, are shimmering, incandescent, mercurial—and powerful. Called entoptic images—which means "within vision"—these phenomena are products of the basic neural architecture of the human brain.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Art

“There are two great uses of antiquarian studies. One of them is to enable us to conjure up as if by the magician's wand the dress, furniture, architecture, &c., of past ages, so that we can live, as it were, in many centuries almost at the same moment. This is a very great and a very pleasant species of knowledge, but it is not particularly useful in this work-a-day world; and it sometimes, like other knowledge, renders its possessor far from happy, more especially when he goes to the theatre, and sees all sorts of anachronisms and impossibilities a. The other use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 13

Age, World, Art, Knowledge

“It's in human nature to mention any personal connection when offering solidarity, so I shall just briefly say that on my first visit to India, in 1980, I stayed at the Taj Mahal in Bombay, visited the "Gateway of India" and took a boat to Elephanta Island, toured the magnificent railway station, had my first diwali festival at Juhu beach, and paced the amazing corniche that was still known by some—after its dazzling string of lights—as "Queen Victoria's necklace." Wonderful though some of the 19th-century British architecture can be, Bombay is quintessentially an Indian achievement, and an achievement of all its peoples from the Portuguese-speaking Catholic Goans to the Zoroastrian Parsis.”

Christopher Hitchens (1949–2011) British American author and journalist

2000s, 2008, "Our Friends in Bombay", 2008

People, Nature, Light, Personality

“The plastic expression of space is inconceivable without light. Light and space complete one another. In architecture light represents an element of plastic expression – in fact, the most important one. An organic relationship between 'space' and 'material' is possible only with the aid of light. The highest achievements in architecture can be accomplished only if light also is treated as plastic form.”

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

Quote in van Doesburg's article: 'Space – time and colour' in 'De Stijl', Aubette Issue, series xv, 87-9, 1928, pp. 26–27
1926 – 1931

Light

“Architecture has its political Use; public Buildings being the Ornament of a Country; it establishes a Nation, draws People and Commerce; makes the People love their native Country, which Passion is the Original of all great Actions in a Common-wealth…. Architecture aims at Eternity.”

Christopher Wren (1632–1723) English architect

"Of Architecture", Parentalia; or Memoirs of the Family of the Wrens, comp. by his son Christopher (1750, reprinted 1965), Appendix, p. 351.

Love, People, Passion, Drawing

“This book does not show of what architecture is composed, but treats of the origin of the building art, how it was fostered, and how it made progress, step by step, until it reached its present perfection.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter I, Sec. 8

Books, Art, Perfection

“For summer tourists to handle these intricate problems in a theological spirit would be altogether absurd; but for us these great theologians were also architects who undertook to build a Church Intellectual, corresponding bit by bit to the Church Administrative, both expressing — and expressed by — the Church Architectural. Alexander Hales, Albert the Great, Thomas Aquinas, Duns Scotus, and the rest, were artists.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Problem, Summer

“Any work of architecture which does not express serenity is a mistake.”

Luis Barragán (1902–1988) Mexican architect

Contemporary Architects, St. Martins Press.

“…that's really the first thing to say about Speer's architecture. It was just awful. A genius without talent, he was essentially a theatrical personality, with enough gumption to be quiet about it.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

Ibid.
Essays and reviews, Snakecharmers in Texas (1988)

Personality

“We (the indivisible divinity that works in us) have dreamed the world. We have dreamed it resistant, mysterious, visible, ubiquitous in space and firm in time, but we have allowed slight, and eternal, bits of the irrational to form part of its architecture so as to know that it is false.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

"Avatars of the Tortoise" ["Avatares de la tortuga"]
Discussion (1932)

World, Dreams, Time, Parting

“America is a much newer experiment in human living, one with moral concerns at its core. In this respect it differs from Europe, which has preferred sophistication and worldly wisdom to "righteousness," and resembles China, which saw the universe itself as essentially a moral order. However materialistic Americans may be in their economic pursuits, their ceremonies emphasize the material far less than European societies have. America has imposing official architecture. Washington, D. C., boasts a radial baroque stateliness. Yet one of its most important buildings, the White House, is a modest dwelling, its scale far smaller than that of the palaces of Europe and Asia.”

Yi-Fu Tuan (1930) Chinese-American geographer

Shadows and Light, epilogue, Passing Strange and Wonderful: Aesthetics, Nature, and Culture (1993).

Wisdom, Universe, Housing

“In Switzerland, there’s now this semi-urbanism; architecture that’s neither good nor bad, neither urban nor rural, and yet well-connected to the public transport network; where there’s always something green, but never lush or a lot; where there’s always a bit of water in the form of a river, stream or a lake. As long as most people can live like that and it doesn’t suddenly become too dense and packed in the districts, and in the trams and suburban trains, it’s impossible to change it.”

Jacques Herzog (1950) Swiss architect

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

People, Water, Change, Training

“It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with “beauty” and thus, taste, was inevitably duty bound to discuss art as well. Out of this “habit” grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other “functions” of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art.”

Joseph Kosuth (1945) American conceptual artist

Art after Philosophy, 1969

World, Beauty, Art, Error

“The culture-its excess-really suited me. I always liked Indian miniature painting much more than Renaissance painting. I didn't see what was so great about Rembrandt or Michelangelo. I liked paintings where there were 10,000 people in the scene and elephants and horses! I liked the carvings on Indian temples so much more than the simple architectural outlines.”

Wendy Doniger (1940) American Indologist

On the cultural aspect of India.
Q&A with Wendy Doniger, the Mircea Eliade Distinguished Service Professor and author of The Hindus

People, Horse, Painting

“Many fields use patterns in various ways: In music and literature, a pattern is the coherent structure or design of a song or book. In art, a pattern is the composition or plan of a work of graphic or plastic art. In architecture, a pattern is an architectural design or style. In psychology, a pattern is a thinking mechanism that is basic to the brain's operation, helping one to perceive things quickly. In archeology, a pattern is a group of phases having several distinguishing and fundamental features in common. In linguistics, a pattern is the manner in which smaller units of language are grouped into larger units…”

Peter Coad (1953) American software entrepreneur

Source: Object-oriented patterns. (1992), p. 152

Books, Art, Music, Way

“The elder Wood lived only to see his Circus begun. He died in 1754, and it was completed by his son. In 1766 the younger Wood acquired, in partnership with another person, a piece of land westwards of the Circus and on this he built the Royal Crescent (1767–75). This great semi-elliptical block, comprising thirty houses, is of very special importance in the history of English architecture, for it introduced a type of urban composition which was employed over and over again, with innumerable variations, until well into the nineteenth century.”

John Summerson (1904–1992) British architectural historian

Architecture in Britain, 1530–1830

History, Housing, Personality, Partnership

“In 1995 we started our study of enterprise architecture – we just did not know it. At the time we thought we were studying information technology infrastructure transformations. In 1998 we thought we were studying enterprise system implementations. In 2000 it was e-business. But sometime in 2000, we recognized that each of these studies examined basically the same thing: Enterprise Architecture.”

Jeanne W. Ross (1958) American computer scientist

Source: Enterprise architecture as strategy, 2006, p. vii

Business, Study, Time

“A proposed profile of UML—Executable UML—supports creating a complete and implementation-neutral self-contained expression of application functionality. Steven J. Mellor and Marc J. Balcer define this profile in their book Executable UML: A Foundation for Model-Driven Architecture”

Grady Booch (1955) American software engineer

The Limits of Software

Books, Support

“Enterprise architecture is the organizing logic for business processes and IT infrastructure reflecting the integration and standardization requirements of a company's operation model… The key to effective enterprise architecture is to identify the processes, data, technology, and customer interfaces that take the operating model from vision to reality.”

Jeanne W. Ross (1958) American computer scientist

Source: Enterprise architecture as strategy, 2006, p. 47

Business, Reality

“Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.”

George Steiner (1929–2020) American writer

Source: Tolstoy or Dostoevsky (1960), Ch. 1.

Love, Art, Imagination, Painting

“One of the distinct features of XP is the lack of any documentation whatsoever, except for the code itself. This is a contraposition to the modeling techniques like the Unified Modeling Language (UML), which strongly focus on documentation. XP takes an extreme position there, not even documenting the architecture of the system. Often, it is very difficult to extract the overall structure, behavior or interactions with the environment from the code. The code is a rather detailed and fragile representation of the system’s tasks. Even though the code contains all necessary information about the system, this information is often burdened with details and it is tedious to extract the aspects one is interested in. Therefore, it would be useful to have a more compact system representation. The UML does provide a number of notations that are suited for this purpose. However, the tools so far are not capable of supporting UML in such a manner that it can be well-integrated with the approach of Extreme Programming.”

Bernhard Rumpe (1967) German computer scientist

Source: Executable Modeling with UML. A vision or a Nightmare (2002), p. 698

Behavior, Support

“Vito Acconci’s extraordinary career—poetry, art, architecture: a sort of triathlon of the arts—began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers’ Workshop. But when he came back to New York in the early ’60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading.”

Shelley Jackson (1963) a writer and artist known for her cross-genre experiments

Shelley Jackson, in: Shelley Jackson talks with Vito Acconci http://www.believermag.com/issues/200612/?read=interview_acconci, in: The Believer, Nr. 12. 2006.

World, School, Art, Feeling

“The short step then required to complete the stride consists in recognition of the fact that a contre-relief is an architectonic structure, but the slightest deviation from the plumb-line of economy leads into a blind alley. The same fate must also overtake the architecture of cubist contre-relief... By taking these elements FROM THEM for itself it wants to become equally entitled to take its place alongside them as a new creation. The reference is to the narrow technical discoveries for example the submarine, the aeroplane, the motors and dynamos of every kind of motive power in each part of a battle-ship. Contre-relief is instinctively aware of their legitimate origin their economy of form and their realism of treatment.”

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

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

Fate, Motivation, Parting

“These buildings are just right for the excesses of post-modernism -- decorative, frivolous -- serving to obviously excite and attract -- every feature using the architectural vocabulary freely without too much regard for serious function -- open glass atriums and shining metals and expensive and artificial marbles, zany letterings and excess neon.”

Peter Greenaway (1942) British film director

8 1/2 Women

“Management has a design and operation function, as does engineering. The design is usually done under the heading of organization. It should be noted first that the performance of a group of people is a strong function of the capabilities of the individuals and a rather weak function of the way they are organized. That is, good people do a fairly good job under almost any organization and a somewhat better one when the organization is good. Poor talent does a poor job with a bad organization, but it is still a poor job no matter what the organization. Repeated reorganizations are noted in groups of individuals poorly suited to their function, though no amount of good organization will give good performance. The best architectural design fails with poor bricks and mortar. But the payoff from good organization with good people is worthwhile.”

Robert E. Machol (1917–1998) American systems engineer

Source: System Engineering (1957), p. 514; As cited in: Joseph E. Kasser (2010) " Seven systems engineering myths and the corresponding realities http://www.synergio.nl/media/59286/7_myths_of_se.pdf"

People, Way, Strong

“The basic function of thought is to find ways of satisfying our needs and desires. The Surrealism of Breton and the functionalism of architecture which was more concerned with the way in which thought functions rather than with its function, — was initially idealistic. But is this not something which we can extract from Breton’s definition of automatism?”

Asger Jorn (1914–1973) Danish artist

1949 - 1958, Speech to the Penguins' (1949)

Way

“Architecture, sculpture, painting, music, and poetry, may truly be called the efflorescence of civilised life.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

Education: What Knowledge Is of Most Worth?
Essays on Education (1861)

Life, Music, Painting

“She well knew the great architectural secret of decorating her constructions, and never descended to construct a decoration.”

Anthony Trollope book Barchester Towers

Source: Barchester Towers (1857), Ch. 9

Secret

“In making the four-channel video work Dachau, my experience as a weaver directly influenced the basic structuring of the work. The content itself was taped in 1974 at the former concentration camp Dachau. The symmetry of the architecture and the present ambience of the space were the focus of the recordings. The past was recorded only insofar as the sounds of the voices of the present commingled with the feeling absorbed in the wood and revealed in the structure of forms which has no amount of time can erase.”

Beryl Korot (1945) American artist

Source: Dachau 1974, by Beryl Korot, p. 75

Feeling, Time, Past

“Fair play to you,
Kilarney's lakes are so blue,
And the architecture I'm taking in with my mind,
So fine.”

Van Morrison (1945) Northern Irish singer-songwriter and musician

Fair Play
Song lyrics, Veedon Fleece (1974)

“Says Oliver Cromwell: "What are all histories but God manifesting Himself, that He hath shaken down and trampled under foot whatsoever He hath not planted?" History is not a series of jumbled happenings. God is in the facts of history as truly as He is in the march of the seasons, the revolution of the planets, or the architecture of the worlds.”

John Lanahan (1815–1903)

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 426.

God, World, History, Season

“Designed as a companion volume to the acclaimed Object-Oriented Analysis, this book focuses on the middle part of the software lifecycle: the activity of design. It shows readers how to apply object-oriented design, and how to tailor and expand the method to suit specific organization and project needs. Readers will explore the major issues in OOD; the role of OOD in the systems lifecycle; how to use graphical notation; strategies for creating design; and hints for evaluating the efficiency of a design created with OOD. For software engineers and other users undertaking real-world systems development projects and designing overall software architecture for systems will find this reference approach to improving systems design indispensable.”

Ed Yourdon (1944–2016) American software engineer and pioneer in the software engineering methodology

Abstract.
Object-oriented design (1991)

Books, World, Parting

“It creeped him out, the way it just sat there looking so plastic and harmless among the old-time good intentions of all that downtown architecture, no more sinister than a chain motel by the freeway, and yet behind its neutral drapes and far away down its fluorescent corridors it was swarming with all this strange alternate cop history and cop politics—cop dynasties, cop heroes and evildoers, saintly cops and psycho cops, cops too stupid to live and cops too smart for their own good—insulated by secret loyalties and codes of silence from the world they'd all be given to control, or, as they liked to put it, protect and serve.”

Thomas Pynchon book Inherent Vice

Source: Inherent Vice (2009), p. 137

Secret, Stupidity, World, Way

“Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's

Art, Reality, Painting

“I view the JVM as just another architecture that Perl ought to be ported to.”

Larry Wall (1954) American computer programmer and author, creator of Perl

That, and the Underwood typewriter...
[199808050415.VAA24026@wall.org, 1998]
Usenet postings, 1998

“Architecture depends on Order, Arrangement, Eurythmy, Symmetry, Propriety, and Economy.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter II "The Fundamental Principles of Architecture" Sec. 1

Dependency

“The new architecture has 'opened' the walls so that the separateness of interior and exterior is suppressed. Walls no longer sustain since the system of construction is based upon the use of columns. This results in a new type of ground plan, an open ground plan, which is totally different from classical ones, since interior space and exterior space are interrelated.”

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

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

“Writing about music is like dancing about architecture.”

Martin Mull (1943) American actor

(on or before 1979), attributed in print in the magazine Time Barrier Express in the September-October 1979 issue in an article by Gary Sperrazza. Writing About Music is Like Dancing About Architecture: Laurie Anderson? Steve Martin? Frank Zappa? Martin Mull? Elvis Costello? Thelonius Monk?, Quote Investigator (blog), November 9, 2010 http://quoteinvestigator.com/2010/11/08/writing-about-music/, Attributed

Music, Dance

“There are three departments of architecture: the art of building, the making of time-pieces, and the construction of machinery.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter III "The Departments of Architecture" Sec. 1

Art, Time

“Having presented all the relevant nanoscale mechanisms, thus laying down a firm background for the readers’ understanding, the author moves to the topic of architectural challenges in Chapter 7. This field is claimed still to be an unsolved problem so the author gives examples of currently used technologies and points out potential architectural solutions such as self-assembly, carbon nanotubes, or quantum systems. That is why it makes the book even more valuable for those who intend to involve nanonetworks in their research.”

Stephen F Bush

Book Reviews, REVIEWER: JAKUB PALIDER, NANOSCALE COMMUNICATION NETWORKS STEPHEN F. BUSH, ARTECH HOUSE, 2010, ISBN-13: 978-1-60807-003-9, HARDCOVER, 308 PAGES, IEEE Communications Magazine, August 2011.

Books, Understanding, Problem

“The new architecture considers not only space, but also time to be an architectural value. The unity of space and time will give architecture a new form of appearance, which is more complete. This is what is meant by 'active space'.... the dissimilar space-cells develop eccentrically from the center to the borders of the cube, thereby granting a new plastic quality to the dimensions of height, width, depth, and time.”

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

Appearance, Time

“What I set myself to do was this, to write a sort of grammar of thirteenth-century architecture, and to illustrate it with carefully measured details. I moreover resolved, when I did measure details or buildings, to do the part I wanted, and not to waste time by trying to make a finished drawing by means of the surroundings. The plan of the book fell through, for I had scarcely been at work two months before the advertisement of M. Viollet-le-Duc's Dictionary appeared, and I then continued tho drawings for my own instruction and without any intention of publication.”

William Burges (1827–1881) English architect

William Burges, Architectural Drawings, London, 1870. p. 1; As cited in American Architect and Building News. 1881. Vol. 9. p. 236

Books, Appearance, Time, Parting

“Aware that the city was architecturally unworthy of her position as capital of the Roman Empire, besides being vulnerable to fire and river floods, Augustus so improved her appearance that he could justifiably boast: "I found Rome built of bricks; I leave her clothed in marble."”
Urbem neque pro maiestate imperii ornatam et inundationibus incendiisque obnoxiam excoluit adeo, ut iure sit gloriatus marmoream se relinquere, quam latericiam accepisset.

Sueton book The Twelve Caesars

Source: The Twelve Caesars, Augustus, Ch. 28

Appearance, Clothes

Quotes about architecture page 2

Quotes about architecture
page 2