Quotes about architecture
page 3

“How and among whom this Palladian taste became formed it will be our business presently to inquire. The first point to note is that it had nothing to do with Wren, Vanbrugh, Hawksmoor, or Archer except in so far as, by excluding the works of these architects from salvation, it was better able to distinguish its own particular sort of grace. The second point to note is that, once formulated, the Palladian taste became the taste of the second generation of the Whig aristocracy, the sons of that Whiggery which dated its accession to power from 1688 and to which, in Anne’s time, artistic and intellectual leadership, once centred at the Court, had passed. This second Whig generation had strong beliefs and strong dislikes, conspicuous among the latter being the Stuart dynasty, the Roman Church, and most things foreign. In architectural terms that meant the Court taste of the previous half-century, the works of Sir Christopher Wren in particular and anything in the nature of Baroque.”

John Summerson (1904–1992) British architectural historian

Architecture in Britain, 1530–1830

Business, Nature, Strong, Time

“Chopin absolutely was influenced by Bach. We know that before Chopin himself performed in concert, he didn’t play anything other than Bach. His own Preludes are a reference to the Well-Tempered Clavier of Bach, and all Chopin’s students had to play Bach. In whole, Chopin admired Bach most of all composers, and it was nothing less than the Well-Tempered Clavier itself that was his musical diary. I also have said that Chopin is the crowning and climax of piano-playing. It’s something so unique, all-affecting in emotionalism, musical architecture, and structure, that all past giants are present in it: Bach and Mozart. Chopin’s elegance is so singular, that again you need much experience to convey his music in the real and original style. The question of rubato is very sensitive: It’s nothing arbitrary, but much more something well calculated and well proportioned, something that is integrated in the classical strength of form, which is constructed on the profound knowledge of the polyphonic and contrapuntal structures of Bach and Mozart. Whether the Goldbergs may relate to this question? Absolutely! I again want to mention a certain and special term: jeu perlé.”

Burkard Schliessmann classical pianist

Without this you can’t play Chopin, you can’t play Mozart, and lastly absolutely not the Goldbergs.
Talkings on Bach

Music, Question, Knowledge, Past

“Their choice of material was always very much to do with what they were thinking as architecture students. Rather unexciting people, I would've thought, primarily. I mean, anybody walking into an art school like that would've been tricked--maybe they were working their entry into an art school.”

Syd Barrett (1946–2006) English musician

Syd Barrett interview in Melody Maker, 1971-03-27

People, School, Art, Thinking

“When software applications became larger and larger, people such as Shaw and Garlan coined the term software architecture. This notion of architecture deals with the key design principles underlying software artefacts. In the 1980s and 1990s, people became aware that the development of information technology (IT) should be done in conjunction with the development of the context in which it was used. This led to the identification of the so-called business/IT alignment problem. Solving the business/IT alignment problem requires enterprises to align human, organizational, informational, and technological aspects of systems. Quite early on, the term architecture was also introduced as a means to further alignment, and thus analyzes and solves business? IT alignment problems, Recently, the awareness emerged that alignment between business an IT is not enough, there are many more aspects in the enterprise in need of alignment. This has led to the use of the term architecture at the enterprise level: enterprise architecture.”

Erik Proper (1967) Dutch computer scientist

Martin Op 't Land, Erik Proper (2009) Enterprise Architecture: Creating Value by Informed Governance. p. 26-27

People, Business, Problem

“Faced with unmeasurables, people steer their way by magic. Before the invention of navigational instruments, a lady was carved on the prow of the boat to help sailors cross the ocean; and architects, grappling with the intangibles of design, select a guru whose work gives them personal help in areas where there are few rules to follow. The guru, as architectural father figure, is subject to intense hate and love; either way, the relationship is personal, it can only be a one-to-one affair. This accounts for the intensely ad hominem stance of some of ‘Venturi’s’ critics. If the attribution were correct the tone would be more even, as one cannot easily wax emotional over several people. I suspect, too, that for male architects the guru must be male. There can be no Mom and Pop gurus in architecture. The architectural prima donnas are all male.”

Denise Scott Brown (1931) American architect

"Sexism and the star system in architecture"

Love, Hate, People, Way

“Tunis. My head is full of the impressions of last night's walk. Art-Nature-Self. Went to work at once and painted in watercolour in the Arab quarter. Began the synthesis of urban architecture and pictorial architecture. Not yet pure, but quite attractive, somewhat too much of the mood, the enthusiasm of traveling in it-the Self, in a word. Things will no doubt get more objective later, once the intoxication has worn off a bit.”

Paul Klee (1879–1940) German Swiss painter

Diary-note, 7 April 1914; # 926-f; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html The evening of their arrival, Dr. Jaggi took the 3 artists Klee, August Macke and Louis Moilliet on 'a nocturnal walk through the Arab city' Tunis. Klee wrote this note next day. 1911 - 1914, Diary-notes from Tunisia' (1914)

Art, Travel, Mood, Nature

“Never as neat or well organized as many descriptions suggest, in essence feudalism involved the exchange of grants of land for military and political service, sealed by personal oaths between the lord and the vassal. The castle has been called the perfect architectural expression of the European feudal age.”

Marilyn Stokstad (1929–2016) art historian

Overview: Castles in Context
Medieval castles (2005)

Age, Personality, Perfection

“The transition from proprietary architecture to open modular architecture just happens over and over again. It happened in the personal computer. Although it didn’t kill Apple’s computer business, it relegated Apple to the status of a minor player. … You also see modularity organized around the Android operating system that is growing much faster than the iPhone. So I worry that modularity will do its work on Apple.”

Clayton M. Christensen (1952–2020) Mormon academic

"Why Clayton Christensen Worries About Apple" in Forbes (7 May 2012) http://forbes.com/sites/stevedenning/2012/05/07/why-clayton-christensen-worries-about-apple 2010s

Business, Personality

“I freely confess that I never had taste for study or research either in physics or geometry except in so far as they could serve as a means of arriving at some sort of knowledge of the proximate causes… for the good and convenience of life, in maintaining health, in the practice of some art,… having observed that a good part of the arts is based on geometry, among others that cutting of stone in architecture, that of sundials, that of perspective in particular.”

Girard Desargues (1591–1661) French mathematician and engineer

ca. 1640) as quoted by William Thompson Sedgwick, Harry Walter Tyler, A Short History of Science https://books.google.com/books?id=Wl8AAAAAMAAJ (1917

Life, Health, Art, Knowledge

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Age, World, School, Art

“My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman..”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Art, Time

“At the apogee of the state's evolution, architecture was monumental, and the ruling class were exalted as a pseudospecies. The sacred rites of statehood became the central focus of religion.”

Edward O. Wilson book On Human Nature

On Human Nature (1978), Ch.4 Emergence

Religion

“Spaces that trigger emotions alter the behaviour of people. Architecture aims at influencing human behaviour by space creations.”

Justus Dahinden (1925) Swiss architect

Räume, die Empfindungen auslösen, verändern das Verhalten des Menschen. Die Verhaltensbeeinflussung des Menschen durch die gestaltete Umwelt ist eine qualitative Zielsetzung des architektonischen Entwurfs.
Man and Space - Mensch und Raum 2005

People

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

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

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

Effort, Science, Future

“It is a rarity of the first order when the dean of an architectural college takes it upon himself to build houses comprised of woven split bamboo placed between two layers of treated clay. These readily available materials were artfully used by Professor Stein in his creation of two demonstration low-cost homes.”

Ken Kern American writer

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

Home, Housing

“Architecture is not about building the impossible, which we can do if we have enough money and enough tools and enough computers, it is about building what is appropriate and about attaining beauty through such an approach. I describe this premise as "inherent buildability and I believe it is central to what I do.”

Moshe Safdie (1938) Israeli-Canadian architect

from lecture Megascale, Order and Complexity held in Emmertal, Germany on July 27, 2008

Money, Beauty

“Probably even more than the architecture I'd be drawn to landscape. That's my first love, landscape... All kinds of landscape, if it's not cluttered up and vandalised. Yesterday we went out to Blenheim, and I love the flatness and the trees. I like all kinds. And where I'm from, the central valley of Virginia, is not one of the most exciting landscapes in the world, but it's one of the most beautiful. It's very beautiful because it has everything. It has mountains, there are streams, there are fields, beautiful trees. And architecture sits very well in it... And I've always lived in the south of Italy, because it’s more excitable. It's volcanic. The land affects people naturally, that's part of the characteristics, for me, of a people, in a sense.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 173

Love, People, World, Beauty

“I dream of a sculpture in which landscape, architecture and city are one. It might be a city like Marseille, a city steaming with heat which suddenly transmogrifies. I becomes an immense piece of sculpture, a gigantic figure, made up of white blocks and segmented by flat, horizontal terraces, arranged in a bare and motionless landscape.”

Fritz Wotruba (1907–1975) Austrian sculptor (23 April 1907, Vienna – 28 August 1975, Vienna)

circa 1969
Quote of Wotruba in: 'Sculpture of Rotterdam', ed. Jan van Adrichem / Jelle Bouwhuis / Mariëtte Dulle, Center for the Art, 010 Publishers, Rotterdam, 2002, p. 198.

Dreams

“Depraved these styles are called, the one with its ever broken and twisted mouldings, the other with its rich crowded carving, and depraved we may count them, if we are of the school that thinks the purpose of architectural ornament is always to state some fact of construction. The Mexican architects and their workmen were certainly not of this school. They broke their mouldings, turned and curved them and multiplied their ornament for the pure joy it gave them to see the sparkle of the sunlight on their white walls.”

Clarence Stein (1882–1975) American architect

A Triumph of Spanish Colonial Style (1916)

School, Thinking, Joy

“The insights in the book come from a series of research projects exploring enterprise architecture in more than 200 companies where our focus was on IT government from 1995 to 2005.”

Jeanne W. Ross (1958) American computer scientist

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

Books

“If a project has not achieved a system architecture, including its rationale, the project should not proceed to full-scale system development. Specifying the architecture as a deliverable enables its use throughout the development and maintenance process.”

Barry Boehm (1935) American software engineer

Barry Boehm (1995); quoted in: L. Bass, P. Clements, and R. Kazman (1998) Software Architecture in Practice, Addison Wesley Longman. Chapter 2

“The reason liberals despise Clarence Thomas or caricature a Ben Carson, more so than they do white conservative justices or public figures, is the threat that they pose to the entire engine of liberal condescension — and Democratic politics. When successful blacks prove that they easily compete in the marketplace of talent and ideas without liberal racial policies and their political henchmen, then the entire architecture of liberal racial politics collapses. The disdain shown a Thomas or Carson suggests that liberal racial politics serve as private medieval penance in the abstract, and at little personal cost for assuaging guilt over liberal apartheid.”

Victor Davis Hanson (1953) American military historian, essayist, university professor

2010s, "Black Lives Matter"—a Year From Now (2015)

Justice, Idea, Success, Personality

“I am obsessed with architecture. It is true, I am restless, trying to find myself as an architect, and how best to contribute in this world filled with contradiction, disparity, and inequality, even passion and opportunity.”

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

Source: The Pritzker Architecture Prize, 1989.

World, Passion

“The calculated ambiguity of expression is based on the confusion of experience as reflected in the architectural program.”

Robert Venturi book Complexity and Contradiction in Architecture

3. Ambiguity
Complexity and Contradiction in Architecture (1966)

“I now receive inquiries of interest for deanships and departmental chairs several times a year. I find myself on committees where I am the only woman and there is one black man. We two tokens greet each other wryly. I am frequently invited to lecture at architecture schools, ‘to be a role model for our girls.’ I am happy to do this for their young women but I would rather be asked purely because my work is interesting.”

Denise Scott Brown (1931) American architect

"Sexism and the star system in architecture"

Women, School, Girl, Time

“Architecture is a dangerous mixture of power and impotence.”

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

From S,M,L,XL, New York: The Monacelli Press, 1995

“Tracking the individual learning curves of the major technologies that comprise the infrastructure of information technology provides a more detailed account of the present and future state-of-the art of the technologies underlying convergence. The base technologies of digital electronics, general-purpose computer architectures, software and interaction are mature and provide solid foundations for computer science. The upper technologies of knowledge representation and acquisition, autonomy and sociality, support product innovation and provide the beginnings of foundations for knowledge science. Well's dream of a world brain making available all of human knowledge is well on its way to realization and it is in the representation, acquisition, and access and effective application of that knowledge that the commercial potential and socio-economic impact of convergence lies.”

Brian R. Gaines (1938) British computer scientist

Last paragraph
Convergence to the Information Highway (1996)

World, Dreams, Art, Way

“We can now determine, easily and relatively cheaply, the detailed chemical architecture of genes; and we can trace the products of these genes (enzymes and proteins) as they influence the course of embryology. In so doing we have made the astounding discovery that all complex animal phyla - arthropods and vertebrates in particular - have retained, despite their half-billion years of evolutionary independence, an extensive set of common genetic blueprints for building bodies.”

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

"Brotherhood by Inversion", p. 330
Leonardo's Mountain of Clams and the Diet of Worms (1998)

Animals

“.. it was the Cubist painters who created the new magic of space and color that everywhere today confronts our eyes in new architecture and design. Since then the various branches of modern art through exhaustive experiment and research have created a vast laboratory whose discoveries unveiled for all the secrets of form, line and color..”

Arshile Gorky (1904–1948) Armenian-American painter

Quote from Gorky's text: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]
1942 - 1948

Secret, Art, Color

“Here’s the problem with the web — this is so cool, it’s worth it. The internet is decentralized in the sense that you can kind of nuke any part of it and it still works. That was its original design. The World Wide Web isn’t that way. You go and knock out any particular piece of hardware, it goes away. Can we make a reliable web that’s served from many different places, kind of like how the Amazon cloud works, but for everybody? The answer is yes, you can. You can make kind of a pure to pure distribution structure, such that the web becomes reliable. Another is that we can make it private so that there’s reader privacy. Edward Snowden has brought to light some really difficult architectural problems of the current World Wide Web. The GCHQ, the secret service of the British, watched everybody using WikiLeaks, and then offered all of those IP addresses, which are personally identifiable in the large part, to the NSA. The NSA had conversations about using that as a means to go and… monitor people at an enhanced level that those are now suspects. Libraries have long had history with people being rounded up for what they’ve read and bad things happening to them. We have an interest in trying to make it so that there’s reader privacy”

Brewster Kahle (1960) American computer engineer, founder of the Internet Archive

Internet Archive founder Brewster Kahle on Recode Decode https://www.recode.net/2017/3/8/14843408/transcript-internet-archive-founder-brewster-kahle-wayback-machine-recode-decode (March 8, 2017)

People, Secret, World, Way

“Enterprise engineering is rooted in both the organizational sciences and the information system sciences. In our current understanding, three concepts are paramount to the theoretical and practical pursuit of enterprise engineering: enterprise ontology, enterprise architecture, and enterprise governance.”

Erik Proper (1967) Dutch computer scientist

Preface
Advances in Enterprise Engineering II (2009)

Understanding, Science

“As I understand it, your policemen are chosen by their height and weight; they must meet certain requirements as to heft—as thought the only crimes they had to cope with were riots and gang feuds. Bulk—the great American ideal, whether in art, architecture, table d‘hôte meals, or detectives. An entrancin‘ notion.”

S. S. Van Dine book The Benson Murder Case

Ch 25
The Benson Murder Case (1926)

Art, Understanding

“#The availability of high-quality Model Compilers and Virtual Execution Environments (VEEs) that provide "out of the box" platforms upon which Executable UML models can execute. These VEEs, which exist today in a somewhat incipient stage, will someday soon reduce low-level system architectures to near-commodity status.”

Grady Booch (1955) American software engineer

Cited in: Gerry Boyd (2003) " Executable UML: Diagrams for the Future http://www.devx.com/enterprise/Article/10717." published at devx.com, February 5, 2003. The Limits of Software

Box

“What we demand from the Soviet architect is that, as an artist and because of his perceptive intellect, he will fully comprehend and amplify the faintest ripple of developing energies much sooner than the masses — who tend to be shortsighted as far as their own growth is concerned — and that he will transform this energy into tangible architectural form... The club's role is to become a University of Culture. If one accepts the premise that private dwellings should strive to operate on the basis of the greatest possible austerity, then by contrast, public dwellings should provide the maximum of available luxury accessible to all. The term 'reconstruction' is therefore not applicable to this case, since there is no building precedent in the past.”

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

Quote from: 'The Club as a social force'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Universe, Past

“Every software system needs to have a simple yet powerful organizational philosophy (think of it as the software equivalent of a sound bite that describes the system's architecture)… [A] step in [the] development process is to articulate this architectural framework, so that we might have a stable foundation upon which to evolve the system's function points.”

Grady Booch (1955) American software engineer

Source: Object-oriented design: With Applications, (1991), p. 320

Thinking

“Male tumescence is an assertion of the separateness of objects. An erection is architectural, sky-pointing. Female tumescence, through blood or water, is slow, gravitational, amorphous. In the war for human identity, male tumescence is an instrument, female tumescence an obstruction. The fatty female body is a sponge. At peak menstrual and natal moments, it is locked passively in place, suffering wave after wave of Dionysian power.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 91

War, Suffering, Water

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

Friedensreich Hundertwasser (1928–2000) Austrian artist

Mould Manifesto against Rationalism in Architecture (1958)

Art, Freedom

“I was invited to come here to speak about my idea of art, which is to enlarge the effectivity of art beyond the idea of art as coming out of art history — an art idea which contains the well-known disciplines like sculpture, architecture, painting, music, dancing, poetry and so on. I would like to declare why I feel that it's now necessary to establish a new kind of art, able to show the problems of the whole society, of every living being — and how this new discipline — which I call social sculpture — can realize the future of humankind. It could be a guarantee for the evolution of the earth as a planet, establish conditions for other planetarians too, and you can control it with your own thinking.”

Joseph Beuys (1921–1986) German visual artist

Source: 1970's, Joseph Beuys... Public Dialogue' 1974, p. 5; Lead paragraph of article

Feeling, Thinking, Idea, Problem

“Architecture reflects society, and this is not a great age.”

Richard Roth, Jr. American architect

Source: As quoted in Meredith L. Clausen, "The Pan Am Building and the Shattering of the Modernist Dream" http://books.google.co.uk/books?id=E6qRuyzOogIC&pg=PA275&lpg=PA275&dq=%22Unfortunately,+buildings+are+not+like+drawings.+You+can%27t+just+erase+them.%22&source=bl&ots=wkwiw7U92A&sig=4fGIk_ufWMT3wv_c6l6k8uaYMv0&hl=en&sa=X&ei=HYlHVNHNJ4Lb7Aa86oHwCA&ved=0CCcQ6AEwAQ#v=onepage&q=%22Unfortunately%2C%20buildings%20are%20not%20like%20drawings.%20You%20can%27t%20just%20erase%20them.%22&f=false, p.276

Age

“SHELLEY JACKSON: You began as a writer, moved to performance art, then architecture. I’d like to follow the traces of writing through your career, and see whether your late work could be rethought as a radically materialist practice of writing. What made you want to write?
VITO ACCONCI: I wanted to be involved with the making of some kind of parallel world. I thought, there’s no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I’m not sure if I can tell.”

Vito Acconci (1940–2017) Designer, landscape architect, performance and installation artist

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

World, Art, Home, Imagination

“id is both a technology and an art company, so we try to push the art and the technology to its edge on each game, and when you're into high-tech you want to make sure your game can run on several platforms, and you have some room to experiment with several architectures. We don't want to have a basic product, get it out the door, sell as many copies as we can, and then just do the next one. Everyone's putting a lot of soul into the games, and id has got enough money overhead to decide that they can afford to have game ports to show that technology is good on Linux and on Apple hardware.”

Timothee Besset French software programmer

Quoted in Dustin Reyes, "Interview with id Software's Timothee Besset" http://web.archive.org/web/20040924113843/http://www.linuxgames.com/?dataloc=articles/ttimo/ LinuxGames (2004-08-22).

Money, Art, Soul, Game

“Nor does complexity deny the valid simplification which is part of the process of analysis, and even a method of achieving complex architecture itself.”

Robert Venturi book Complexity and Contradiction in Architecture

2. Complexity and Contradiction vs. Simplification or Picturesqueness
Complexity and Contradiction in Architecture (1966)

Parting

“I have long recognized the theory and aesthetic of such comprehensive display: show everything and incite wonder by sheer variety. But I had never realized how powerfully the decor of a cabinet museum can promote this goal until I saw the Dublin [Natural History Museum] fixtures redone right. […] The exuberance is all of one piece—organic and architectural. I write this essay to offer my warmest congratulations to the Dublin Museum for choosing preservation—a decision not only scientifically right, but also ethically sound and decidedly courageous. The avant-garde is not an exclusive locus of courage; a principled stand within a reconstituted rear unit may call down just as much ridicule and demand equal fortitude. Crowds do not always rush off in admirable or defendable directions.”

Stephen Jay Gould book Dinosaur in a Haystack

"Cabinet Museums: Alive, Alive, O!", p. 244
Dinosaur in a Haystack (1995)

History, Courage, Nature, Decision

“The principle of the Gothic architecture is infinity made imaginable. It is no doubt a sublimer effort of genius than the Greek style; but then it depends much more on execution for its effect.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

29 June 1833
Table Talk (1821–1834)

Imagination, Effort, Dependency

“The Mahomedan or Islamic culture hardly gave anything to the world which may be said to be of fundamental importance and typically its own; Islamic culture was mainly borrowed from others. Their mathematics and astronomy and other subjects were derived from India and Greece. It is true they gave some of these things a new turn, but they have not created much. Their philosophy and their religion are very simple and what they call Sufism is largely the result of gnostics who lived in Persia and it is the logical outcome of that school of thought largely touched by Vedanta…. I have, however, mentioned [in The Foundations of Indian Culture] that Islamic culture contributed the Indo-Saracenic architecture to Indian culture. I do not think it has done anything more in India of cultural value. It gave some new forms to art and poetry. Its political institutions were always semi-barbaric.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

September 12, 1923
India's Rebirth

World, School, Religion, Art

“Architecture and psychology suddenly become very close.”

Jacques Herzog (1950) Swiss architect

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

“The most economical way of obtaining good results is to apply the great, fundamental principles of art; and depend on them for beauty, rather than upon the use of either applied ornament or more expensive materials… much better results are likely to accrue from truth than falsehood, and from architectural [rather] than archaeological methods.”

Ernest Flagg (1857–1947) American architect

Introduction
Small Houses: Their Economic Design and Construction (1922)

Truth, Beauty, Art, Way

“.. one must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words..'. It was Marcel Duchamps who was critical, when he drew a moustache on the 'Mona Lisa'. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Dreams, Art, Painting

“My desire to work is not stimulated by the classical proportions of Greek architecture, but by functional silos and hangars... The confusion of places, cluttered with art and culture chokes my inspiration. What stimulates and interests me is the natural noise of a busy city, and the practical lay-out of a harbor or factory which has come into being without consideration of any aesthetic principles.”

Fritz Wotruba (1907–1975) Austrian sculptor (23 April 1907, Vienna – 28 August 1975, Vienna)

Quote from 'Private Notebooks of Fritz Wotruba'; transl. Peter Foges & Haakon Chevalier – Neuchatel, Editions du Griffion, 1961.

Art, Business, Nature

“And now about architects in general – I have to say it, Does [= Theo van Doesburg ], when 'De Stijl' was founded I left it up to you, but I never did agree with you when you ranked the architects alongside us, alongside our 'N. B.' ( / Neo-Plasticism) I knew then that it would lead to conflict… I cannot write about architecture, because I'm not an architect. I mean, I cannot write about the way I write about painting. Later on, though, I will put forward a few ideas.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Theo van Doesburg, Paris 9 July 1918; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 139
1910's

Way, Idea, Painting

“I am astonished at those who are afraid of the people: one can always explain that what is in the interest of Europe is in the interests of our countries."
"Britain is different. Of course there will be transfers of sovereignty. But would I be intelligent to draw the attention of public opinion to this fact?"
"There is a single legal personality for the EU, the primacy of European law, a new architecture for foreign and security policy, there is an enormous extension in the fields of the EU's powers, there is Charter of Fundamental Rights.”

Jean-Claude Juncker (1954) Luxembourgian politician

On the Lisbon Treaty, Le Soir L'invité du lundi Jean-Claude Juncker : « Succès objectif, déception atmosphérique », 2 July 2007, Le Soir, 2 July 2007, page 18 Bruno Waterfield, Brendan Carlin: 'Don't tell British about the EU treaty' http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/07/03/weu103.xml, Telegraph, 3 July 2007. 2007

People, Law, Intelligence, Drawing

“A truly great architecture grew up in Mexico after the time of the Conquest of Cortez. It was probably not on account of any lack desire on the part of the early Fathers that architecture was not transplanted to California in the days of the Missions. It is apparent their simple crude touches of ornament, that Padres were trying to simulate the richness of the churches of Mexico City and Puebla—they were pitifully limited, however, not only in wealth but also in the skill of the workmen had at hand.”

Clarence Stein (1882–1975) American architect

A Triumph of Spanish Colonial Style (1916)

Time, Parting, Wealth

“I was always interested in architecture, but the editors [of the magazines who demanded these subjects for the illustrations of Hopper] wanted people waving with their arms.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940
Source: 'Wake of the News, Washington Square North Boasts Strangers Worth Talking to', by Archer Winston, 'New York Post', November 26, 1935

People

“A mind of a certain size can feel only exasperation toward a city. Nothing can drive me more fully into despair. The walls first of all, and even then all the rest is only so many horrid images of selfishness, mistrust, stupidity, and narrow-mindedness. No need to memorize the Napoleonic code. Just look at a city and you have it. Each time I come back from the country, just as I am starting to congratulate myself on my calmness, there breaks out a furor, a rage… And I come upon my mark, homo sapiens, the acquisitive wolf. Cities, architectures, how I loathe you! Great surfaces of vaults, vaults cemented into the earth, vaults set out in compartments, forming vaults to eat in, vaults for sex, vaults on the watch, ready to open fire. How sad, sad…”

Henri Michaux (1899–1984) painter, poet, writer

Ecuador (1929)

Stupidity, Sadness, Sex, Feeling

“There is a doctrine about the nature and place of the mind which is prevalent among theorists, to which most philosophers, psychologists and religious teachers subscribe with minor reservations. Although they admit certain theoretical difficulties in it, they tend to assume that these can be overcome without serious modifications being made to the architecture of the theory…. The official doctrine, which hails chiefly from Descartes, is something like this. With the doubtful exceptions of idiots and infants in arms every human being has both a body and a mind. Some would prefer to say that every human being is both a body and a mind. His body and his mind are ordinarily harnessed together, but after the death of the body his mind may continue to exist and function.”

Gilbert Ryle book The Concept of Mind

Source: The Concept of Mind (1949), Ch. I: Descartes' Myth, (1) The Official Doctrine

Death, Nature, Teachers

“The bottom line for mathematicians is that the architecture has to be right. In all the mathematics that I did, the essential point was to find the right architecture. It's like building a bridge. Once the main lines of the structure are right, then the details miraculously fit. The problem is the overall design.”

Freeman Dyson (1923) theoretical physicist and mathematician

"Freeman Dyson: Mathematician, Physicist, and Writer". Interview with Donald J. Albers, The College Mathematics Journal, vol 25, no. 1, (January 1994)

Mathematics, Problem

“I became aware that in Hank's recorded songs were the archetype rules of poetic songwriting. The architectural forms are like marble pillars and they had to be there. Even his words - all of the syllables are divided up so they make perfect mathematical sense. You can learn a lot about the structure of songwriting by listening to his records.”

Hank Williams (1923–1953) American country music singer

Bob Dylan, Chronicles: Volume One (2004)
About

Mathematics, Sense, Learning, Perfection

“To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented.”

Burkard Schliessmann classical pianist

Talkings on Bach

Death, Truth, World, Music

“It is a pretty structure isn’t it? It makes you think of something solid, stable, well-linked. In fact it happens also in chemistry as in architecture that “beautiful” edifices, that is, symmetrical and simple, are also the most sturdy: in short, the same thing happens with molecules as with the cupolas of cathedrals of the arches of bridges.”

Primo Levi book The Periodic Table

On the structure of alloxan, in "Nitrogen".
The Periodic Table (1975)

Beauty, Thinking

“Painting.... turned to the design of purely abstract volumetric forms... Since the leading exponent of the color theory was a painter (Malevich), he failed to recognize the objective reality of the world [in architecture! ]. Because he always looked at it only through his own eyes, he remained trapped in a world devoid of real objects. The broader implications of this had to be developed by us, the architects.”

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

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

World, Color, Reality, Painting

“Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

Art, Idea, Understanding, Drawing

“We hated Bauhaus. It was a bad time in architecture. They just didn’t have any talent. All they had were rules. Even for knives and forks they created rules. Picasso would never have accepted rules. The house is like a machine? No! The mechanical is ugly. The rule is the worst thing. You just want to break it.”

Oscar Niemeyer (1907–2012) Brazilian architect

Quoted in "Why Oscar Niemeyer is king of curves," Tom Dyckhoff, The Times Online (London, 2007-12-12).

Hate, Time, Housing

“Generally, disruptive innovations were technologically straightforward, consisting of off-the-shelf components put together in a product architecture that was often simpler than prior approaches. They offered less of what customers in established markets wanted and so could rarely be initially employed there. They offered a different package of attributes valued only in emerging markets remote from, and unimportant to, the mainstream”

Clayton M. Christensen (1952–2020) Mormon academic

Source: 1990s, The Innovator's Dilemma (1997), p. 15

“A significant observation regarding… architectural representations is that each is of a different nature than the others. They are not merely a set of representations, each of which is an increasing level of detail than the previous one. Level of detail is an independent variable, varying within each architectural representation.”

John Zachman (1934) American computer scientist

Zachman (1986) as cited in: Peter Bernus, Kai Mertins, Günter Schmidt (2005) Handbook on Architectures of Information Systems. p. 544

Nature

“Noting that architecture can no longer keep up with the world: "The areas of consensus shift unbelievably fast; the bubbles of certainty are constantly exploding. Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.”

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

interview in Iconey http://www.iconeye.com/index.php?option=com_content&view=article&id=2715:rem-koolhaas--icon-013--june-2004, Icon 013, (June 2004)

World

“I was thrilled to find America so rich with so many new motives to be translated into a new art. Steel and electricity had created a new world. A new drama had surged from the unmerciful violation of darkness at night, by the violent blaze of electricity and a new polyphony was ringing all around with the scintillating, highly colored lights. The steel had leaped to hyperbolic altitudes and expanded to vast latitudes with the skyscrapers and with bridges made for the conjunction of worlds. A new architecture was created, a new perspective.”

Joseph Stella (1877–1946) American artist

Joseph Stella (1912); As cited in: Metropolitan Museum of Art (1965) American Painting in the Twentieth Century. p. 69

World, Art, Color, Motivation

“I want to see the gardens and palace of the Alcazar where the Moorish Kings used to live. It is as perfect an architecture as the Egyptian, Greek or Gothic and just as beautiful, maybe more beautiful and it is well built for it looks as new as if it had just been done. We have to thanks these Moors for our greatest sciences, they did the big work for us, they started them, Algebra, Chemistry, Astronomy. They are our masters.”

Thomas Eakins (1844–1916) American painter

Thomas Eakins, in Vistas de España, Mary Elizabeth Boone, Yale University Press, 2007, p. 77.

Beauty, Science, Perfection

“There is a right and legitimate Pan-Islamism to which every sincere and believing Mahomedan belongs--that is, the theory of the spiritual brotherhood and unity of the children of the Prophet. It is a deep, perennial element in that Perso-Arabian culture, that great family of civilisation to which we gave the name Islamic in the first chapter. It connotes charity and goodwill towards fellow-believers everywhere…It means an abiding interest in the literature of Islam, in her beautiful arts, in her lovely architecture, in her entrancing poetry. It also means a true reformation -- a return to the early and pure simplicity of the faith, to its preaching by persuasion and argument, to the manifestation of a spiritual power in individual lives, to beneficent activity for mankind. This natural and worthy spiritual movement makes not only the Master and His teaching but also His children of all climes an object of affection to the Turk or the Afghan, to the Indian or the Egyptian. A famine or a desolating fire in the Moslem quarters of Kashgar or Sarajevo would immediately draw the sympathy and material assistance of the Mahomedan of Delhi or Cairo. The real spiritual and cultural unity of Islam must ever grow, for to the follower of the Prophet it is the foundation of the life of the soul.”

Aga Khan III (1877–1957) 48th Imam of the Nizari Ismaili community

p. 156; a variant of this begins "This is a right and legitimate Pan-Islamism…", but is otherwise identical.
/ India in Transition (1918)

Family, Soul, Beauty, Children

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

"Brotherhood by Inversion", p. 330-31
Leonardo's Mountain of Clams and the Diet of Worms (1998)

Confidence, History, Optimism, Nature

“My interest in working sites is linked to an investigation of what is behind the extravagant forms and perfect lines of Hadid’s Architecture; it is an interest in the relation between the elegance of her gesture and her radical way of making a building. Something very primordial and out of time is present in those situations. I think of this as a process of forming.”

Hélène Binet (1959) Swiss photographer

In: Hélène Binet’s ‘Forming | Portrait – Architecture of Zaha Hadid’ @ Gabrielle Ammann // Gallery http://sandsof.com/2012/11/24/helene-binets-forming-portrait-architecture-of-zaha-hadid-gabrielle-ammann-gallery/, sandsof.com, 24 November 2012 Binet has photographed the finished building as well as the project during construction of Zaha Hadid's buildings since mid-1980s.

Way, Thinking, Time, Perfection

“Model Driven Architecture is a style of enterprise application development and integration, based on using automated tools to build system independent models and transform them into efficient implementations.”

Grady Booch (1955) American software engineer

Attributed to Grady Booch in: Tarek M. Sobh (2008) Advances in Computer and Information Sciences and Engineering. p. 457

“There is a set of architectural representations produced over the process of building a complex engineering product representing the different perspectives of the different participants.”

John Zachman (1934) American computer scientist

Source: A Framework for Information Systems Architecture, 1987, p. 283. cited in: Stephen L. Montgomery (1994) Object-oriented information engineering: : analysis, design, and implementation. p. 279

“Painting for me is like a fabric, all of a piece and uniform, with one set of threads as the representational, esthetic element, and the cross-threads as the technical, architectural, or abstract element. These threads are interdependent and complementary, and if one set is lacking the fabric does not exist.A picture with no representational purpose is to my mind always an incomplete technical exercise, for the only purpose of any picture is to achieve representation.”

Juan Gris (1887–1927) Spanish painter and sculptor

Quote from 'On the Possibilities of Painting,' lecture, Sorbonne (1924-05-15)

Exercises, Painting

“He wondered why he stayed with her. Just pure laziness, he guessed. He didn't want to go through the emotional turmoil of leaving her. In spite of himself he'd worry about her and it was too much trouble. He'd need another woman right away and that took a lot of talking and arguing and persuading. It was different just to lay a girl but he would need a woman around, and that was the difference. You got used to one and it was less trouble. […]
But there was another reason too. She loved him. She really did. And he knew it. And you can't leave a thing like that. It's a structure and it has an architecture, and you can't leave it without tearing off a piece of yourself. So if you want to remain whole you stay no matter how much you may dislike staying. Juan was not a man who fooled himself very much.”

John Steinbeck book The Wayward Bus

Source: The Wayward Bus (1947), Ch. 8

Love, Fools, Girl, Tear

“We built pyramids before Donald Trump even knew what architecture was. We taught philosophy and astrology [sic] and mathematics before Socrates and them Greek homos ever got around to it…Do some cracker come and tell you, ‘Well my mother and father blood go back to the Mayflower,’ you better hold your pocket. That ain’t nothing to be proud of, that means their forefathers was crooks.”

Al Sharpton (1954) American Baptist minister, civil rights activist, and television/radio talk show host

Speech at Kean College (1994), transcribed in The Forward (December 1995), as quoted in Foolish Words : The Most Stupid Words Ever Spoken (2003) by Laura Ward, p. 192.

Mathematics

“The concepts of time and space reflect the significance of media to civilization. Media that emphasize time are those that are durable in character, such as parchment, clay, and stone. The heavy materials are suited to the development of architecture and sculpture. Media that emphasize space are apt to be less durable and light in character, such as papyrus and paper. The latter are suited to wide areas in administration and trade. The conquest of Egypt by Rome gave access to supplies of papyrus which became the basis of a large administration empire.”

Harold Innis book Empire and Communications

2007 edition, pp.26-27.
Empire and Communications (1950)

Light, Time

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

Christian Dior (1905–1957) French fashion designer

Source: Marie France Pochna Christian Dior: The Man who Made the World Look New http://books.google.co.in/books?id=ffkK4dy00SoC&pg=PA170-IA16, Arcade Publishing, 1996, p. 170

“IT architecture is often assumed to follow business strategy, to align IT with the business's strategic objectives. Increasingly, though, many business strategies depend on specific underlying IT capabilities. To develop a synergy between business strategy and IT architecture, firms must develop organizational competencies in IT architecture. My research has identified four IT architectural stages, each with its own requisite competencies. The "application silo architecture stage" consists of IT architectures of individual applications. The "standardized technology architecture stage" has an enterprise-wide IT architecture that provides efficiencies through technology standardization. The "rationalized data architecture stage" extends the enterprise-wide IT standards to data and processes. And the "modular architecture stage" builds onto enterprise-wide global standards with loosely coupled IT components to preserve the global standards while enabling local differences. Each stage demands different organizational competencies to implement the architecture and prepare the firm to move to the next stage.”

Jeanne W. Ross (1958) American computer scientist

Jeanne W. Ross (2003) Creating a Strategic IT Architecture Competency: Learning in Stages. MIT Sloan Working Paper No. 4314-03, April 2003. Abstract

Business, Dependency

“Geometry… is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics… the light in buildings can be drawn from fixed quarters of the sky. …Difficult questions involving symmetry are solved by means of geometrical theories and methods.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 4

Question, Light

“He that peruses Homer, is like the traveller that surveys mount Atlas; the vastness and roughness of its rocks, the solemn gloominess of its pines and cedars, the everlasting snows that cover its head, the torrents that rush down its sides, and the wild beasts that roar in its caverns, all contribute to strike the imagination with inexpressible astonishment and awe. While reading the Aeneid is like beholding the Capitoline hill at Rome, on which stood many edifices of exquisite architecture, and whose top was crowned with the famous temple of Jupiter, adorned with the spoils of conquered Greece.”

Joseph Warton (1722–1800) English literary critic

The Works of Virgil (1753), Dedication, pp. viii–ix

Travel, Imagination, Reading

“I am an artist, and, through my eye, must confess to a tremendous bias. In my purely literary voyages my eye is always my compass. “The architectural simplicity” – whether of a platonic idea or greek temple – I far prefer to no idea at all, or no temple at all, or, for instance, to most of the complicated and too tropical structures of India. Nothing could ever convince my EYE – even if my intelligence were otherwise overcome – that anything that did not possess this simplicity, conceptual quality, hard exact outline, grand architectural proportion, was the greatest art. Bergson is indeed the arch enemy of every impulse having its seat in the apparatus of vision, and requiring a concrete world. Bergson is the enemy of the Eye, from the start; though he might arrive at some emotional compromise with the Ear. But I can hardly imagine any way in which he is not against every form of intelligent life. (p. 338)”

Wyndham Lewis (1882–1957) writer and painter

"The Great God Flux".
The Art of Being Ruled (1926)

Life, World, Art, Way

“As a kid growing up in the 1950s I became acutely aware of the changes taking place in American culture and I must say I didn't much like it. I witnessed the debasement of architecture, and I could see a decline in the quality of things like comic books and toys, things made for kids. Old things seemed to have more life, more substance, more humanity in them.”

Robert Crumb (1943) American cartoonist

The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 23

Life, Books, Change

“The culture of the Anasazi is still the best known of all prehistoric southwestern cultures. …Their architecture… is distinctly their own, and unique among all the southwestern cultures.”

Peter Farb (1929–1980) American academic and writer

Man's Rise to Civilization (1968)

“To keep the business from disintegrating, the concept of information systems architecture is becoming less of an option and more of a necessity”

John Zachman (1934) American computer scientist

Source: A Framework for Information Systems Architecture, 1987, p. 276, cited in: Jaap Schekkerman (2003) How to Survive in the Jungle of Enterprise Architecture. p. 131

Business

“This dynamic architecture provides us with the new theater of life and because we are capable of grasping the idea of a whole town at any moment with any plan the task of architecture - the rhythmic arrangement of space and time - is perfectly and simply fulfilled for the new town will not be as chaotically laid out as the modern towns of north and south America but clearly and logically like a beehive..”

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

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

Life, Idea, Time

“On the Indian front, [the Hindutva movement] should spearhead the revival, rejuvenation and resurgence of Hinduism, which includes not only religious, spiritual and cultural practices springing from Vedic or Sanskritic sources, but from all other Indian sources independently of these: the practices of the Andaman islanders and the (pre-Christian) Nagas are as Hindu in the territorial sense, and Sanâtana in the spiritual sense, as classical Sanskritic Hinduism. (…) A true Hindutvavadi should feel a pang of pain, and a desire to take positive action, not only when he hears that the percentage of Hindus in the Indian population is falling due to a coordination of various factors, or that Hindus are being discriminated against in almost every respect, but also when he hears that the Andamanese races and languages are becoming extinct; that vast tracts of forests, millions of years old, are being wiped out forever; that ancient and mediaeval Hindu architectural monuments are being vandalised, looted or fatally neglected; that priceless ancient documents are being destroyed or left to rot and decay; that innumerable forms of arts and handicrafts, architectural styles, plant and animal species, musical forms and musical instruments, etc. are becoming extinct; that our sacred rivers and environment are being irreversibly polluted and destroyed…”

Shrikant Talageri (1958) Indian author

Talageri in S.R. Goel (ed.): Time for Stock-Taking, p.227-228.

Pain, Art, Music, Feeling

“The outburst of the first crusade was splendid even in a military sense, but it was great beyond comparison in its reflexion in architecture, ornament, poetry, color, religion and philosophy. Its men were astonishing, and its women were worth all the rest.”

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

Mont Saint Michel and Chartres (1904)

Women, Men, Religion, Color

“And when his hours are numbered, and the world
Is all his own, retiring, as he were not,
Leaves, when the sun appears, astonished Art
To mimic in slow structures, stone by stone
Built in an age, the mad wind's night-work,
The frolic architecture of the snow.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

The Snow-Storm
1840s, Poems (1847)

Age, World, Art, Appearance

“I like complexity and contradiction in architecture. I do not like the incoherence or arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness or expressionism.”

Robert Venturi book Complexity and Contradiction in Architecture

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

“I deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete.… This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.”

Oscar Niemeyer (1907–2012) Brazilian architect

The Curves of Time: The Memoirs of Oscar Niemeyer (2000), p. 62.

Women, World, Beauty, Mountain

“It is better to have a plain, substantial building, with no extravagance about it, but without a debt, than to have the most splendid specimen of Gothic architecture that is overlaid by a mortgage.”

William Mackergo Taylor (1829–1895) American theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 151.

“For more than two thousand years architectural design by the use of a modulus, except in the case of the classic orders, had been a lost art.”

Ernest Flagg (1857–1947) American architect

Source: Small Houses: Their Economic Design and Construction (1922), Ch. II

Art

“We can train ourselves to respect our feelings, and to discipline (transpose) them into a language that matches those feelings so they can be shared. And where that language does not yet exist, it is our poetry which helps to fashion it. Poetry is not only dream or vision, it is the skeleton architecture of our lives.”

Audre Lorde (1934–1992) writer and activist

"Poetry is Not a Luxury"
Sister Outsider: Essays and Speeches (1984)

Dreams, Feeling, Fashion, Help

“I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me... Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company... I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn... He could apply his ideas on space and time to painting, or music or architecture... I don't have a clear sense of cause and effect in my painting, but it is probably there.”

Jasper Johns (1930) American artist

Jasper Johns, by Bryan Robertson and Tim Marlow, Tate, in 'The Art Magazine', London, Winter 1993, pp. 40, 47
1990s

People, Music, Idea, Sense

“I have found a paper of mine among some others in which I call architecture 'petrified music.' Really there is something in this; the tone of mind produced by architecture approaches the effect of music.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Conversations with Eckermann (23 March 1829) - Often quoted as "Architecture is frozen music."

Music

“The structure of cities, the architecture of houses, squares, gardens, public walks, gateways, railway stations, etc – all these provide us with the basic principles of a great Metaphysical aesthetic... We, who live under the sign of the Metaphysical alphabet, we know the joy and sorrows to be found in a gateway, a street corner, a room, on the surface of a table, between the sides of a box…”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p. 233
De Chirico's statement on Metaphysical aesthetic in painting motifs like houses, architecture, railway stations
1908 - 1920, On Mystery and Creation, Paris 1913

Joy, Housing, Box