Quotes about architecture (422 quotes, page 4)

“It was the tragedy of modernist artists, Left or Right, that the much more effective political commitment of their own mass movements and politicians - not to mention their adversaries - rejected them. With the partial exception of Futurist-influenced Italian fascism, the new authoritarian regimes of both Right and Left preferred old-fashioned and gigantic monumental buildings and vistas in architecture, inspirational representations in both painting and sculpture, elaborate performances of the classics on stage, and ideological acceptability in literature.”

Eric Hobsbawm book The Age of Extremes

The Arts 1914-1945
The Age of Extremes (1992)

Literature , Fashion , Painting

“Although many popular information systems planning methodologies, design approaches, and various tools and techniques do not preclude or are not inconsistent with enterprise-level analysis, few of them explicitly address or attempt to define enterprise architectures. Some examples of such popular offerings include”

John Zachman (1934) American computer scientist

Planning Methodologies: Stage Assessment, Critical Success Factors, Strategy Set Transformation, etc.
Design Approaches: Structured Analysis, Entity-Relationship Approaches, etc.
Tools and Techniques"Problem Statement Language/Problem Statement Analyzer (PSL/PSA), Prototype Development Methodology, Structured Analyses and Design Techniques, etc.
From an historical perspective, BSP and BICS likely will be looked back on as primitive attempts to take an explicit, enterprise-level architectural approach to information systems.
Source: Business Systems Planning and Business Information Control Study: A comparison, 1982, p. 32

“The Indian ocean is in need of a mutually benefiting security architecture established on a multilateral basis”

Ranil Wickremesinghe (1949) Former Prime Minister of Sri Lanka

Sri Lanka was wiling to take the lead in forming a multilateral forum with UN support to ensure the maritime security of the Indian Ocean, quoted on The Economic Times: India, "Sri Lanka willing to set up forum to secure Indian Ocean: PM Ranil Wickremesinghe" http://economictimes.indiatimes.com/news/defence/sri-lanka-willing-to-set-up-forum-to-secure-indian-ocean-pm-ranil-wickremesinghe/articleshow/49898118.cms, November 23, 2015.

“If architecture is the history of all phallic emotion, the Empire State Building is utter catharsis, and we are sitting in its silhouette.”

Timothy Levitch (1970) American actor

The Cruise (1998)

History

“At first Laing found something alienating about the concrete landscape of the project — an architecture designed for war, on the unconscious level if no other.”

J. G. Ballard book High-Rise

Source: High-Rise (1975), Ch. 1

War

“Shadow is an amazing subject. Shadow is an absence. As an absence of energy you can compare it to silence or maybe cold air…. We talk about photography being simple and architecture being complex and how do you convey something that is more deep, that allows you to dream or think This is weird so you start to dream and think and you maybe go out purely from the picture but into yourself. The light and the shadow are tools to allow you to do that.”

Hélène Binet (1959) Swiss photographer

Source: Ten questions for photographer Hélène Binet http://uk.phaidon.com/agenda/photography/articles/2012/december/06/ten-questions-for-photographer-helene-binet/, Phaidon Press, 6 December 2012.

Dreams , Thinking , Light , Silence

“Central Europe has several recognizably common architectural features that make some towns in Galicia look remarkably like towns in Transylvania and Slovakia; shared musicians—Liszt, Chopin, Mahler, Dvořák, Smetana, Bartók, Kodály; shared writers, such as Musil, Gombrowicz, Koestler, Brod, Mickiewicz, Kafka, Roth, Zweig, Faludy; and some peculiar shared traditions, such as the tiny coffee spoon and the oversweet desserts with whipping cream.”

Anna Porter

[Anne Porter, The Ghosts of Europe: Journeys through Central Europe's Troubled Past and Uncertain Future, http://books.google.com/books?id=8iPa2Q1HtP8C&pg=PA19, 23 September 2010, Douglas & McIntyre, 978-1-55365-637-1, 19]

Coffee

“It will first of all be clear that not only incompatible but also compatible characters can be thought in emptily intended combinations. This indeed takes place very often, as a result of that parsimony which nature always brings to bear in the achievement of her aims. Unintuitive presentation demands much less expenditure of effort than the intuitive, and thereby goes proxy for the latter in very many cases. Thus anyone confronted with, say, a complicated description of a work of architecture will first of all form a merely indirect presentation of it, which will then be rounded out by gradual execution or fulfilment of the various merely intended components, to yield an intuitive total picture.”

Christian von Ehrenfels (1859–1932) Austrian philosopher

Source: "On Gestalt Qualities," 1890, p. 104

Nature , Effort

“We here have… an architectural discovery which may prove of inestimable value to future art. …Like fire, it is a good servant but a bad master. The danger is that it may lead to a cramped and mechanical design. One may easily become a slave to the module, and do things because of it which his taste or reason would not otherwise commend. …How can the danger be avoided and the benefits secured?”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)

Art , Future

“The central problem of architecture is space. Space is essential for the individual and for the community. This is equally true for the small space (the capsule) as well as for the large space”

Justus Dahinden (1925) Swiss architect

the city
Justus Dahinden Architektur - Architecture (Krämer Publ. 1987), ISBN 3-7828-1601-3

Communication , Problem

“Architecture was my way of expressing my ideals: to be simple, to create a world equal to everyone, to look at people with optimism, that everyone has a gift. I don’t want anything but general happiness. Why is that bad?”

Oscar Niemeyer (1907–2012) Brazilian architect

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

People , World , Way , Optimism

“Painting has turned back from the non-objective way to the object, and the development of painting has returned to the figurative part of the way that had led to the destruction of the object. But on the way back, painting came across a new object that the proletarian revolution had brought to the fore and which had to be given form, which means that it had to be raised to the level of a work of art... I am utterly convinced that if you keep to the way of Constructivism, where you are now firmly stuck, which raises not one artistic issue except for pure utilitarianism and in theater simple agitation, which may be one hundred percent consistent ideologically but is completely castrated as regards artistic problems, and forfeits half its value... If you go on as you are.... then Stanislavski will emerge as the winner in the theater and the old forms will survive. And as to architecture, if the architects do not produce artistic architecture, the Greco-Roman style of Zyeltovski will prevail, together with the Repin style in painting..”

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

Quote of Malevich from his letter 8 April 1932, to Meyerhold, in 'Two Letters to Meyerhold', in Kunst & Museumjournaal 6, (1990), pp. 9-10; as quoted by Paul Wood in The great Utopia, - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 24 – note 112
This quote clarifies Malevich's famous return to the figuration of the Russian peasant life, in the time of forced collectivization of Russian agriculture: 'for him [= Malevich] the return to figuration was not a break with the Revolution but a way of safeguarding it and preventing the return of Classicism and Naturalism' (Paul Wood in The great Utopia; Guggenheim Museum, New York, 1992, p. 24 – note 112)
1931 - 1935

Art , Way , Problem , Parting

“While it is becoming increasingly obvious that the fundamental architecture of a system has a profound Influence on the quality of its human factors, the vast majority of human factors studies concern the surface of hardware (keyboards, screens) or the very surface of the software”

Lewis M. Branscomb (1926) physicist and science policy advisor

command names, menu formats
L.M. Branscomb, J.C. Thomas (1984) "Ease of use: a system design challenge". in: IBM Systems Journal. Vol 23.3, Sept 1984. Pages 224-235

Study

“On the whole [the alignment of a series of stained glass windows with the interior of a villa in The Hague] I have thought about all the time... I want to focus more on the architecture of the interior in general and that should we do together [with architect Buys]... Now I was already thinking, the enormous color effect that the window will generate - and that will certainly become powerful - must be accompanied with strong colors - the hall -, otherwise the window itself will be too much isolated. For instance the staircase, could it be painted in strong colors and not [in] oak.... deep ultramarine blue or green, with a beautiful colorful carpet.... I feel I must make designs for carpets, to create in that way a beautiful unity with the stained glass as a whole.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jacoba van Heemskerck, in het Nederlands: Over het geheel [de afstemming van een serie aan Jacoba opgedragen glasramen met het interieur van een villa in Den Haag] heb ik steeds loopen denken.. ..ik wil mij veel meer op de architectuur van het binnenhuis in het algemeen toeleggen en dat moeten wij samen doen [met architect Buys].. .Nu heb ik al gedacht het enorme kleur-effekt dat het raam zal maken en dat zal zeker machtig werken, moet gedragen worden door sterke kleuren - de hal - anders staat het teveel alleen; zou de trap b.v. in de verf een sterke kleur kunnen krijgen en niet [in] eikenhout.. ..diep ultramarijn blauw of groen en dan een prachtige kleurige loper.. ..ik voel dat ik ontwerpen voor tapijten moet maken om zoo met het glas in lood een mooi geheel te hebben.
Quote in een brief van Jacoba aan architect J. Buys, 28 April 1920 in archief N.D.B., Amsterdam; as cited by Herbert Henkels, in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 42
1920's

Beauty , Color , Way , Feeling

“The complaint of the French artist against the Norman, is the "mesquin" treatment of dividing his tower into stories of equal height. Even in the twelfth century and in religious architecture, artists already struggled over the best solution to this peculiarly American problem of the twentieth century, and when tourists return to New York, they may look at the twenty-story towers which decorate the city, to see whether the Norman or the French plan has won; but this at least will be sure in advance:— the Norman will be the practical scheme which states the facts, and stops; while the French will be the graceful one, which states the beauties and more or less fits the facts to suit them.”

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

Mesquin: paltry, unimaginative, prosaic
Mont Saint Michel and Chartres (1904)

Beauty , Problem

“When we say architecture, we include the social, political and économie context. Architecture of any sort is in fact the inévitable background, support and frame of any work.”

Daniel Buren (1938) sculptor from France

Daniel Buren (1979), cited in: A. A. Bronson, ‎Peggy Gale, ‎Art Metropole (1983). Museums by artists. p. 73
1970s

Support

“Doing philosophy was an opportunity to learn something new. I expected this to be an adjunct to my practice of architecture. But it turned out the other way. It turned out that the philosophy of science gave me the opportunity to design social systems, and I was more interested in people-oriented systems than in buildings. They were both design, but different kinds of design. I like creating things.”

Russell L. Ackoff (1919–2009) Scientist

Ackoff cited in: Carole Novak (2000) " Interview with Russell L. Ackoff http://www.ait.net/technos/tq_09/3ackoff.php". in: Technos Quartely. Fall 2000 Vol. 9 No. 3. This quote is the answer to the question, why Ackoff switched from architecture to philosophy in his graduate studies.
2000s

People , Way , Learning , Science

“Through all these researches into an art that would lead to immaterialisation, Werner Ruhnau [German architect] and I came together in the architecture of the air. He was hindered by the last obstacle that even a w:Mies van der Rohe [also a German architect, famous for his reflecting glass skyscrapers in the U. S. ] hadn’t been able to overcome: the roof, the screen that separates us from the sky, from the blue sky. And I was hindered by the screen that the tangible blue on the canvas constitutes, which deprives man of a constant vision of the horizon.”

Yves Klein (1928–1962) French artist

In 1958; p. 45
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

Art

“Every place radically imbues (formally, architecturally, sociologically, politically) with its meaning the object (work creation) shown there. Art in general refuses to be implied a priori and so pretends to ignore or reject the draconian role imposed by the museum (the gallery), a role both cultural and architectural. To reveal this limit (this role), the object presented and its place of display must dialectically imply one another”

Daniel Buren (1938) sculptor from France

Daniel Buren (1975), in: Studio International. Vol. 189-190, (1975), p. 124
1970s

Art

“[I have] all respect for that neoclassicism [of Piet Mondrian ], but it would sacrifices me too much to architecture. That kind of art does indeed fit perfectly in very modern rooms of modern buildings in equally modern cities, but never again a handcart can drive in there and never again someone can speak or think of a white dog cart in the fog. I am longing for a painting that can hang in a modern environment and still have its 'personal' life.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Al mijn respect voor dat neo-klassicisme [van Mondriaan], maar dat offert me teveel aan de architectuur. Dat werk past inderdaad gegoten in zeer moderne vertrekken van moderne gebouwen in even moderne steden maar er kan dan nooit meer een stootkar in rijden en nooit kan nog iemand spreken of denken aan een witte hondenkar in de mist. Ik verlang een schilderij die kan hangen in een moderne omgeving en die toch een ‘eigen’ leven heeft.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, after February 1951; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 133 (translation: Fons Heijnsbroek)
1945 - 1960

Life , Dogs , Art , Thinking

“Releasing Linux versions has always been a matter of higher code quality, good software architecture, and technical interest for the platform.”

Timothee Besset French software programmer

Quoted in Maxim Bardin, "id Software and Linux – By TTimo" http://linuxgamingnews.org/2009/09/15/id-software-and-linux-by-ttimo/ Linux Gaming News (2009-09-15).

“The development of the Model Driven Architecture (MDA) standards by the Object Management Group”

Grady Booch (1955) American software engineer

OMG
The Limits of Software

“We have no architecture to work from at all; indeed, we have not even settled the point de depart… our art… is domestic, and… the best way of advancing its progress is to do our best in our own houses… if we once manage to obtain a large amount of art and colour in our sitting-rooms… the improvement may gradually extend to our costume, and perhaps eventually to the architecture of our houses.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 91-92; Cited in: "William Burges 1827-1881 London Architect" in: In Pursuit of Beauty: Americans and the Aesthetic Movement http://books.google.com/books?id=56F8Qv96FzwC&pg=PA406. Metropolitan Museum of Art, 1 jan. 1986. p. 405

Art , Way , Housing

“For centuries, Ottoman sultans dreamed of conquest in the name of Islam. When they failed on the battlefield they sought glory in building mosques. Eighty years after the Caliphate was abolished to make way for a Western-style republic, the tradition is being revived by Turkey’s current leaders. Led by the ebullient Recep Tayyip Erdogan and inspired by an ideological hodgepodge labeled “neo-Ottomanism,” they are using urban architecture to kill the European dream of secular Turks. Mustafa Kemal Ataturk, the founder of the republic, adopted the Latin alphabet, purged Turkish of Arabic words and brought mosques and religious endowments under state control. He also enlisted a team of French ethnologists to invent the myth of a Turkish nation related to Hungarians and Finns and stretching from Central Europe to Central Asia. For decades, Turkey’s Islamists tried to undo as much of Ataturk’s “reforms” as possible but failed because a majority of Turks would not vote for a party with an Islamist agenda. Erdogan solved that problem by uniting some 20 different Islamist groups into a new party that made no mention of Islam.”

Amir Taheri (1942) Iranian journalist

"Farewell Ataturk" http://nypost.com/2013/06/27/farewell-ataturk/, New York Post (June 27, 2013).
New York Post

Dreams , Way , Problem

“Only in movement do we find the true essence of things. Today we can no longer believe in permanent laws, defined religions, durable architecture or eternal kingdoms. Immutability does not exist. All is movement. All is static.”

Jean Tinguely (1925–1991) Swiss painter and sculptor

Quotes, 1950's, Static static, static !, 1959

Religion , Law

“I have always been structured. What has changed is the proportions. Now it is eight hours of paperwork and one of painting. I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Love , Life , Secret , Idea

“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.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.”

Clement Greenberg (1909–1994) American writer and artist

This is part of the pity of Modernism, one of the sacrifices it enjoins....
"Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976)
1970s

Art , Music , Imagination , Idea

“Often, the program ends up amazing. You'll say, "This is beautifully architected." Well, where did that architecture come from?
In this case, architecture means the systematic way we deal with diverse requirements. Architecture allows us, when we go to do work we need to do on the program, to find where things go. It is a system that was worked into the program by all the little decisions we made — little decisions that were right, and little decisions that were wrong and corrected. In a sense we get the architecture without really trying. All the decisions in the context of the other decisions simply gel into an architecture.”

Ward Cunningham (1949) American computer programmer who developed the first wiki

A Conversation with Ward Cunningham (2003), Working the Program

Way , Decision , Sense

“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

Kurt Schwitters (1887–1948) German artist

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

War , World , Art , Color

“Architecture is defined as the art and science of creating buildings. Systems engineering may be similarly defined as the art and science of creating systems.”

Derek Hitchins (1935) British systems engineer

Source: Advanced Systems Thinking, Engineering and Management (2003), p. 309; partly cited in: Kurt A. Richardson, Wendy J. Gregory, Gerald Midgley (2006) Systems Thinking and Complexity Science. p. 39

Art , Science

“The software architecture of a system or a family of systems has one of the most significant impacts on the quality of an organization's enterprise architecture. While the design of software systems concentrates on satisfying the functional requirements for a system, the design of the software architecture for systems concentrates on the nonfunctional or quality requirements for systems. These quality requirements are concerns at the enterprise level. The better an organization specifies and characterizes the software architecture for its systems, the better it can characterize and manage its enterprise architecture. By explicitly defining the systems software architectures, an organization will be better able to reflect the priorities and trade-offs that are important to the organization in the software that it builds.”

Scott W. Ambler (1966) Canadian software engineer/consultant/author

James McGovern, Scott W. Ambler and M. E Stevens (2004) A Practical Guide to Enterprise Architecture. p. 35

Family

“It is in a sculptor's interest that there should exist a close relationship between his art and that of the poet. Otherwise, his sculpture may lack human or emotional content and become too strictly architectural. We sculptors pay a heavy price for the limited freedom that we enjoy as a result of our being able to create in three dimensions; we must sacrifice color and whole realms of subject matter, such as landscape, that scarcely lend themselves to a representation in three dimensions.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960, in France
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 153

Art , Color , Freedom

“Men have no right to profess themselves architects hastily, without having climbed from boyhood the steps of these studies and thus, nursed by the knowledge of many arts and sciences, having reached the heights of the holy ground of architecture.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 11

Men , Art , Knowledge , Study

“The world contains entities, processes, locations, people, times, and purposes. Computer systems are filled with bits, bytes, numbers, and the programs that manipulate them. If the computer is to do anything useful, the concrete things in the world must be related to the abstract bits in the computer. Zachman’s framework for information systems architecture (ISA) makes that link. It provides a systematic taxonomy of concepts for relating things in the world to the representations in the computer.”

John Zachman (1934) American computer scientist

Source: Extending and Formalizing the Framework for Information Systems Architecture, 1992, p. 590

People , World , Time

“We wish to see churches and Christian Chinese presided over by pastors and officers of their own countrymen, worshipping the true God in the land of their fathers, in the costume of their fathers, in their own tongue wherein they were born, and in edifices of a thoroughly Chinese style of architecture.”

James Hudson Taylor (1832–1905) Missionary in China

(A.J. Broomhall. Hudson Taylor and China’s Open Century, Book Four: Survivors’ Pact. London: Hodder and Stoughton and Overseas Missionary Fellowship, 1984, 356).

God

“In my view, most human beings are innately neither moral nor immoral but rather amoral. They are driven by emotional self-interest and have the potential to be either moral or immoral, depending on what their self-interest dictates, and will be influenced in their choices by emotions and socio-cultural contexts. Circumstances will determine the survival value of humankind’s moral compass in that being highly moral in an immoral environment may be detrimental to one’s survival and vice versa. Indeed, our neuronal architecture is pre-programmed to seek gratification and feel good regardless of the reason. All apparently altruistic behaviour serves self-interest at some level.”

Nayef Al-Rodhan (1959) philosopher, neuroscientist, geostrategist, and author

Source: Emotional amoral egoism (2008), p.16

Feeling , Dependency

“[a new order].. independent of the values of the feelings, and the description and imitation of nature... The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation.”

Fernand Léger (1881–1955) French painter

Quote from Leger's lecture "The aesthetics of the machine", in Paris, June 1924; as quoted by Paul Westheim in Confessions of Artists. - Letters, Memoirs and Observations of Contemporary Artists; Propyläen Publishing House, Berlin, 1925, p. 324; cited in Review by Francesco Mazzaferro http://letteraturaartistica.blogspot.nl/2016/03/paul-westheim1717.html
Quotes of Fernand Leger, 1920's

World , Beauty , Feeling , Nature

“Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.”

Ernest Hemingway (1899–1961) American author and journalist

The Toronto Star Weekly (4 March 1922)

Country

“From the top of the campanile, or Giotto's bell tower, in Florence, one can look out over the city in all directions, past the stone banking houses where the rich Medici lived, past the art galleries they patronized, past the magnificent cathedral and churches their money helped to build, and on to the Tuscan vineyards where the contadino works the soil as hard and efficiently as he probably ever did. The city below is busy with life. The university halls, the shops, the restaurants are crowded. The sound of Vespas, the "wasps" of the machine age, fills the air, but Florence is not today what it once was, the center in the 15th century of a great civilization, one of the most extraordinary the world has ever known. Why? What produced the Renaissance in Italy, of which Florence was the center? How did it happen that such a small population base could produce, in the short span of a few generations, great historical figures first in commerce and literature, then in architecture, sculpture and painting, and finally in science and music? Why subsequently did Northern Italy decline in importance both commercially and artistically until at the present time it is not particularly distinguished as compared with many other regions of the world? Certainly the people appear to be working as hard and energetically as ever. Was it just luck or a peculiar combination of circumstances? Historians have been fascinated by such questions ever since they began writing history, because the rise and fall of Florence or the whole of Northern Italy is by no means an isolated phenomenon.”

David C. McClelland (1917–1998) American psychological theorist

Source: The Archiving Society, 1961, p. 1; lead paragraph, about the problem

Life , Money , People , Age

“It is under such cultural circumstances that our contemporaries, systematically cretinised by the mechanicism and the architecture of auto-punition, by psychological bureaucratic congratulations, by ideological disorder and imaginative fasting, by affective paternal hungers of all kinds, seek in vain - to bite into the doting and triumphal sweetness of the plump, atavistic, tender, militarist and territorial hack of some hitlerian nurse, in order at last to be able, no matter how, to communicate with the totemic consecrated host that has just been elevated in front of their own noses and which, as is known and understood, was nothing else than the spiritual and symbolic nourishment that catholicism offered during the centuries to appease the cannibal frenzy of moral and irrational hungers.”

Salvador Dalí (1904–1989) Spanish artist

Quote from from: Dalí's essay, 1935: Conquest of the Irrational https://ia601209.us.archive.org/4/items/DaliConquestIrrational/412994-Dali_ReducedPDF.pdf - Chapter: 'The Waters in which we Swim; Julien Levi Publisher, New York, 1935. p. 8
Quotes of Salvador Dali, 1931 - 1940

Hunger , Imagination , Communication

“Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.”

Giorgio de Chirico (1888–1978) Italian artist

1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913

Love , Life , Law , Nature

“It was only within comparatively recent times that several refinements in Greek architecture… such as the slight entasis of the columns, the greater size of the corner columns, and the convex curve of the stylobate were discovered.”

Ernest Flagg (1857–1947) American architect

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

Time

“The first thing the Muslim Sultanate of Delhi started on was construction of impressive buildings. The first sultan Qutbuddin Aibak had to establish Muslim power in India and to raise buildings "as quickly as possible, so that no time might be lost in making an impression on their newly-conquered subjects". Architecture was considered as the visual symbol of Muslim political power. It denoted victory with authority. The first two buildings of the early period in Delhi are the Qutb Minar and the congregational mosque named purposefully as the Quwwat-ul-Islam (might of Islam) Masjid. This mosque was commenced by Aibak in 592/1195. It was built with materials and gold obtained by destroying 27 Hindu and Jain temples in Delhi and its neighborhood. A Persian inscription in the mosque testifies to this. The Qutb Minar, planned and commenced by Aibak sometime in or before 1199 and completed by Iltutmish, was also constructed with similar materials, "the sculptured figures on the stones being either defaced or concealed by turning them upside down". A century and a quarter later Ibn Battutah describes the congregational mosque and the Qutb Minar. "About the latter he says that its staircase is so wide that elephants can go up there." About the former his observations are interesting. "Near the eastern gate of the mosque their lie two very big idols of copper connected together by stones. Every one who comes in and goes out of the mosque treads over them. On the site of this mosque was a bud khana, that is an idol house. After the conquest of Delhi it was turned into a mosque."”

Qutb al-Din Aibak (1150–1210) Turkic peoples king of Northwest India

Quoted from Lal, K. S. (1999). Theory and practice of Muslim state in India. New Delhi: Aditya Prakashan. Chapter 5 (quoting Gordon Sanderson, 'Archaeology at the Qutb', Archaeological Survey of India Report, 1912-13; Ibn Battutah)

Lie , Time , Victory , Housing

“An enterprise must be viewed from several perspectives if it is to be fully described and understood (Barnett 1994; ESPIRIT Consortium AMICE 1991). Previous work in the development of architectures by the Automation & Robotics Research Institute (Presley et al. 1993) describes a five view approach. The Business Rule (or Information) View defines the entities managed by the enterprise and the rules governing their relationships and interactions. The Activity View defines the functions performed by the enterprise (what is done) while the Business Process View defines a time sequenced set of processes (how it is done). The resources and capabilities managed by the enterprise are defined in a Resource View. Finally, the Organization View is used to define how the enterprise organizes itself and the set of constraints and rules governing how it manages itself and its processes.”

Donald H. Liles (1947) American engineer

Source: Enterprise modeling within an enterprise engineering framework (1996), p. 994

Business , Time

“Cognitive load theory has been designed to provide guidelines intended to assist in the presentation of information in a manner that encourages learner activities that optimize intellectual performance. The theory assumes a limited capacity working memory that includes partially independent subcomponents to deal with auditory/verbal material and visual/2- or 3-dimensional information as well as an effectively unlimited long-term memory, holding schemas that vary in their degree of automation. These structures and functions of human cognitive architecture have been used to design a variety of novel instructional procedures based on the assumption that working memory load should be reduced and schema construction encouraged. This paper reviews the theory and the instructional designs generated by it.”

John Sweller (1946) educational psychologist

John Sweller, Jeroen van Merrienboer, and Fred Paas. "Cognitive architecture and instructional design." Educational psychology review 10.3 (1998): 251-296.

Optimism , Memory

“There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside. Light gives full play to our tactile perceptions through the experience of our eyes, and the vitality of forms is revealed by the interplay between space and volume”

Barbara Hepworth (1903–1975) English sculptor

Extract from Barbara Hepworth: Carvings and Drawings, (from Chapter 1: The excitement of discovering the nature of carving, 1903-1930), with an introduction by Herbert Read, London, 1952
1947 - 1960

Sense , Light , Sun

“In order to better understand object-oriented methodologies in general, it helps to understand the people who make up the "object-oriented community" itself. Far from being monolithic, there is a great deal of diversity within this community. Many object-oriented people, for example, seem to focus almost entirely on programming language issues. They tend to cast all discussions in terms of the syntax and semantics of their chosen object-oriented programming language. These people find it impossible (for all intents and purposes) to discuss any software engineering activity (e. g., analysis, design, and testing) without direct mention of some specific implementation language.
Outside of producing executable "prototypes", people who emphasize programming languages seldom have well-defined techniques for analyzing their clients' problems or describing the overall architecture of the software product. A great deal of what they do is intuitive. If they happen to have a natural instinct/intuition for good analysis or good design, their efforts on small-to-medium, non-critical projects can result in respectable software solutions.”

Edward V. Berard

Source: Essays on object-oriented software engineering (1993), p. 5

People , Communication , Understanding , Nature

“Not to know the Bible is, in some ways, to be illiterate, to neglect the very roots of philosophy, art, architecture, literature, poetry and music.”

Chris Hedges book American Fascists: The Christian Right and the War on America

Source: American Fascists: The Christian Right and the War on America, Chapter One: Faith

Art , Music , Way , Literature

“The presence of an enterprise reference architecture aids an enterprise in its ability to understand its structure and processes. Similar to a computer architecture, the enterprise architecture is comprised of several views. The enterprise architecture should provide activity, organizational, business rule (information), resource, and process views of an organization.”

Donald H. Liles (1947) American engineer

Joseph Sarkis, Adrien Presley and Donald H. Liles (1995) "The management of technology within an enterprise engineering framework." in: Computers & industrial engineering.

Understanding , Business

“Architecture is the concrete presentment in space of the soul of a people.”

Claude Bragdon (1866–1946) American architect

Architecture and Democracy http://books.google.com/books?id=_88YAAAAYAAJ&q=%22Architecture+is+the+concrete+presentment+in+space+of+the+soul+of+a+people%22&pg=PA176#v=onepage (1918)

People , Soul

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

Ernest Dimnet (1866–1954) French writer

Source: What we live by (1932), p. 141

Art , Soul

“I'm not arguing, incidentally, for a confusion of art and architecture, a fashion now, but for a coherent relationship. Therefore, within the capacity of one person or of a small group, the relationship of all visible things should be considered.”

Donald Judd (1928–1994) artist

Source: 1980, "Art and Architecture," 1987, p. 196

Art , Fashion , Personality

“It ['The Great Masturbator', 1929] represented a large head, yellow like wax, with very red cheeks, long eyelashes and an imposing nose compressed against the ground. This face had no mouth, and in place of the mouth an enormous lobster was hooked. The lobster's belly was decomposing and full of ants. Some of these ants were scurrying through the space that would have been occupied by the non-existent mouth of the great anguished face, whose head ended in 1900-style architecture and ornamentation. The title of the painting was The Great Masturbator.”

Salvador Dalí (1904–1989) Spanish artist

Quote from La vida secreta de Salvador Dalí. In: Complete Works, Autobiographical Articles 1. Ediciones Destino / Gala-Salvador Dalí Foundation, Barcelona / Figueres, 2003, p. 648
Quotes of Salvador Dali, 1941 - 1950

Painting

“I would like to offer an illustration. Imagine a house which is well designed from a material or practical point of view... Apart from these physio-functional demands, there are also psycho-functional demands which correspond with our optical, phonetic and tactile experiences. Until now, mankind has attempted to satisfy these 'supra-material' demands with a painting on the wall or a sculpture in a room.... the architecture of the future will have to destroy this duality. Its task will be to express completely and fulfill all our demands.”

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

Imagination , Future , Painting , Housing

“Issues of quality, timeliness and change are the conditions that are forcing us to face up to the issues of enterprise architecture. The precedent of all the older disciplines known today establishes the concept of architecture as central to the ability to produce quality and timely results and to manage change in complex products. Architecture is the cornerstone for containing enterprise frustration and leveraging technology innovations to fulfill the expectations of a viable and dynamic Information Age enterprise.”

John Zachman (1934) American computer scientist

Source: Enterprise Architecture: The Issue of The Century, 1997, p. 1-2

Age , Change , Time

“Form - as a pattern of perception - can motivate the use of architecture. Architecture provides a complete service for its users, if function (practical purpose) coincides with use motivated by form.”

Justus Dahinden (1925) Swiss architect

Man and Space - Mensch und Raum 2005

Motivation

“An enterprise architecture can be thought of as a "blueprint" or "picture" which assists in the design of an enterprise. The enterprise architecture must define three things. First, what are the activities that an enterprise performs? Second, how should these activities be performed? And finally, how should the enterprise be constructed? Consequently, the architecture being developed will identify the essential processes performed by a virtual company, how the virtual company and the agile enterprises involved in the virtual company will perform these processes, and include a methodology for the rapid reconfiguration of the virtual enterprise.”

Donald H. Liles (1947) American engineer

William Barnett, Adrien Presley, Mary Johnson, and Donald H. Liles (1994) "An architecture for the virtual enterprise." Systems, Man, and Cybernetics, 1994.' Humans, Information and Technology'., 1994 IEEE International Conference on. Vol. 1. IEEE, 1994

“Gregorian chant, Romanesque architecture, the Iliad, the invention of geometry were not, for the people through whom they were brought into being and made available to us, occasions for the manifestation of personality.”

Simone Weil (1909–1943) French philosopher, Christian mystic, and social activist

Source: Simone Weil : An Anthology (1986), Human Personality (1943), p. 55

People , Personality

“For in spite of much greater public interest in all aspects of visual culture, including design and architecture, the challenge posed by contemporary art has not evaporated. We have only to recall the headlines for last year's Turner Prize. "Eminence without merit" (The Sunday Telegraph). "Tate trendies blow a raspberry" (Eastern Daily Press), and my favourite, "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled bed threaten to make barbarians of us all" (The Daily Mail). Are these papers speaking the minds of their readers? I have no delusions. People may be attracted by the spectacle of new buildings, they may enjoy the social experience of visiting a museum, taking in the view, an espresso or glass of wine, purchasing a book or an artist designed t-shirt. Many are delighted to praise the museum, but remain deeply suspicious of the contents.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

People , Books , Art , Wine

“Many companies are not driving significant business value from the digitized platforms they build as part of their enterprise architecture initiatives. Our 2011 survey of 146 senior IT leaders found that the companies that benefit from their platforms' efforts are consistently relying on four architecture-related practices that encourage organizational learning about the value of enterprise architecture: 1) making IT costs transparent, 2) debating architectural exceptions, 3) performing post-implementation reviews, and 4) making IT investments with enterprise architecture in mind.”

Jeanne W. Ross (1958) American computer scientist

Jeanne W. Ross & Anne Quaadgras (2012) " Enterprise Architecture Is Not Just for Architects http://cisr.mit.edu/blog/documents/2012/09/19/2012_0901_architecturelearning_rossquaadgras.pdf/," Massachusetts Institute of Technology, Vol. XII, No. 9, September 2012

Business , Effort , Learning , Parting

“When I thought of myself as a writer in the 1960s, I questioned what made me go from the left to the right margin, from one page to another. As I thought of the space I was also thinking about time. Then I thought: ‘Why am I limiting myself to a piece of paper when there’s a world out there?’ I focused on performance in the early 1970s because the common language of the time was ‘finding oneself.’ In a time like that, what else could I do but turn in on myself and then go from me to you? Photography, film, and video were sidesteps–spaces in front of you–whereas I was more interested in the space where you were in the middle. Now I’m involved with peopled spaces–that’s design and architecture.”

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

Vito Acconci interview, in The Art Newspaper, Art Basel edition, December 5, 2012.

People , World , Question , Thinking

“With increasing size and complexity of the implementations of information systems, it is necessary to use some logical construct (or architecture) for defining and controlling the interfaces and the integration of all of the components of the system.”

John Zachman (1934) American computer scientist

Source: A Framework for Information Systems Architecture, 1987, p. 276, cited in: CM Pereira (2004), "A method to define an Enterprise Architecture using the Zachman Framework". in: SAC '04 Proceedings of the 2004 ACM symposium on Applied computing. pp. 1366-1371

“We have here no traditions and ancient venerable institutions; here, there are no aristocratic elements hallowed by time or bright deeds; here, every man is the first settler of the land, or removed from the settler one or two generations at the furthest; here, we have no architectural monuments calling up old associations; here, we have none of these old popular legends and stories which, in other countries, have exercised a powerful share in the government; here every man is the son of his own works.”

Thomas D'Arcy McGee (1825–1868) Canadian politician

Hear, hear.
Legislative Assembly, February 9, 1865

Exercises , Time , Country

“[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.”

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

1926 - 1941, Autobiography of the artist' (1941)

Art , Travel , Study , Learning

“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

Color , Nature , Reality , Sense

“This history of walking is an amateur history, just as walking is an amateur act. To use a walking metaphor, it trespasses through everybody else’s field—through anatomy, anthropology, architecture, gardening, geography, political and cultural history, literature, sexuality, religious studies—and doesn’t stop in any of them on its long route.”

Rebecca Solnit (1961) Author and essayist from United States

Wanderlust: A History of Walking (2001)

History , Literature , Study

“Ghastly Good Taste, or a Depressing Story of the Rise and Fall of English Architecture.”

John Betjeman (1906–1984) English poet, writer and broadcaster

Title and sub-title of book (1933)

“If music is frozen architecture, then the potpourri is frozen coffee-table gossip… Potpourri is the art of adding apples to pears…”

Arnold Schoenberg (1874–1951) Austrian-American composer

quote from Glosses on the Theories of Others (1929); also in Style and Idea (1985), p. 313-314
1920s

Art , Music , Coffee

“Architecture has been a domain of architects, a discipline presumably dominated by immaculately dressed bookish pedants that have a stream of thought well displaced from regular human thought.”

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)

“Let us summarize these three points more concisely:
(a) The rejection of art as a mere emotional, individualistic, and romantic affair.
(b) 'Objective' work, undertaken with the silent hope that the end product will nevertheless eventually be regarded as a work of art.
(c) Consciously goal-directed work in architecture, which will have a concise artistic effect on the basis of well-preparated objective-scientific criteria.
Such an architecture will actively raise the general standard of living. This represents the dialectic of our development process, which purports to arrive at the affirmative by negation — a process similar to melting down old iron and forging it into new steel.”

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

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

Hope , Art

“Here, then, is what I wanted to tell you of my architecture. I created it with courage and idealism, but also with an awareness of the fact that what is important is life, friends and attempting to make this unjust world a better place in which to live.”

Oscar Niemeyer (1907–2012) Brazilian architect

The Curves of Time: The Memoirs of Oscar Niemeyer (2000), p. 176.

Life , World , Courage

“From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture... My works of this time up to 1924.... are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Gabo, as cited in: Simon Wilson (1991), Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition. p. 146
undated

Search , Time

“It was perhaps a bad moment to undertake an architectural guide to the City of London. There are, at the time of writing, still whole areas lying waste after bombing in the Second World War. A number of the City churches, also, are not yet repaired or restored. Yet the publication of this volume was much asked for; so I decided to undertake it in spite of these disadvantages.”

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

The Buildings of England

War , World , Lying , Time

“Fragmentation is like classful addressing -- an interesting early architectural error that shows how much experimentation was going on while IP was being designed.”

Paul Vixie (1963) American internet pioneer

NANOG mailing list http://www.merit.edu/mail.archives/nanog/2000-06/msg00351.html (2000)

Error

“In all matters but particularly in architecture …that which is signified is the subject of which we may be speaking and that which gives significance is a demonstration on scientific principles. …One who professes himself an architect should be well versed in both directions.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 3

“I received the fundamentals of my education in school, but that was not enough. My real education, the superstructure, the details, the true architecture, I got out of the public library.”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

Source: I. Asimov: A Memoir (1994), Ch. 8, Library
Context: I received the fundamentals of my education in school, but that was not enough. My real education, the superstructure, the details, the true architecture, I got out of the public library. For an impoverished child whose family could not afford to buy books, the library was the open door to wonder and achievement, and I can never be sufficiently grateful that I had the wit to charge through that door and make the most of it.
Now, when I read constantly about the way in which library funds are being cut and cut, I can only think that the door is closing and that American society has found one more way to destroy itself.

Education , School

“There have always seemed to the writer sound reasons for using the module system in architectural design.”

Ernest Flagg (1857–1947) American architect

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

“Scribal culture and Gothic architecture were both concerned with light through, not light on.”

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

Source: 1960s, The Gutenberg Galaxy (1962), p. 120

Light

“Now it is symptomatic of our rusty-beer-can type of sanity that our culture produces very few magical objects. Jewelry is slick and uninteresting. Architecture is almost totally bereft of exuberance, obsessed with erecting glass boxes. Children's books are written by serious ladies with three names and no imagination, and as for comics, have you ever looked at the furniture in Dagwood's home? The potentially magical ceremonies of the Catholic Church are either gabbled away at top speed, or rationalized with the aid of a commentator. Drama or ritual in everyday behavior is considered affectation and bad form, and manners have become indistinguishable from manerisms—where they exist at all. We produce nothing comparable to the great Oriental carpets, Persian glass, tiles, and illuminated books, Arabian leatherwork, Spanish marquetry, Hindu textiles, Chinese porcelain and embroidery, Japanese lacquer and brocade, French tapestries, or Inca jewelry. (Though, incidentally, there are certain rather small electronic devices that come unwittingly close to fine jewels.)
The reason is not just that we are too much in a hurry and have no sense of the present; not just that we cannot afford the type of labor that such things would now involve, nor just that we prefer money to materials. The reason is that we have scrubbed the world clean of magic. We have lost even the vision of paradise, so that our artists and craftsmen can no longer discern its forms. This is the price that must be paid for attempting to control the world from the standpoint of an "I" for whom everything that can be experienced is a foreign object and a nothing-but.”

Alan Watts (1915–1973) British philosopher, writer and speaker

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 84-85

Money , Children , Books , World

“When, in architecture, one uses a fixed unit and combinations of it, to produce harmony, the effect should be most striking and apparent… as it is in music by the measured beat and in poetry by the cadence and rhythm.”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)
Context: When, in architecture, one uses a fixed unit and combinations of it, to produce harmony, the effect should be most striking and apparent... as it is in music by the measured beat and in poetry by the cadence and rhythm.<!--Ch. II

Music

“All this I have seen in the dreams of the night clearer than I can force myself to see them in dreams of the day. So that it would have been nothing new to me the other night to fall into an architectural dream if that were all, and yet I have to tell of things strange and new that befell me after I had fallen asleep.”

William Morris book A Dream of John Ball

Source: A Dream of John Ball (1886), Ch. 1: The Men of Kent
Context: When I was journeying (in a dream of the night) down the well-remembered reaches of the Thames betwixt Streatley and Wallingford, where the foothills of the White Horse fall back from the broad stream, I came upon a clear-seen mediæval town standing up with roof and tower and spire within its walls, grey and ancient, but untouched from the days of its builders of old. All this I have seen in the dreams of the night clearer than I can force myself to see them in dreams of the day. So that it would have been nothing new to me the other night to fall into an architectural dream if that were all, and yet I have to tell of things strange and new that befell me after I had fallen asleep.

Dreams , Night

“There is the beauty of the flowers and the forests, of the azure oceans and the meandering rivers. There is the splendour of architecture, the magnificence of music, and the sparkle of the dance. Above all, there is the beauty of man and woman, the most perfect creations of God.”

Zulfikar Ali Bhutto (1928–1979) Fourth President and ninth Prime Minister of Pakistan

Source: Letter to his daughter (1978), p. 78 - 79
Context: Earlier, I have cautioned you against an outright pragmatist approach. Now I am cautioning you against an outright populist approach. Sometimes a populist decision is, in the long run, not beneficial to the masses. Neither pragmatism nor populism are fundamental political and socio-economic doctrines. Nor do I say that you should play it by ear. I have made this melancholy analysis in anguish. My jail surroundings have not influenced my objectivity. I do not want to see the whole world in a death-cell merely because I am in a death cell. I do not say that the High Court has pronounced a death sentence on the world because a law court has pronounced a perverse death sentence on me. I would be the happiest man if the gloomy winter of mankind were to give way to a shaft of sunlight and to coloured flowers. The world is very beautiful. "A thing of beauty is a joy forever". There is the beauty of the landscape, of the tall mountain, the green plains, the humped deserts. There is the beauty of the flowers and the forests, of the azure oceans and the meandering rivers. There is the splendour of architecture, the magnificence of music, and the sparkle of the dance. Above all, there is the beauty of man and woman, the most perfect creations of God.

God , Beauty , Music , Flowers

“Architectural drawings may look beautiful and be admired by critics but to be good, they have to work in daily use.”

Lindsey Davis book A Body in the Bath House

A Body in the Bath House

Beauty , Drawing

“Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man.”

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

On Poesy or Art (1818)
Context: Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into everything which is the object of his contemplation.

Art , Music , Nature , Painting

“Most persons of a deeply religious nature would tell you emphatically that nine churches out of ten actually were dead-born, after the thirteenth century, and that church architecture became a pure matter of mechanism or mathematics”

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

Mont Saint Michel and Chartres (1904)
Context: Every day, as the work went on, the Virgin was present, directing the architects, and it is this direction that we are going to study, if you have now got a realising sense of what it meant. Without this sense, the church is dead. Most persons of a deeply religious nature would tell you emphatically that nine churches out of ten actually were dead-born, after the thirteenth century, and that church architecture became a pure matter of mechanism or mathematics; but that is a question for you to decide when you come to it; and the pleasure consists not in seeing the death, but in feeling the life.

Mathematics , Nature , Personality , Dead

“No complete architecture has yet appeared in the history of the world because men, in this form of art alone, have obstinately sought to express themselves solely in terms either of the head or of the heart.”

Louis Sullivan (1856–1924) American architect

Emotional Architecture as Compared to Intellectual (1894)
Context: No complete architecture has yet appeared in the history of the world because men, in this form of art alone, have obstinately sought to express themselves solely in terms either of the head or of the heart.
I hold that architectural art, thus far, has failed to reach its highest development, its fullest capability of imagination, of thought and expression, because it has not yet found a way to become truly plastic: it does not yet respond to the poet's touch. That it is today the only art for which the multitudinous rhythms of outward nature, the manifold fluctuations of man's inner being have no significance, no place.

Men , World , Art , History

“I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.”

John Quincy Adams (1767–1848) American politician, 6th president of the United States (in office from 1825 to 1829)

War , Children , Music , History

“Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability. And this is the purpose of typography: The arrangement of design elements within a given structure should allow the reader to easily focus on the message, without slowing down the speed of his reading.”

Hermann Zapf (1918–2015) German type-designer, calligrapher, author and artist

Imagination , Reading , Speed

“A persuasive way of understanding the collapse of Communism in Europe and the Soviet Union is to think of nineteenth- or twentieth-century slum clearance. For in many respects the Soviet Empire was a slum of continental proportions. Beyond the grotesque architectural assertions of an alien ideology, public housing – almost all housing – consisted of anomic and primitive concrete barracks where the smells of cabbage, damp and low-grade tobacco combined. Rivers and lakes were polluted by chemicals, with the Pleisse river in East Germany alternately turning first red then yellow.”

Michael Burleigh (1955) American historian and writer

Source: Sacred Causes: The Clash of Religion and Politics, From the Great War to the War on Terror (2006), p. 415

Housing , Understanding , Communication , Thinking

“I worked as a medical illustrator for about ten years. It was not my career ambition; it was a way to finance my addiction to art and support my family. Medical illustration gave me the opportunity to investigate and portray the bodily systems in dramatic ways. Prior to my work as a medical illustrator, I prepared bodies at a medical-school morgue, which provided important training for understanding the fleeting nature of life. It also provided unforgettable studies into the iridescent, fibrous architecture that forms our physical body.”

Alex Grey (1953) American artist

High Times interview (2002)

School , Family , Study , Understanding

“Ten thousand years ago, when man the nomad took root in one place, he brought animals with him into human service. But domestication was to be his fate too, as he fell under architecturally reinforced female control.”

Camille Paglia (1947) American writer

pg. 8
The Birds

Animals , Fate

“The preservation of freedom is the protective reason for limiting and decentralizing governmental power. But there is also a constructive reason. The great advances of civilization, whether in architecture or painting, in science or literature, in industry or agriculture, have never come from centralized government. … Government can never duplicate the variety and diversity of individual action.”

Milton Friedman book Capitalism and Freedom

Introduction, pp. 2-3
Capitalism and Freedom (1962)

Science , Literature , Painting , Freedom

“Plays are events in time and space. Plays are music. Word music. Visual music. I’ve always thought of plays as a form of composition—of text and the architecture of the experience of the full-length evening…”

Caridad Svich (1963) American writer

On how she describes plays in “Making Invisible Stories Seen, Heard and Felt Interview with Caridad Svich” http://www.critical-stages.org/3/making-invisible-stories-seen-heard-and-felt-interview-with-caridad-svich/ in The IATC webjournal/Revue web de l'AICT – Autumn 2010: Issue No 3

Music , Time

“Some of the worst crimes against humanity are committed by architecture students.”

Charles Stross The Laundry Files

Source: The Laundry Files, The Jennifer Morgue (2006), Chapter 1, “Random Ramona” (p. 18)

“Burkard Schliessmann is a fiercely intellectual pianist. He’s intellectual in two senses. First, he approaches this music with a tremendous store of background knowledge - knowledge about the composers and their works, about their early receptions, about their critical writings, about their literary inspirations, and about the cultural milieu in which they found themselves. Second, he performs the music with a rigorous sense of the ways its details contribute to its form, both in terms of its overall architecture and in terms of its vertical structure.”

Burkard Schliessmann classical pianist

Peter J. Rabinowitz in Fanfare - The Magazin for Serious Record Collectors, USA, January/February 2011, Chopin-Schumann Anniversary Edition 2010 in the interpretation of Burkard Schliessmann, Volume 34, Number 3, p. 255

Way , Sense , Music , Knowledge

“Man is but a single sector in the great circle of sentient life. The human species is one among a million or two of species inhabiting the earth. The beings below and around us have had the same origin as we have. They have the same general architecture of both body and mind, and are footballed by the same antithetical impulses of pleasure and pain. Whatever the beings of this world have been in the past, they can never again be anything but a family.”

J. Howard Moore (1862–1916)

Universal ethics is a corollary of universal kinship. Moral obligation is as boundless as feeling.
Source: Ethics and Education (1912), Ethical Anxiety, p. 42

Family , Pain , Past , Pleasure

“Men have had the same origin as other animals; they have the same general architecture of body and mind; and they have the same destiny. And they stand on the same general level of ethical claim and obligation.”

J. Howard Moore (1862–1916)

"Discovering Darwin", Proceedings of the International Anti-Vivisection and Animal Protection congress, held at Washington, D.C. December 8th to 11th, 1913 (1913), p. 156

Animals , Men

“This Alsace and vast tracts of Lorraine are German regions, and their inhabitants are of German blood. The tricolour may float above Strasbourg cathedral, but that imposing edifice was born of the German spirit, it has nothing in common with the French spirit; it was there that one of the greatest geniuses Germany has given the world first felt the great breath of German architecture. It all bears the impress of the German character and is animated by the German spirit. That is why we shall never forget that Alsace-Lorraine is German, that it will always belong to us in spirit and that our task will be to preserve for Germany this spiritual patrimony.”

Gustav Stresemann (1878–1929) German politician, statesman, and Nobel Peace Prize laureate

Speech to the Congress of the People's Party in Jena (17 April 1919), quoted in W. W. Coole (ed.), Thus Spake Germany (London: George Routledge & Sons, 1941), p. 331
1910s

World , Forgetting , Animals

“We cannot fuck our way to freedom. Sexuality alone, and heterosexuality in particular, is never enough to destabilise complex architectures of money and power. Without political agitation, sex can always be co-opted, calcifying gender revolution into another weary parade of saleable binary stereotypes.”

Laurie Penny book Meat Market: Female Flesh Under Capitalism

Conclusion
Meat Market: Female Flesh Under Capitalism (2010)

Money , Sex , Way , Freedom

“The Generic Enterprise Reference Architecture and Methodology is about those methods, models and tools which are needed to build the integrated enterprise. The architecture is generic because it applies to most, potentially all types of enterprise. The coverage of the framework spans Products, Enterprises, Enterprise Integration and Strategic Enterprise Management, with the emphasis being on the middle two. The proposal for the architecture follows the architecture itself improving the quality of the presentation and of the outcome. De nitions of Generic Enterprise Reference Architecture, Enterprise Engineering/ Integration Methodology, Enterprise Modelling Languages, Enterprise Models, and Enterprise Modules are given. It is proposed how the above could be developed on the basis of previously analysed architectures (and other results too), such as the Purdue Enterprise Reference Architecture, the GRAI Integrated Methodology, CIM-OSA, and TOVIE.”

Peter Bernus (1949) Hungarian-Australian computer scientist

Peter Bernus and Laszlo Nemes (1996) "A framework to define a generic enterprise reference architecture and methodology." Computer Integrated Manufacturing Systems Vol 9 (3) p. 179

Quotes about architecture page 4

Quotes about architecture
page 4