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Read through the most famous quotes by topic #architect
Architecture should have little to do with problem solving - rather it should create desirable conditions and opportunities hitherto thought impossible. ↗
南イタリアには、一度この地を知ると、虜になってしまう不思議な魅力がある。それもそのはずで、地中海に突き出た南イタリアは、古くから多くの民族が行き交い、さまざまな文化が交錯する地域であり、都市を探訪するにはもってこいの宝庫なのだ。世界広しといえども、都市の在り方がこれほど多彩で、感動的な風景と出会える場所も珍しい。 南イタリアの都市風景の多様性を生むうえで、ここに繰り広げられた歴史のドラマがそのベースになっているのはいうまでもない。古代のギリシア、ローマをはじめ、中世のビザンツ、イスラーム、そしてノルマン、さらにはフランスやスペインの支配下で、多様な文化が培われた。 そして、南イタリア都市の変化に富んだ迫力ある形態は、その古さと明らかに結びついている。中北部のイタリアよりも、中世の早い時期に都市を形成し、あるいは古代都市を復興したから、骨格となる層が古く、それだけ複雑な都市構造が生まれたのだ。しかも、南には、重厚な石づくりの文化を発展させた地方が多く、建物の持続性がそれだけ大きい。「イタリアの都市は歴史が重なっている」とよく言われるが、南イタリアを巡ると、それをいっそう強く感じる。ここでは、古い時代の建物の壁がよく残り、歴史の重なりがそのまま視覚化されているのである。 同時にまた、いかにも地中海世界らしい自然条件、気候風土が、独特の民家や都市・集落の姿をつくり出した。変化に富んだ地形とあいまって、都市や集落はさまざまな立地の在り方を見せている。 心地よい戸外での生活が活発なのも、南イタリアの大きな特徴で、それだけ近隣所のコミュニティの共有空間も発達した。人々の生活ドラマが繰り広げられる舞台としての都市空間は、我々の心を打つ。 南イタリアには、このように個性的で魅力ある都市が各地にあるのに、ほとんど調査もされず、眠っていることが多い。イタリアには歴史的価値のある建築や都市が多過ぎて、南部の小さな田舎町にまで、とても専門家の目が届かないのだ。[4〜5ページ] ↗
The ideal of quiet and of genteel retirement, in 1835, was found in Washington Square, where the Doctor built himself a handsome, modern, wide-fronted house, with a big balcony before the drawing-room windows, and a flight of marble steps ascending to a portal which was also faced with white marble. This structure, and many of its neighbours, which it exactly resembled, were supposed, forty years ago, to embody the last results of architectural science, and they remain to this day very solid and honourable dwellings. In front of them was the Square, containing a considerable quantity of inexpensive vegetation, enclosed by a wooden paling, which increased its rural and accessible appearance; and round the corner was the more august precinct of the Fifth Avenue, taking its origin at this point with a spacious and confident air which already marked it for high destinies. I know not whether it is owing to the tenderness of early associations, but this portion of New York appears to many persons the most delectable. It has a kind of established repose which is not of frequent occurrence in other quarters of the long, shrill city; it has a riper, richer, more honourable look than any of the upper ramifications of the great longitudinal thoroughfare—the look of having had something of a social history. ↗
I believe that the idea of the totality, the finality of the master-plan, is misguided. One should advocate a gradual transformation of public space, a metamorphic process, without relying on a hypothetical time in the future when everything will be perfect. The mistake of planners and architects is to believe that fifty years from now Alexanderplatz will be perfected. -p.197 ↗
#architecture #methodology #modernity #urban-planning #architecture
Abe said something interesting. He said that because everyone's so poor these days, the '90s will be a decade with no architectural legacy or style- everyone's too poor to put up new buildings. He said that code is the architecture of the '90s. ↗
For a brief period of time the American electric-sign industry looked beyond its most immediate market and collaborated with store designers and architects in creating a style which became known as 'stream-line.' Later it became known as 'American Déco.' Whatever it was called or will be called in the future, it represents in terms of neon a thrust away from isolated signage toward an area of architectural ornamentation in which signage is but one element in an overall plan. — Rudi Stern ↗
The village lay in the hollow, and climbed, with very prosaic houses, the other side. Village architecture does not flourish in Scotland. The blue slates and the grey stone are sworn foes to the picturesque; and though I do not, for my own part, dislike the interior of an old-fashioned pewed and galleried church, with its little family settlements on all sides, the square box outside, with its bit of a spire like a handle to lift it by, is not an improvement to the landscape. Still, a cluster of houses on differing elevations - with scraps of garden coming in between, a hedgerow with clothes laid out to dry, the opening of a street with its rural sociability, the women at their doors, the slow waggon lumbering along - gives a centre to the landscape. It was cheerful to look at, and convenient in a hundred ways. ("The Open Door") ↗
Just look at the architecture," Dr Hartmann explained. Blueprint your feet, and you'll find a marvel that engineers have been trying to match for centuries. Your foot's centerpiece is the arch, the greastest weight-bearing design ever created. The beauty of any arch is the way it gets stronger under stress. The harder you push down, the tighter its parts mesh. No stonemason worth his trowel would ever stick a support under an arch; push up from underneath, and you weaken the whole structure. Buttressing the foot's arch from all sides is a high-tensile web of twenty-six bones, thirty-three joints, twelve rubbery tendons, and eighteen muscles, all stretching and flexing like an earthquake resistant suspension bridge. ↗
I don't know how you hear music. I imagine that if you like music at all then it has, in your head, some kind of third dimension to it, a dimension suggesting space as well as surface, depth of field as well as texture. Speaking for myself, I used to hear "buildings"... three-dimensional forms of architectural substance and tension. I did not "see" these buildings in the classic synaesthetic way so much as sense them. These forms had "floors", "walls", "roofs", "windows", "cellars". They expressed volume. Music to me has always been a handsome three-dimensional container, a vessel, as real in its way as a Scout hut or a cathedral or a ship, with an inside and an outside and subdivided internal spaces. I'm absolutely certain that this "architecture" had everything to do with why music has always exerted such a hold over me. I think music was the structure in which I learned to contain and then examine emotion. ↗
